Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.
This post is long overdue. August, September, and October were a flurry of activity this year. Subsequently, I am a little behind on several projects and events that I promised to share.
Jenny Knott, Wendy Waszut-Barrett, and Monique Corbeil.
Last August, I taught another scene painting workshop for the 2023 CITT/ICTS (Canadian Institute of Theatre Technology/Institut canadien des technologies scénographiques) Rendez-vous.
Before the pandemic, this was an annual master class taught with Jenny Knott, then paint product manager with Rosco. Our classes explored both contemporary and historic scene painting methodologies. Past workshops included: Drapery Painting (St. John, New Brunswick, Canada, 2017), Foliage Painting (Hamilton, Ontario, Canada, 2018), and Gold! (Whitehorse, Yukon, Canada, 2019). This year we tried something new. Instead of contemporary and historical techniques, we decided to try 3D and 2D techniques.
Jenny demonstrated paint application techniques for three-dimensional surfaces, with Pulp Art supplying samples. I demonstrated paint techniques for two-dimensional surfaces, with Historic Stage Services supplying the fabric. Rosco provided the scene paint for the workshop.
My portion of the class included a brief PowerPoint presentation entitled, “Seeing Color: Understanding Strategic Color Combinations.” Most of scenic art has to do with not only paint application techniques, but a strategic combination of color that supports any lighting design. This is basic color theory for scenic art that works for both 2D and 3D surfaces.
Here is an abbreviated version of my CITT presentation. It summarizes my own scenic art process based on extant backdrops. All examples included in my presentation were created with distemper paint (a mixture of pigment paste and diluted hide glue).
I often begin many presentations with showing a basic color wheel with primary (yellow, red, blue) and complimentary colors (orange, purple, green).
Revisiting basic color theory before any scenic art class works in the long run. It places all of the students on an equal playing field. When you understand the basic steps for creating complementary colors, it is much easier to understand variables in creating neutrals.
The metamorphic nature of scenic art is reliant upon neutrals, specifically neutral colors that are integrated into the base-painting. It is incredibly important to understand variations when combining complementary colors.
I repeatedly stress that successful scenic art is reliant upon not only a minimal color palette, but also the contrast of hue and value. Our choices as painters in the mixing and application of colors can help or hurt the lighting designer.
When selecting colors for a base coat, warm, cool, light and dark come into play. As you work up the details, careful placement of wars and cool colors will enhance depth.
The key to painted illusion for the stage is understanding your options. In other words, warm versus cool. Yellow is a good example to use when talking about individual color characteristics. It is much easier for many to see the difference.
We then discussed both understanding and adjusting the value of colors with whiting and Van Dyke Brown. High contrast is very important when painting compositions that are intended to be seen from a distance.
I then shared some historic scenic art examples. Identifying colors and application helps many students understand process.
In short, I try to select examples that are fairly easy to interpret. Adding color swatches, instead of using a laser pointer, has helped many students “see” the color. Here is another example. Identifying color combinations in historic scenic art to understand process.
I also share a contemporary scenic art example. One that I have recently painted for a production. Here is a painted detail from The Sorcerer (Gilbert & Sullivan Very Light Opera Company, March 2023).
I try to include as many examples as possible, varying the stylistic approaches as they shifted over the decades.
I try to show how this color theory can be applied to other subject matter too, such as metalwork.
This is where I often discuss the selection and interplay for both hue and value.
Both manmade and organic subjects can use the same painting methodology. Foliage is another good example to explore the placement of warm and cool colors.
This greatly helps the painting reflect stage light, allowing the painted composition to transition from a morning to evening scene.
Painting Process Samples
After the presentation, we applied this color theory to brickwork. I made a “process” sample. There are many artists (me included), who have a hard time internalizing process until they see the paint application broken down into colors and steps.
Each of my brick samples used a limited color palette, with specific color identifies on the left. The process was then broken down (right to left), with base coat and charcoal layout on the right and completed brickwork with spatter on left.
Brick sample for workshop.
While doing the samples, I documented the use of tools and techniques. Here are the brushes that I used for detail work – highlight and shadow.
Shadow and highlight brushes.
Second brick sample with limited color palette. The mixing of colors was done on the canvas to make an interesting base. This technique is similar to distemper painting. Pre-mixed scenic paints can be arranged similarly on a palette for floor painting (Continental Method).
On Monday, Oct. 2, 2023, I returned from Chicago with the set for La liberazione di Ruggiero dall’isola d’Alcina. Less than two weeks later, I loaded in the set of H. M. S. Pinafore for the Gilbert & Sullivan Very Light Opera Co. (Howard Conn Fine Arts Center in Minneapolis). Although the show had been designed for months, it had yet to go into production. My husband, Dr. Andrew Barrett, took on the role of stage carpenter to help me out.
The Gilbert & Sullivan Very Light Opera Company production of HMS Pinafore.
The set in the Howard Conn Fine Arts Center space.
In fact, I was unable to start painting the show until Monday, Oct. 9. This meant I had less than five days to paint the the show, knowing that the structural pieces and flooring would be painted after load-in. As with other recent productions, I used distemper paint (pigment paste mixed with diluted hide glue) for all of the soft goods. This painting process facilitated the compressed timeline, as I spent less time mixing color, washing brushes, and cleaning buckets; the list goes on. Also, with painting on a vertical frame, and not the floor, everything dries faster.
Dry pigment paste is combined with diluted hide glue during the distemper painting process.
View from the aisle, house right. Gilbert & Sullivan Very Light Opera Company’s production of H.M.S. Pinafore, 11 November,2023.
Painted details. behind the helm.
My painting schedule was as follows:
Monday, Oct. 9 – Load in all painting supplies to Hamline University, set up palettes, make glue, attach fabric to frame, and size.
Tuesday, Oct. 10 – Base paint ship pieces, draw out composition and finish.
Wednesday, Oct. 10 – Remove ship pieces from frame, attach cloud/water pieces and size.
Thursday, Oct. 11 – Paint cloud/water pieces and cannons.
Friday, Oct. 12 – Remove all painted pieces from frame and load out of Hamline University.
Saturday, Oct. 13 – Finish set construction.
Sunday, Oct. 14 – Load into space.
A partially-constructed set during load-in, Oct. 15, 2023.
Under work lights before the floor is painted.
Painting the floor during tech week. I ran tape to save time, and used the existing “black floor” as the crevices.This meant I was able to paint the floor all by myself in only an hour. The “key” to this process is to let the floor fully dry before pulling up the tape.
After painting the floor and railings.
Before the remaining ropes and seagulls are added for “character.”
My favorite seagull.
The final painted “bits” stage right- seagulls and belaying pins.
The final painted “bits” stage left- seagulls and belaying pins.
The speed at which I was able to paint also really relied upon the subject matter and my own skill set. I have always loved painting skies, water, wood, draperies, and foliage. Getting to paint three out of your five favorites, isn’t bad.
It also helped that I was the scene designer. It gives me a little wiggle room.
On-site “touch-up” with distemper paint also means every color is instantaneously available without having to store of unpack a “touch-up kit.”
My “warm” distemper palette for on-site touch-up.
The new thing that I tried during the painting process this time was positioning the seascape compositions sideways. Why? Because it fit better on the frame and made running the long horizon lines easier.
Painting water and sky scenes SIDEWAYS to fit on the paint frame at Hamline University. Notice how the distemper paint dries from dark to light.
Another view of the process.
Running the horizon line on a motorized paint frame without a lining stick
You do have to pay VERY close attention to what you are doing. However, I would choose this orientation again, as running the horizon line was substantially easier. No lining stick needed when you have a steady hand and motorized paint frame. This is also why painting vertical folds in draperies is also stream-lined on a motorized paint frame.
Waiting for canon flats and doors to dry.
Recycling portions of an existing stencil to save time.
Here are a few process shots from tech week and the final production.
The set with pre-show lighting.
The scenery under cool lights.
How the colors can shift. Distemper paint reflects color so much better than contemporary (pre-mixed) scenic paints.
The show runs for one more weekend! There are some absolutely lovely voices in this production. It is a very fun show directed by Gary Briggle, with musical direction by Dr. Randall Buikema.
The added bonus this time is that our son is playing accordion in the pit orchestra!
The Gilbert & Sullivan Very Light Opera Company Orchestra under the baton of Dr. Randall Buikema.
On Sept. 20, 2023, my plane touched down at the Minneapolis International Airport. I had just returned from a twelve-day trip in the UK, presenting a paper and touring historic theaters in England, Scotland and the Isle of Man. 48 hours later, I was packing a trailer of scenery for Haymarket Opera Company’s production of La liberazione di Ruggiero dall’isola d’Alcina. The show loaded in on Saturday, Sept. 23.
This was my fourth show with the same design team: Brian Schneider (Lighting), Stephanie Cluggish (Costumes) and Megan Pirtle (Wigs and Make-up). They are all remarkable individuals to work with!
Stephanie Cluggish (Costumer), Sarah Edgars (Director) and Brian Schnieder (Lighting Designer) with model. I handed off the La liberazione di Ruggiero dall’isola d’Alcina model during tech week for Marc’antonio e Cleopatra.
This spring we were tackling two shows in a compressed timeframe. Marc’antonio e Cleopatra, (June 2023) and La liberazione di Ruggiero dall’isola d’Alcina (Sept. 2024). The first opera was very straightforward; two static scenes in Egypt, consisting of painted panels and a few profile pieces.
La liberazione di Ruggiero dall’isola d’Alcina is the only surviving opera by female composer, Francesca Caccini, dating back to 1625. It included sea nymphs, entrances on dolphins and orca-bone boats, sea monsters, magical plants, and so forth. The plot posed a few challenges, as did the performance space. There is no fly tower or wing space at the Jarvis Opera Hall. From a logistical standpoint, there is not enough room to store large scenic elements anywhere off stage.
One of the ideas that I repeatedly tossed out at the beginning of the design process was creating a small-scale Baroque stage. This “stage-with-a-stage” meant that everything could be self-contained and easily accessible. In the end, my set consisted of a 16’x16’ platform, 8 step units, and a 28-ft. theatre façade, 8’-0” x8’-0” proscenium opening, and two doorways.
Set with jungle scene.
My small stage house had both upper and lower grooves for wings and shutters. The scenery consisted of a drop curtain (roll drop), scrim (roll drop), Jungle scene (roll drop), 2 jungle wings, ocean drop, 2 ocean wings, 3 water ground rows, 2 jungle shutters, 2 jungle wings, a dolphin profile, an orca boat profile.
Photograph by Elliot Mandel
Photograph by Elliot Mandel.
Painted detail from drop curtain.
Photograph by Elliot Mandel.
Painted detail from the jungle scene.
Painted detail from jungle scene.
Magical plants. Photograph by Elliot Mandel.
Ocean scene. Photograph by Elliot Mandel.
The Siren. Photograph by Elliot Mandel.
Water detail.
Photograph by Elliot Mandel.
Orca bones boat and dolphin on paint frame.
Sea monsters behind the scrim. Photograph by Elliot Mandel.
All of the scenic elements were painted simultaneously on a motorized paint frame. This meant that there were fewer staples and I was able to hop from one painted composition to another. This also helps unify all of the painted elements without having to repeatedly mix the same color as I would progress from one piece to the next.
The paint frame at Hamline University with my parents for scale.
The entire set was painted with distemper paint. In addition to setting up may standard palette, I built two new distemper palettes; one for warm colors and one for cool colors. It greatly helped for all of the foliage painting. Taking a 2’-0” x 2’-0” square of ¾” ply for the base, I covered it with canvas then painted it white. I drilled 2” holes around three sides of the palette to hold my containers of dry pigment paste. When not using a color, it remained capped. This meant that my pigments did not dry out and could easily change position. Not having to scrape off the palette, or reconstitute the paste, saves time in the long run.
After visiting the Theatre Royal, Bristol, Mike Hume, Rick Boychuk, and I headed to Bath. Hume had arranged a tour with Eugene Hibbert, general manager of operations. Here is link to the history of the theatre site and current building: https://www.theatreroyal.org.uk/about/history/
The Theatre Royal, Bath.
The Theatre Royal, Bath.
It was a load-in day for Noises Off, the same touring production that we saw in Newcastle-upon-Tyne. I was amazed that anyone would contemplate giving us a tour during final preparations for opening night. While waiting at the stage door, we watched a few cast members sign in.
The stage door at Theatre Royal, Bath.
Poster for “Noises Off” at the Theatre Royal, Bath.
Despite the flurry of activity throughout the building, Hibbert spent a considerable amount of time with us that day.
Here are a few photos from the theatre and our walk back to the train station:
A view from the stage.
The ornate ceiling.
Ceiling details.
Painted ornament on ceiling.
Proscenium detail.
A view from the gallery.
Wendy Waszut-Barrett, Rick Boychuk , and Mike Humein the opera box.
This was my last theater visit on our trip to the UK. Although the day began as a dreary one, the sun finally peeked out as we walked back to the train station. I really wished that we were able to spend a little more time that day. Unfortunately, I had an early flight out of Heathrow the next morning. Late that afternoon we headed back to London where we parted ways after dinner. I could not have asked for better travel companions and am really looking forward to our next trip. We will all be at USITT this coming March.
The PulteneyBridge over the Avon River in Bath, England.
Another view of the PulteneyBridge over the Avon River in Bath, England.
Mike Hume, Rick Boychuk, and I flew from the Isle of Man to Bristol late in the day on Sept. 18, 2023.
All on board for Bristol!
Taking off from the Isle of Man on Sept. 19, 2023.
Our descent into Bristol on Sept. 19, 2023.
The next morning we toured a restored Georgian Theatre known as the “Bristol Old Vic,” officially considered Theatre Royal, Bristol.
Hume had arranged our visit with Imogen Senter and David Harraway. It was such a treat to see the United Kingdoms’ oldest continuously operating theatre, having first opened its doors in 1766.
The original 1766 theatre wall is now an interior wall, sharing space with a coffee shop and offices.
Facing the other way.
Mike Hume in action. He has a wonderful write-up about this building.
Over the years I have repeatedly encountered the name of scenic artist W. T. Hemsley. Hemsley’s paint studio was even featured in an 1899 article by Frederick Dohlman.
W. T. Hemsley’s paint studio featured Dohlman’s article for Cassell’s Magazine, 1899.
Published in Cassell’s Magazine, it was entitled “Scene-Painters and Their Art.” There is one illustration captioned “Grinding the Colours” that I frequently use when discussing the distemper paint.
Detail of act-drop curtain by W. T. Hemsley for the Gaiety Theartre.
As promised, this post is about William Thompson Henry (1850-1918). Hemsley was a scenic artist who thoroughly understood painted illusion, stage machinery, and lighting systems. In fact, he specialized in the design and manufacture of transformation scenes; impressive scenic spectacles for the stage that highlighted the metamorphic nature of scenic art at this time.
This post is quite lengthy, so grab a cup of coffee and settle into your chair.
W. T. Hemsley ‘s portrait in Cassell’s Magazine, 1899.
Over the years, various publications have briefly summarized Hemsley’s life and career. Much of the information is based on his 1918 obituary. While transcribing the several newspaper obituaries when researching his career, one in particular caught my eye. It mentioned his personality and character. I am going to start with how his contemporaries remembered Hemsley in 1918. On Feb 9, London’s Daily Telegraph announced the death of W. T. Hemsley:
“A more simple-hearted or more genial man than Mr. W. T. Hemsley, whose death we regret to announce, never existed. In an emergency, he was always to be counted upon, never considering the trouble to which he might put himself in order to assist a friend or even casual client. He might fittingly have sat to Dickens as a model of cheery optimism. Born in 1850 at Newcastle-on-Tyne, he started life as an engineer, but canvas, paint, and brush were evidently far more to his taste than machinery, and before many years were over, he had taken the plunge and began a new career in London as a scenic artist. There is hardly a West-end theatre which, since then, he has not furnished with convincing proof of his talent as a painter. With him the readiness was all, and the celebrity with which he would provide a humble interior, a palatial edifice, or a garden set was quite remarkable. He knew, as he was known by, everybody, and his fund of good stories and interesting reminiscences was practically inexhaustible. He will be missed by his many friends and acquaintances.”
It is apparent that Hemsley left a legacy that went beyond any painting. He was well-respected and loved by both colleagues and clients. We can only hope to be lovingly remembered by friends and family.
Hemsley is a scenic artist that I have added to my “wish list.” I wish that I could have watched him paint. I wish that we could have chatted about color. I wish that we could have watched a sunset…and then I think of my maternal grandmother’s saying, “If wishes were horses, we all would ride.”
William Thompson Hemsley was born in Gateshead, across the Tyne River from Newcastle-Upon-Tyne. He was the son of George Hemsley (1822-1888) and Mary Watson (1825-1899). Hemsley’s mother, Mary, was the daughter Thomas Watson and Margaret Linch; his maternal grandfather was a shoemaker in Newcastle-upon-Tyne. W. T. Hemsley’s own father, George, was an engine fitter, the son of William Hemsley and Anne Thompson. William Hemsley, his paternal grandfather, worked as a groom.
William Thompson Hemsley was the second of eight children born to George and Mary. The 1851 Census listed the Hemsley household as including George (29 yrs.), Mary (26 yrs.), Mary Ann (2 yrs.) and William (10 months). In Gateshead, the family celebrated the birth of two more children: Thomas W. (b. 1852) and Margaret “Mary” (b. 1854). Sometime after the birth of Mary, the Hemsley family moved to Swindon in Wiltshire County. For geographical context, Swindon is approximately 290 miles to the south, 84 miles west of London.
Location of Swindon in relation to London.
In 1858, the Hemsley’s fifth child, John Robert, was born in Swindon. Another son, James G., arrived in 1860.
The 1861 census listed the Hemsley family living at 6 Westcott Place, Swindon. The household included the following members: George (39 yrs.), Mary (36 yrs.), Margaret (12 yrs.), William T. (10 yrs.), Thomas W. (9 yrs.), Mary (7 yrs.), John (3 yrs.) and James (1 yr.). There was also a lodger, Josiah Kay, living in the Hemsley Home. Both Josiah and George were employed as “engine fitters”.
William was still living with his parents when the 1871 Census was taken. He was listed as a “fitter,” with his father George listed as a “fitter and turner.”
Hemsley’s artistic endeavors in Swindon were remembered in his obituary. At 16 yrs. old, Hemsley obtained a teacher’s certificate and the Society of Arts’ first-class certificate. He also became acquainted with the later Rev. J. M. Bellew, father of Mr. Kyrle Bellew, and by him was introduced to Mr. Augustus Harris, sen., at Covent Garden Theatre, and to Mr. J. O’Connor of the Haymarket Theatre, obtaining through the letter of engagement with the late Mr. Beverly at Drury Lane. This was William Roxby Beverly (c. 1810-1899) who was appointed scenic director at Covent Garden Opera House, in succession to Thomas Grieve, in 1853. Beverly’s association with Drury Lane commenced the following year.
Hemsley’s association with Beverly continued and resulted in his acquisition of several Beverly artworks. In fact, Hemsley’s Beverly collection was even part of the 1905 Scenic Artists’ Association exhibition at Grafton Galleries. An article in The Times reported, “Mr. W. T. Hemsley sent a very interesting collection of the works by W. R. Beverly” (p. 4).
Hemsley’s obituary also remembered, “While Mr. Hemsley was studying at the Lambeth School of Art, Mr. Tom Taylor, the celebrated dramatist, frequently selected for him subjects and criticized his sketches, and notably highly commended his composition of The Lady of the Lake.” Established in 1854, by the late 1850s, the institute functioned as a night school. It gained a reputation for training may important sculptors. Here is a link for more information: https://vauxhallhistory.org/lambeth-school-of-art/
In 1873 Hemsley was working as a practical engineer in London, living at 25 Stafford Pl., Pimlico, S. When he married Fanny Harriet Castle May, Hemsley listed his profession as “practical engineer”, the same as his father, George Hemsley. On June 25, 1873, they were married at the Parish Church, Margate West, Middlesex County. Interestingly, Fanny’s father, George Harding May, was listed as an “artist.”
Photograph of George May sketching in 1855. Image from ancestry.com
This may have been the turning point in Hemsley’s career as he transitioned from a practical engineer to scenic artist. Witnesses to the marriage were Fanny’s sister, Blanche, and James Birkett.
Photograph of Silver Wedding Anniversary for the Hemsleys. Image from ancestry.com
When William Hemsley transitioned from practical engineer to scenic artist, he began using his middle initial “T.” This was to distinguish him from the well-known London genre painter, William Hemsley (1819-1906). Unfortunately, going by W. T. Hemsley also causes some confusion, as that is the stage name of William Thomas Witty (1854-1952). Witty, a.k.a. W. T. Hemsley, performed with D’Oyly Carte touring companies between 1880 and 1885.
William Thompson Hemsley’s obituary remembered, “In 1874 Mr. Hemsley returned to Swindon, and there his artistic ability was recognized by Charles Mathews, who gave him and introduction to Miss Sarah Thorne at Worcester, and for some years he remained under her management at Margate as resident scenic artist” (North Mail, Newcastle Daily Chronicle, 9 Feb 1819, p. 5).
Map showing the location of Swindon and Worcester.
The “Charles Mathews” who made the introduction was Charles James Mathews (1803-1878). In 1876, both Thorne and Mathews were performing at the Theatre Royal Worcester At the time, Thorne was credited as lessee of the Theatre Royal Worcester. On Dec. 9, 1876, Berrow’s Worcester Journal announced the two-night engagement of the eminent comedian Mr. Charles Mathews in “My Awful Dad” and “Cool as a Cucumber” (p. 5). Mathews likely introduced Hemsley to Thorne sometime between 1876 and 1877. The two toured together until Mathews passing in 1878.
Sarah Thorne
Charles Mathews portrait by Rembrandt Peale.
On Feb 17, 1877, the Isle of Thanet Gazette included an advertisement announcing “Theatre Royal, Margate. One night only, March 2, 1877. Miss Sarah Thorne has the honour to announce the engagement of the famous comedian, Mr. Charles Mathews, who will appear as ‘Adonis Evergreen.’ In ‘My Awful Dad”…supported by Miss Sarah Thorne and her Company” (p. 1).
On June 23, 1877, Berrow’s Worchester Journal announced that Miss Sarah Thorne, lessee of the Theatre Royal Worcester “has the honour to announce the engagement of the famous Comedian Mr. Charles Mathews, who will appear as Adonis Evergreen in his own comedy, “My Awful Dad,’ played by him upwards of 200 nights as the Gaiety Theatre, London” (page 5).
Thorne has been associated with the Theatre Royal in Worcester since 1874. Thorne’s engagement in Worcester was early in the year. On Feb. 7, 1874, the following advertisement was placed in Berrow’s Worcester Journal:
“Theatre Royal, Worcester. Miss Sarah Thorne’s Dramatic and Burlesque Company will re-appear here on Monday, Feb. 16th in the Historical Drama, “A Sheep in Wolf’s Clothing,” and the comic pantomime, “The Children in the Wood,” new scenery, dresses and effects” (p. 5). Thorne was again mentioned in Berrow’s Worcester Journal; on Feb. 28, 1874, p. 5. The advertisement was titled, “Theatre Royal, Worcester. Masonic Patronage.” The article reported, “The Last Night, and Benefit of Miss Thorne, under the distinguished Patronage of the Worshipful Master and Wardens of the Worcester Lodge, 280; the Worshipful Master and Wardens of Semper Fidelis, 529, with Brethren of these Lodges. Mr. George Thorne, Principal Comedian of the Theatre Royal, Leeds, will appear (by permission of John Coleman, Esq.), in his successful Burlesque, LE RAW CAROTTE, introducing his original songs and dances. The St. James Drama LADY AUDLEY’S SECRET, In which Miss Sarah Thorne will sustain her successful character of Lady Audley, played by her for fifty nights at the Theatre Royal, Brighton.”
We are certain that Hemsley was not in attendance at the Feb 28 performance, as he did not become a Mason until 1882. Hemsley joined Union Lodge in Margate; initiated March 3, passed April 7, and raised May 5.
To place Hemsley’s meeting with Thorne in a chronological timeline…
Hensley marries Fanny in Margate on June 25, 1873. At the time, the two listed their residence as 25 Stafford Pl., Pimlico S. in London. Early in 1874, the Hemsleys returns to Swindon after the birth of their first child, William G. Hemsley in Battersea, Surry. It was in Swindon where Hemsley receives an introduction to Sarah Thorne. This could have been anytime between 1874 and 1878, when Mathews passed. During the spring of 1878, Thorne and Mathews were touring and featuring Mathews in “My Awful Dad” and “A Game of Speculation” (The Surrey Advertiser, County Times 20 April 1878, p. 4). Thorne placed a notice in The Era after Mathews passing that summer. On June 9, 1878, The Era published,
“Miss Sarah Thorne’s Company.
NOTICE. – In consequence of the indisposition of Mr. Charles Mathews he cannot possibly fulfil the Engagements made by Miss Sarah Thorne for his appearance. Miss Sarah Thorne, assisted by Mr. George Thornes and the following members of her Company, will appear in several high-class comedies” (p. 14).
The earliest their first meeting could have occurred was early February 1874. This was while Thorne was performing at Worcester. For geographical context, Worcester is approximately 58 miles northeast of Swindon. This places the Hemsley-Thorne meeting all within the realm of possibility. They also could have also met in 1876 when Thorne assumed management of the Theatre Royal, Worcester.
It is obvious that his early training with Beverly and later work for Miss Sarah Thorne changed the course of Hemsley’s career. He was in the right place at the right time.
1874 was a turning point for Sarah Wendy Thorne (1836-1899). She succeeded her father as theatre manager of Theatre Royal, Margate, remaining in that role until Aug. 1873 when the theatre was sold to Robert Fort. Although Thorne remained in a management role for the 1874 season, she soon shifted her focus to the Theatre Royal, Worcester by the spring of 1876. When the Theatre Royal was destroyed by fire in 1877, Thorne formed a touring company with Charles James Mathews. Again, it was Mathews who first introduced Hemsley to Thorne. And the fates were not with Thorne, as Charles James Mathews passed away by the summer of 1878.
This period was also one of transition for the Hemsley’s as their family expanded, welcoming George Robert Hemsley in 1876 and Harry May Hemsley in 1877.
By 1878, Thorne and Hemsley are both associated with the Robinson Crusoe pantomime performed by her Company at the Swindon Mechanic’s Institute. On Feb. 3, 1878, The Era reported, “The scenery was by Messrs. R. Douglas (of the National Standard Theatre – a sufficient guarantee of its excellence) and Mr. W. T. Hemsley, of this town, and we really must congratulate Mr. Hemsley on his great success” (p. 9). This was possibly, Hemsley’s first scenic art project.
Hemsley continued to work for Thorne, employed as not only a painter, but also designer. On Dec. 28, 1878, the Folkstone Express, Sandgate, Shorncliffe and Hythe Adviser reviewed Miss Thorne’s Pantomime – “Puss and Boots”, reporting, “It embraces twelve different scenes, the transformation scene having been specially designed and painted by Mr. W. T. Hemsley” (p. 5).
At the beginning of 1879, “Hemsley, of Swindon” was credited as the scenic artist for Thorne’s King Pumpkin pantomime at Margate and Ramsgate theatres. On Jan. 11, 1879, Isle of Thanet Gazette reported, “The first transformation scene ‘Fairy Seasons’ was designed and painted by Mr. T. W. Hemsley, of Swindon, and equally attractive is the closing scene ‘Blissful Bowers of Repose’ which closes the performance” (p. 6).
1879 is significant in a few other ways that affect Hemsley:
Thorne resumes a lease at the Theatre Royal Margate.
The Hemsleys celebrate the birth of Bertie Thomas Hemsley.
Hemsley is credited as scenic artist for Sarah Thorne’s productions of Robinson Crusoe and Billy Taylor when they toured Theatre Royal, Cheltenham (The Era 5 Jan 1879 p 5). His scenic art is also mentioned in Thorne’s Yellow Dwarf pantomime at the Theatre Royal, York. On April 20, 1879, The Era reports, “The most admirable sets are a Dizzy Pass and the Enchanted Groves (W. T. Hemsley)”. Other scenic artists working with Hemsley on the production were Henry Emden and Charles Smithers (The Era 27 April 1879, p. 18).
While The Yellow Dwarf played in York, Hensley also worked as a lightning artist. I have written about lightning artists in the past. Lightning artists are rapid caricaturists. In York, Hemsley was programmed into each evening’s entertainment. On May 7, 1879, The York Herald reported, “Enthusiastic reception of the rapid caricaturist, Mr. W. T. Hemsley, in his celebrated Sketches every evening, commence at 7.30” (p. 1).
For the next few years, Hemsley continued to both paint scenery and perform as a lightning artist with Sarah Thorne’s company. 1879 productions included The Lady of Lyons, Orange Girl, Washington Watts and The Shaughram, to name a few. Hemsley’s name repeatedly made news for his painted settings, transformation scenes, mechanical effects, and rapid character sketches. By the fall, Hemsley was making a name for himself everywhere. On Nov. 9, 1879, The Era listed him as “Resident scenic artist Mr. W. T. Hemsley” for the Royal Princess’s Theatre, Glasgow. At the end of that same month, his act-drop for the Theatre Royal, York, also made the news. On Nov. 28, 1879, The Era announced, “A feature of this evening was the lowering of the new act-drop, from the brush of Mr. W. T. Hemsley. In the centre of the cloth is a medallion containing a beautiful landscape; on top is a portrait of Shakespeare and on either side, in smaller medallions, are his birthplace and burial place, the whole being surmounted by the arms of the city.”
By the beginning of 1880, Hemsley was credited with the scenery for another Thorne Pantomime, Jack and the Beanstalk. Of Hemsley’s work, the Surrey Advertiser and County Times reported, “The scenery is beautifully painted…Mr. W. T. Hemsley, the artist, who painted the scenery has a wonderful power of sketching portraits in crayon, winning for him cheers from the admirers of the national celebrities that he, almost in the twinkling of an eye, vividly brings before the audience” (31 Jan 1879, p.5). That same day, “The Surrey Advertiser and County Express added: “W. T. Hemsley, an artist who received the warm acknowledgements of spectators for the rapid, but faithful portraits which he drew of famous men of the day, including Earl Beaconsfield, John Bright, Cetewayo, and some of the heroes of Isandula” (p. 5). He was still in Surrey the next month making news as a caricaturist. On Feb. 14, 1880, The Surrey Mirror and County explained that Hemsley made sketches as an entr’acte performance, part of the ballet interlude. The article reported, “Mr. W. T. Hemsley, displays his genius as a rapid caricaturist by sketching famous men of the day and local celebrities – ‘the local celebrity’ on Tuesday evening was Mr. Wm. Beale, the postmaster. The ballet interlude over, the story resumes at the gates of the Giant’s Copper Castle.”
By the summer of 1880 Hemsley began to place advertisements in The Era for his services, although he was still listing a primary residence in Margate. On Aug. 22, 1880, his advertisement read: “Mr. W. T. Hemsley, scenic artist and caricaturist, offers invited for Christmas. Specially engaged to paint scenery for ‘The Eviction,” at Olympic Theatre. Address 2 Alma-place, Margate; or Mr. T. Grahame, 20 King-street, Covent-garden” (p. 15). The second address that Hemsley listed was the same as for Grahame’s Anglo-American Dramatic, Musical and General Agency. At 20, King-Street, Covent-Garden. Grahame was part of Hemsley’s network, likely introduced by Charles Mathews. In 1873, Grahame’s advertisements listed:
“Stage-manager, Prompter, or Actor. Mr. T. Grahame, formerly of Boston, U.S.A., Disengaged 17th December, Refers to Charles Mathews and A. W. Young, of England; or Charles Fechter and E. L. Davenport, or America. Address, 479 Kingsland-road, E. Agents, English and Blackmore” (The Era, 7 Dec 1873, p. 16).
The 1881 Census listed the Hemsley family living in Margate. The household including William T. (30 yrs.), Fanny (26 yrs.), William G. (6 yrs.), George R. (4 yrs.) and Harry M (3 yrs.). Another son, Arthur Phillips Hemsley arrived in 1882.
In 1883, Hemsley stretched his wings, painting scenery for a new entertainment – Walter Stanton’s “Human Farmyard.” The spectacle was staged at the Aquarium, Brighton; Royal Aquarium, Westminster; Marina Hall, Ramsgate; St. James Hall, Plymouth; Pavilion, Hastings; and elsewhere. By 1889, Barnum & Bailey had created their own “Walter Stanton” attraction, promising human imitations “in the most natural manner the curious cries of birds, squealing of pigs and calls of domestic animals with life-like exactness, the appearance, action and strut of crows, ducks, geese and other familiar bords.”
Barnum and Bailey’s imitation of Walter Stanton’s Human Farmyard, 1889.
During this time, Hemsley continued to work with Sarah Thorne. However, he also became associated with Sadler’s Wells Theatre and the Grand Theatre (Islington). In 1884, Hemsley made the news for his scenic art for Andrew Halliday’s revival of Notre Dame at Sadler’s Wells Theatre. On Dec. 29, 1883, The Era reported, “The noble porch, the flying buttresses, the massive tower, were all portrayed with a fidelity to the original that it would be difficult to surpass, and to Mr. W. T. Hemsley, the admirable scenic artist of the establishment, must be given high praise for his clever work” (page 4). Hemsley was still listed as the Sadler’s Wells scenic artist that summer when he testified in a court case between Arthur Blackmore, theatrical agent of 11, Garrick-street, Covent-garden, and Miss Rose de Vane’s Shakespeare Co. The dispute involved the purchase of glue for painting, as it was “necessary for the scenery [Hemsley] was to prepare” (The Era, 28 June 1884, p. 11). A dispute over hide glue needed for the distemper painting process. That fall, Hemsley also provided scenery for Folle Farine at Sadler’s Wells Theatre (The Era, 18 Oct 1884).
By the winter of 1884, Hemsley received rave reviews for his work on Puss and Boots at the Grand Theatre. On Dec. 28, Lloyd’s Weekly Newspaper reported, “Mr. W. T. Hemsley has painted some magnificent scenery, his Ballet Scene and Transformation Scene being especially beautiful.” Hemsley was listed as the scenic artist of the establishment when he painted a new act-drop for the Grand the next year. On Feb 21, 1885, The Era described Hemsley’s’ new act-drop:
“…commemorative of Shakespeare, whose figure is prominent on the prompt side of the curtain. It is entitled ‘Come unto these yellow sands and illustrate,” and illustrates the well-known song of Ariel in the first act of The Tempest. The subject has been treated in similar fashion, whose seashore is a strip of smooth sand. Mr. Hemsley’s beach is too pebbly to suggest a tripping place for fairy feet; but the subject is treated boldly. The background is rocky headland, and the figure of Ferdinand in, in listening attitude, affords a striking contrast to the airy spirits hovering overhead” (p. 14).
Another of Hemsley’s projects for the Grand Theatre was A Dangerous Game, receiving a favorable review in The Era on April 15, 1885: “At this point we should state that the charming country landscape painted by Mr. W. T. Hemsley is one of the prettiest we have seen, and is likely to enhance his reputation as a scenic artist.”
Hensley again worked for Sarah Thorne in 1886, credited with the new scenery for her 17th annual pantomime Sinbad the Sailor (Croydon Advertiser, 30 Jan 1886, p. 4). Beginning in 1886, Hemsley also began painting scenery for the Cambridge University Greek Plays.
By July 1887, Hemsley placed several advertisements in The Era:
“WANTED, Theatrical managers and others to know that W. T. Hemsley, Scenic Artist, has taken over the entire business recently carried on by Holt and Wilmot, manufacturers of Scenery and Stage Appliances, 57, Belvedere-road, London, S. E., ‘and hopes for a continuance of favours.” &c. A quantity of profile always in stock.”
In 1888 Hemsley painted scenery for the touring pantomimes by both Sarah Thorne and Henry Dundas. Thorne hired Hemsley to new paint scenery for the pantomime, Tom Thumb the Piper’s Son. For Dundas’s productions, Hemsley worked closely with F. W. Robson on Jack-in-the-Box and Mr. Barnes of New York. On Aug. 11, 1888, The Era described Dundas’s Jack-in-the-Box pantomime at Chester, noting, “New scenery and mechanical effects have been supplied by Messrs. W. F. Robson and W. T. Hemsley, who have also done their work well.” Of Dundas’s Mr. Barnes of New York, on May 5, 1888, The Era reported, “This version will embrace the Entire Railway Incidents for which a Special and most Elaborate Mechanical Scene has been constructed by W. T. Hemsley at a cost of over 50 pounds. This scene will be the sensation wherever seen. All new Chromo Litho Pictorials. Initial production, Princess’s Glasgow. Few open dates.”
Other productions attributed to Hemsley at this time include A Life’s Debt, Bootless Baby, Aladdin, Little Bo-Peep, Miss Bella Pateman’s Master and Man, and Dundas’s Human Nature. Of Dundas’s tour, The Era advertised, “Every Scene will be carried, and entirely new. Painted from Original Sketches by the well-known London Artist, W. T. Hemsley” (28 Dec. 1889, p. 3). He both designed and painted the settings.
Hemsley continued to work for Dundas in 1889. On May 25, The Era announced that Henry Dundas was “lessee, resident and responsible for the Royal County Theatre, Reading.” The announcement added, “Scenery for each production will be painted by Mr. W. T. Hemsley.”
That summer Hemsley’s son, Harry, was injured in Swindon while playing with his siblings. It just goes to show how fragile life can be. On Aug. 24, 1889, The Era reported, “Harry May Hemsley, son of W. T. Hemsley, a scenic artist, Grand Theatre, while on visit to Swindon met with an accident last Wednesday, the 14th inst., while playing in the sand cliffs at the top of Clifton-street. It appears that about eleven o’clock the boy, with his younger brother and his sister, was engaged digging a hole in the side of the cliff near a large cavity. The younger boy went to the top of the cliff, and while he was absent the upper portion of the cliff gave way, completely burying his brother below. The lad was speedily unearthed and taken home, where he was found to have sustained a severe scalp would. He is progressing favourably under the treatment of Mr. G. M. Swinhoe.”
Hemsley himself was also not immune from danger. On Jan. 18, 1890, The Era reported on an illness affecting the employees at the Globe Theatre during a revival of The Taming of the Shrew: “Mr. Hemsley, the scenic artist, and nearly all his staff are down with the prevailing epidemic.”
The 1891 Census listed the Hemsley family living in Battersea. The household now included six children: George, Harry, Arthur, Ivy and Grace. Hemsley was listed as both a sculptor and artist. Interestingly, he lived next to John W. Ayers, also a caricature artist and sculptor. That year, Hemsley’s name was included in a fascinating advertisement entitled, “Arcadia, Arcadia, Arcadia.” This ad, published in The Era on July 25, promised “Brilliant Illuminations and Decorations by J. Pain and Sons. Splendid Floral display by Wills and Segar. Grand Scenic Effects. Rocks, Grottos, Waterfalls, &c., by W. T. Hemsley. Opens TO-DAY (Saturday), July 25 – admission six pence.” Hemsley was involved with this same project the next summer. On July 23, 1892, The Era included the following advertisement. “Arcadia, Arcadia, Arcadia. – “Superb Illuminations and Decorations by J. Pain and Sons. Thousands of coloured lights. Magnificent Floral display by Wills and Segar. The gigantic Fairy Fountain, with scintillating prismatic lights. Grand and Novel Scenic Effects by W. T. Hemsley. All-star artistes. Military bands, Switchback Railway. Al Fresco Lager Beer Garden, and numerous other attractions. Every Evening at 6. Wednesday and Saturday at 2 and 6. Admission 6 pence. Opens TO-DAY (Saturday), July 25 – admission six pence.” (p. 12).
Work was pouring in for Hemsley and included a touring show of Dick Whittington for Geoffrey Thorne. On Jan. 2, 1892, The Era reported, “The scenery is the work of Mr. W. T. Hemsley, and it is most attractive, the scene Highgate Hill, perhaps, being the most striking and effective in the series. The transformation scene, Home of Fleeting Fancies, is a brilliant work, and merits the unstinted applause bestowed upon it” (page 20).
Other projects that spring were Fred Cooke’s tour of Icebound. Hemsley painted the elaborate stage spectacle with Alf Terraine. The production received rave reviews. On June 17,1893 The Surrey Mirror and County Post advertised, “the company travels with a complete set of novel and original scenery, specially painted for this tour by Messrs. W. T. Hemsley and Alf Terraine” (page 4).
An abundance of opportunities prompted Hemsley to set up a studio at 2 Felix St., Westminster Bridge Road in London. He knew the value of publicity, planning a big event and advertising in The Era. On March 12, 1892, The Era announced, “Mr. W. T. Hemsley, the well-known scenic artist, opened his new painting rooms in Felix-street, Westminster-bridge-road, on Friday, 4th inst., with a most enjoyable ball. The painting-room proper, which is fitted with the latest modern improvements, is of such proportions as to enable the artists to paint a 50ft. cloth and set a complete scene before its leaving the studio, the carpenter’s department and storage warehouse being built in like proportion” (p. 10).
On June 4, 1892, Hemsley advertised in The Era again, announcing “Mr. W. T. Hemsley, scenic artist has removed to his new painting rooms and scene Manufactory (the largest and best appointed in London), 2 Felix-st, Westminster-bridge-road, S.E. Large or Small Contracts arranged upon for the most reasonable terms consistent with the best Artistic work” (p. 2).
Hemsley also painted with Walter Hann (1858-1899) and Joseph Harker in 1893; the three delivering scenery for Herbert Beerbohm Tree’s The Tempter at His Majesty’s Theatre, Haymarket, London.
In 1894 Hemsley painted scenery for The Last Shot at the Tivoli. On Feb 24, 1894, The Era reported,“Mr. W. T. Hemsley is responsible for the pictorial effects which include a bush scene, a vision of Major Wilson’s force, and the artistic tableau ‘The Last Shot,’ a really clever piece of work, which does credit alike to the liberality of the management and the imagination of the scenic artist” (p. 16). The next month, Hemsley painted scenery for A Comedy of Sighs and The Land is Heart’s Desire at the Avenue Theatre. On March 31, 1894, The Era reported, “The scenery for both pieces was painted by W. T. Hemsley, whose interior of the drawing room of Southwood Manor was very handsome, the fashionable furniture and appointments being well supplied by Hampton and Sons” (p 9). Hemsley was also responsible for the Queen of the Seas pantomime at the Tivoli. On Dec. 27, The Standard reported, “The scenic artist has introduced into the panoramic procession of the motely fleet some rather striking spectacular effects, and what with the support of sailors on deck, who take part in the chorus, and of the orchestra in front, the entertainment is altogether a thoroughly impressive and enjoyable one. The sketch is by Mr. Hugh Moss, the scenery by Mr. W. T. Hemsley.”
Other 1894 productions included a touring production of Pleasure (copied from the original Drury-land production), No Man’s Land at the Pavilion, and Mackinder and Wingfield Company’s The Water Babies.
William, Fanny and George Hemsley. Image from ancestry.com.
George Hemsley followed in his father’s footsteps. Both were mentioned in the renovation of Whitable’s Assembly Rooms in 1895. On Sept. 21, 1895, the Whitable Times reported, “The hall is being entirely repainted and decorated, but in addition to this a permanent proscenium is being constructed and will be furnished with an act drop and several scenes, painted by Mr. George Hemsley, under the direction of the well-known scenic artist, Mr. W. T. Hemsley. The platform is extended six feet and the prompt side three feet in front, so that the proscenium will be 18 feet wide, the whole forming a good workable stage. The drop scene is a very handsome and realistic representation of a view of Neapolis.”
In addition to working with his son, Hemsley was also working with T. Ryan; the two were painting scenery for The Forty Thieves. Other elaborate spectacles painted by Hemsley that year was Napoleon, Belinda, and Robin Hood. The two frequently worked alongside T. E. Ryan and W. P. Warren,
For fifteen years, Hemsley painted massive backdrops for the military tournament and horse show in London. There is a wonderful article about his project in 1896 that was published in The Westminster Budget (May 22, 1896, p. 11).
Illustration that accompanied the article.
Here is the article, “Under Fire at Islington. Making Ready the Scene of Battle,” in its entirety.
“Tommy Atkin’s high jinks begin on Thursday next, the 28th instant, as Islington. The carpenters have been going at it hammer and nails for the past ten days, and by the aid of stays and planks turning the iron girders and boarded floors of the Agricultural Hall into a Roman Amphitheatre. But it is not all. The lads-in0red want their proscenium as well. So that they may, as usual, make a feature of their little game of war. The subject burning in our heart, we looked in the hall and discovered Mr. W. T., Hemsley building up the foot of the Jung-frau of the Hindu Kush. It is astonishing what marvels a stay of deal, a bit of dingy canvas, a bucket of size paint, and a whitewash brush can accomplish.
“So you are once more in the hum of it, Mr. Hemsley?” was the remark of a representative of the Westminster Budget, as he shook hands with the well-known designer and painter of scenic effects.
“Ah! If you like – metaphorically I am up to me ears in paint. We have not let the dust grow under our feet. It is a king of rule with most people. ‘This or that is what we want,’ and it must be done often in what seems an impossibly short period. It is just the same whether we are building up a whole street, a cathedral, man-of-war, a palace, or a prison – for it is the scenic artist’s province to provide all these things. Comparatively we have two minutes to conceive our subject, five minutes to plan it, and ten minutes to make or build up a model. But we have a little longer this year to get into order.” And as we talked the artist kept stirring a bucket of cobalt blue, into which his assistant, wrapped in a smock of new brown holland, would throw a pinch of vermillion or a dab of brown madder.
“Mixing up the atmosphere,” Mr. Hemsley remarked, with a twinkle, “and it is not grey enough yet. Just another spoonful of vermillion. That’ll do; now try the effect. We get the atmosphere. If air is not there, we must paint it, or to use a big word, chiaroscuro the situation. You may smile – now – do not say it can’t be done. It is a sine quâ non of our profession to put a butt into a drop. Look, think a minute,” remarks Mr. Hemsley, and points with his maulstick to the end of the hall. “On that drop which serves as the background to our battlefield this year – the span is 130 feet across – I have to squeeze in a snow mountain 10,000 feet or so high, suggest its numerous peaks, its million and one precipices, ravines, and gentle slopes as well as give an idea of its immense next-door neighbors. And it is not only the mountains that have to be portrayed, but a military hill fort as well, with its wall and its towers and its rocky approaches. Yes, a scene painter has to view the world through a diminishing glass. The fort Ali Musjid, to hold the pass, would be some distance up the elbow of the mountain. The authorities give me 30ft. ‘Within the bee’s-knee compass,’ say they, ‘suggest the clamber up a mountain road under a hot and retreating fire; show how a military bridge is thrown over a nasty ravine; a mountain battery put in an out and brought into action again; give a playground for from 15 that I have constructed the scene for Tommy’s last tussle.0 to 200 men. And although you may not have a dozen square inches to a man,’ the masters of the situation say, ‘Don’t, Mr. Hemsley, pack the men in like pickles in a bottle; we can’t afford to let any one Jim Crow be a Jack-in-the-Box.’
“Yes,” continued Mr. Hemsley, “this is the eighth or ninth time that I have constructed the scene for Tommy’s last tussle. Last year it was Africa; the year before Egypt; this year it’s the frontiers of India, we are among the hills and the Afghans. Here is the model, and we will go over the field together if you would like. To begin, the circus ring of the tournament represents the valley. The attacking force take up their first position at the lower end of the ring. No, I don’t know, there may or may not be larger business; but there is to be no puddle, no river to cross. The defenders will occupy – although at first not a soul will be discoverable – the top of that ring. Look out! – there’s a plank settling your top hat.” The workmen were clearing up for the night and had not noticed us standing under the ledge of a big rock.
“Either you or I shall have to call an ambulance if we stay where we are,” is Mr. Hemsley’s remark. “Here is the plan of battle – you have cast your eye on the model; now turn your own anticipatory war correspondent, and as far as my knowledge goes, I’ll check you.
The Battle.
There was nothing for it but for the writer to accept the position and become his own Mahatma, and by the help of official paper and print to describe what will take place. First of all, you must have an inkling of where you are. Our reproduction of Mr. Hemsley’s model supplies the key. You are on the North-West frontier of India; and this is just what happens/ A cavalry patrol is dispatched to reconnoiter. The 4th Queen’s Own Hussars use their field-glasses and their wits and find nothing. To all intents and purposes there is not a single soul about the place. They pass the work “All’s well” down the line (or along the telegraph) to the infantry in the rear. But the hill chaps are wily boys. They are just as brown as mountains, and “you never quite know where the devils are” – as Tommy invariably says of his enemies, be they black, white, or mulatto. Unless it is the wet season, these hill roads are as dry as tinder; water is invariably at a premium. So, the Royal Engineers, who are always with us on the war-path, are ordered to sink a Norton tube well. They tap a spring; the horses are watered and the calvary push on.
The advance infantry now come to the front, bringing with them a Maxim, and it is bound to the latest horseless carriage, a tricycle. “Halt!” “pile arms!” are the words of command by the well; and Tommy’s chefs set about cooking dinner. But every day in active service is not all April sunshine. Look! The Afghans have slipped out of their hiding-place, the fort, and have stealthily crept in an out among the stones till they are on the threshold of the camp. The hill chaps, in their varied uniforms – jackets and overcoats as full of colours as a garden sidewalk – make a “rush.” No: our lads in red don’t turn tail. They stick to their guns and form a square with their Maxim as a centre, The stand is for death or glory. British Tommy is nearly wiped out. Mow the jiggers down as he may, his enemies appear to be as thick as the pebbles by the seashore. Virtually victory is in the hands of the hill men. Bang! Bang! Goes the Maxim; and the bullets for the last time whizz their Death rattle. All is up. The white feather, the flag of truce, may be fluttering in a minute. Suddenly a cheer rends the air, and rings and echoes as it runs along from mountain to mountain, Tommy has found his Blucher – reinforcements at hand. All the world says, “Is anything so thrilling as a British cheer?” The Afghans are affrighted – giving full vent to their personal yah-yahs they beat a hasty retreat. Up, up the hill they scamper, and if the can help it our lads in red must not follow them. So, looking to make secure their retreat, they cut away the bridge, and thus – see – they make good their escape.
And what a cheer it is! Foe a body of bluejackets are amongst those to the rescue. They have their “barker,” too – a 7-pounder. Watch them as they climb like cats up and over the rocks and pray that you and your son and your son’s sons may have the heart of a sailor. The bluejackets hold the position; they pepper and salt the Afghans. And whilst their shower of lead is doing its duty, the bridging battalion of the Royal Engineers have built a new bridge across the ravine. The Afghans are good marksmen. True, their guns are old omen, but by a slice of luck they have managed to put the 7-pounder out of action. The sone of Neptune, however, are not dismayed. Actively they repair the fluke; they gun is again quickly playing “Rukshons” with the enemy. There is a hip, hip, hurrah! A struggle as to who shall be first over, and upwards and onwards, right into the teeth of the enemy, go our men, their guns and their horses. Huzzah after huzzah like peals of thunder play on our ears. They are storming the fort. It is almost a shoulder-to-shoulder tussle. As one man drops out another takes his place. Wilder and wilder grow the cheers. At last, the gate succumbs – with a hip, hip, hip, hurrah! In they go. The Union Jack floats over the fort – once more, the days is ours. Then the band plays.
But the sham battle would not be true to nature if the horrors of war were quite overlooked. The ambulance corps are as busy as bees; a hospital is erected’ the wounded brought in and dealt with.
The music plays “God Save the Queen,” you rise, lift your hat, and leave your seat. The mimic war for to-night is over.
The other great sight at the Tournament is the pageant of the “Sons of the Empire,” and this we shall describe and illustrate in our next week’s issue.”
Hemsley also continued to paint act-drops. When the New Queen’s Theatre, Longton, opened The Era reported, “The act-drop which was much admired, has been painted by W. T. Hemsley, the well-known London scenic artist and represents Trentham Hall, a favourite place for the residents of the neighborhood” (May 23, p. 11). The building was designed by Frank Matcham.
On May 29, 1897, The Era reported that Hemsley would also paint the new drop curtain for the New Fulham Theatre, stating, “The drop curtain will be from the brush of the well-known scenic artist, W. T. Hemsley” (p. 11).
In 1897, Hemsley painted scenery for C. P. Levilly’s touring production of La Poupee. On Sept. 18, 1879, The Era described his scenery at the Prince of Wales’s Theatre: “Mr. W. T. Hemsley has painted some capital interiors; and the fine tableau of the doll-warehouse in the second act argues excellent stage-management and liberal outlay” (p. 10). Hemsley also painted scenery for The House That Jack Built, or the little old woman who lived in a shoe, also written by Arthur Sturgess, the author La Poupee. Hemsley was one of several artists who painted scenery for the show. On Dec. 21, 1897, The Liverpool Mercury reported, “Elaborate and Beautiful Scenery designed and painted by Messrs. W. T. Hemsley, T. E. Ryan, W. P. Warren and E. G. Banks” (p. 1). Another article published about the production on Dec. 23, listed the scenes and the respective artists for each: “Scene I – Anywhere Junction (W. T. Hemsley); Scene II – The Village of Collywobble (W. T. Hemsley); Scene III – The Squires Back Garden (E. G. Banks)l Scene IV – Exterior of the Shoe (W. P. Warren), Scene V – Fairy Glade in Spring (E. G. Banks), Scene VI – Haunted Thicket and Lonesome Waste (W. P. Warren), Scene VII – The Squire’s Library (E. G. Banks), Scene VIII – Margery’s Gymnasium (W. P. Warren), Scene IX – The Terrace and Grounds of Jack’s House (E. G. Banks), Scene X – Overlooking the Mersey (W. P. Warren), Scene XI – The Prince’s Palace (T. E. Ryan), Britain’s Glory Grand Electrical, Finale.”
Descriptions of Hemsley’s scenic contributions near the end of the nineteenth-century were still included in articles about various shows but became much less descriptive. Commentaries on his work were brief and included the words, charming, handsome and picturesque. His projects included Much Ado About Nothing, Les Cloches de Corneville, The New Barmaid, The Babes in the Wood, On the Flat, Thou Shalt Not Kill, The Blind Witness, and others.
Hemsley was included in an article, entitled “Scene-Painters and Their Art” by Frederick Dolman for Cassell’s Magazine (Vol 19, p. 620-624). A lengthy excerpt from this article was also published in The Era on Nov. 11, 1899 (p. 9).
W. T. Hemsley in his studio at his palette, 1899.
Extant palette in the paint room at the Citizen’s Theatre, Glasgow (formerly known as the Princess’s Theatre).
Here is the article in its entirety as it helps provide context for Hemsley’s life and career at the turn-of-the-20th-century.
SCENE-PAINTERS AND THEIR ART.
BY FREDERICK DOLMAN.
ART with a capital A still looks down upon scene-painting, I suppose, as a sort of poor relation. Yet there can be little doubt but that the stage, rather than the picture-gallery, is the dominating influence in popular ideas of form and colour. For every visitor to Burlington House there are a dozen to “Drury Lane,” the “Lyceum,” and the “Adelphi.” The R.A., it may be said, paints for the classes, but the successful scenic artist exhibits his work every night to both classes and masses. But the one paints pictures by the square inch, the other by the square foot. Therein, of course, is all the difference.
Under the heading of “Scenic Artists” in the London Post Office Directory, you will find nineteen names and addresses; and of the names, probably theatre-programmes have made half a dozen more or less familiar to playgoers. This is not to be taken, however, as quite a complete list of even the leading men in the profession. It does not include, for instance, Telbin, whose “painting room’ is at Blackheath, nor Hawes Craven, another veteran, who works at the Lyceum Theatre-for whose service practically all his scenes are produced. You may rightly infer from it, however, that scene-painting is one of the smallest professions, even when full allowance is made for its provincial members and for artists permanently attached to particular theatres. With the multiplication of theatres, and the increasing expenditure on their productions, it would probably be much larger but for the contemporary convention which limits a play to three acts.
To see the chief scene-painters at their work, you must to-day go, not behind or above the stage of the principal west-end theatres, but to their own independent. painting rooms,” situated mostly in the south-eastern postal district. The disappearance of what in theatrical parlance was called the “stock system” has changed the scene painter’s lot even more than the actor’s. Instead of holding a salaried appointment to one theatre, he is now a professional “freelance,” working in turn and on contract for a number of theatres.
“The Lyceum,” said Mr. W. T. Hemsley, when I was discussing with him this important change in his vocation, ” is about the only west-end theatre left which permanently employs one scenic artist. In one or two London houses, and in a few provincial theatres, where big pantomimes are produced, a man may be employed all the year round on salary, but his work consists chiefly in painting pantomime scenery. For every new production in London two or three artists are specially engaged, probably doing a scene apiece, on terms arranged in accordance with the scenery required; and the same thing is true when the piece is sent on tour and fresh ‘sets’ are required. Under this system nearly all stage scenery is now produced in London, although there are one or two provincial ‘painting rooms,’ which are supported chiefly by the cheaper kind of touring companies.”
The new order is almost entirely for the better from the scene-painter’s point of view. For one thing, he works under much healthier and pleasanter conditions than were possible in the theatres, where the “painting rooms” were usually over “the flies,” devoid of natural light or ventilation. But buildings in which the necessary equipment can be put are not easily obtained at reasonable cost. Mr. Telbin works in what was once a volunteers’ drill hall, Mr. T. E. Ryan has converted a mission chapel off the Walworth Road to his uses, whilst Mr. Hemsley has had his painting room, near Westminster Bridge, specially built for him. For some time, Mr. Joseph Harker used the “painting room” at the old Her Majesty’s Theatre; and when this was demolished, he took refuge for a time at Astley’s. He has now established himself in a cabinet-maker’s factory-partly reconstructed for the purpose-at Kennington Green. Mr. Walter Johnston, of Macklin Street, Drury Lane, is, I believe, the only scene-painter who has found it practicable to carry on his profession in the immediate neighborhood of stageland.
At theatres of average size, a “cloth “-the technical word for a scene-measures about thirty-six feet wide by forty-four feet long. Covent Garden Opera House, which has the largest stage in London, will take one forty feet by seventy. How to paint this immense area of canvas in one piece was a problem for a long time unsatisfactorily solved by placing it flat on the floor, the artist bending over it and laying on the colour with a long brush. This is still the method in vogue on the Continent, but English scene-painters have found a more excellent way. The “cloth” is tacked on to a wooden frame perpendicularly, and raised or lowered, as the painter may require, by means of a windlass. For this a fairly lofty building is necessary, having, as a rule, only one floor, through which there are apertures for such scene-shifting, and the basement being used by the carpenters who make the frames. In large painting-rooms, such as those in which I saw Mr. Hemsley and Mr. Ryan at work, you would easily imagine yourself behind the scenes at the Lyceum or the Adelphi but for the daylight and fresh air admitted by the windows and skylights.
“When a commission is given to you for a scene in a new production, how do you set to work?” I asked Mr. Ryan as we sat, a few feet away from “Venice,” destined to be the background of the Gaiety stage in the second act of A Runaway Girl.
“I first get my instructions from the manager – and sometimes from the author – as to what is wanted. They may be very full or very meagre. Some managers know exactly what is required, others have only the vaguest idea. Of course, I much prefer to work to work for the man who is able, verbally or on paper, to tell me definitely the scene he wants.
“A plan of the stage with its peculiarities, impediments, arrangements as to lights, etc. clearly marked, and made according to scale, is then sent to me. With this plan by my side, I make a cardboard model of the scene. Upon my model I always spend a good deal of care and time, everything being exactly according to scale. The model is then submitted for the manager’s approval. One or two slight alterations may be suggested; but, if my instructions have been explicit, the model, as a rule, is promptly returned, and I am ready to begin work on the actual scene. Sir Augustus Harris was an ideal manager for the scene-painter. He chose those whom he considered the best men for particular kinds of work, gave in a few words the most lucid directions, and then, trusting their ability, troubled them no more till their work was finished.
These “models” of which several were standing about the “painting room” looked, at a general glance, just like miniature theatres of the nursery. But a closer inspection revealed the care which had been bestowed upon every minute detail, each little picture having a perfect finish, such enables you to realize it as though it were presented on the stage of a theatre of bricks and mortar, instead one of cardboard and paste. Among others were two models of Macbeth scenes for Mr. Forbes Robertson’s production of the tragedy at the Lyceum.
“Is new scenery always painted for a revival of this kind?”
“Oh, yes, when an actor like Mr. Forbes Robertson is concerned. Of course, Mr. Forbes Robertson could easily hire Macbeth scenery; but then he has ideas of his own about the production, and his scenic arrangements must differ in various important points from those, say, of Irving’s Macbeth.
What becomes of the scenery, the reader may ask, when a play is withdrawn? Well, the leading London actors who are occasionally or permanently “in management” store scenery for future wants. A good deal of scenery used in London productions passes at the end of the “run,” into provincial towns.
The model having been approved, it is placed in the hands of carpenters, to enable them to make the necessary framework.
Canvas, of much the same kind that any artist would use, is then cut and stitched, and tacked to the frame after it has been placed in position ready for the work of the artist. The painter first outlines his picture in chalk or charcoal. In use of his pigments, which are. Of course, always mixed in distemper, the scene-painter has always to remember that his picture is to be seen by artificial light. He must, for this reason, emphasize his yellows, and avoid powerful greens, because they will look coarse, and deep blues, because they will become black.
In other respects, the scene-painter proceeds with his work on much the same lines as would the picture-painter; having filled in the background, he colours and tints with an eye to the general effect a few yards, instead of a few feet, away. But, in addition to the main picture, there are “wings” and “top cloths” to be painted, besides “relief work,” which calls for the art of the sculptor as much as that of the painter. Then the whole thing has to be carted away to the theatre and “set” to the satisfaction of artist, manager, and, possibly, author.
Scene-painting carries little fame, and that not of an enduring kind. Is it a lucrative profession? This is a delicate matter to touch upon in conversation with its representative men; but I should think, from what they told me, that in recent years their gains have been largely on the increase. Theatrical managers are often unsparing if the completeness and accuracy of a scene are at stake. Mr. Ryan told me that he charged the same prices, irrespective of the theatres for which he was working, and mentioned three weeks as a reasonable time in which to execute an order for one scene. It should be added, however, that all the leading scene-painters employ one or two young men as assistants, as well as several artisans in some cases.
In the training of scene-painters the art of the studio joins with that of the stage. Mr. Harker is the son of an actress; and during early life, when he saw much of the stage, he studied under John O’Conner, who was a member of the Royal Institute of Painters in Water Colours. Mr. Hemsley in his youth was an engineers at Swindon, but he spent his leisure at the local art classes, and owed his first engagement, at the Worchester Theatre, to a knowledge of mechanics, coupled with his work as scenic artist to the Swindon Amateur Club. Mr. Telbin and Mr. Ryan, on the other hand, have, I believe, got all their art knowledge from scene-painting rooms. But it is likely that in the future all the leading scene-painters will be well-trained in the theory of the art, for most of articled pupils now serving in the painting rooms obtain outside instruction in art schools. It may be taken as a sign of the closer union between scene-painting and the art of the Royal Academy that Sir Alma-Tadema’s assistance should have been secured by Mr. Beerbohn Tree in preparing the scenery for Julius Cæsar, Mr. Joseph Harker and Mr. Walter Hann painting their “cloths” under the guidance of the Academician most distinguished for his pictures of classic Rome.
The same year that the article was published, two of Hemsley’s pantomime sets for Dundas were taken out of service and sold. On Aug 19, 1899, Henry Dundas published the following in The Era: “For Sale, an excellent Pantomime Production of Aladdin” Complete set of “Bo-Peep.” Both painted by Mr. W. T. Hemsley. Full particulars. Henry Dundas, Theatre Leamington (p. 24). The world of scenic art was starting to shift, but the demand for act-drops remained steady. In 1899, Hemsley painted act drop for the New Hastings Theatre. It was located on the same site as the previous Empire Theatre of Varieties in Hastings (The Era, 1 April 1899, p. 1). The following year he painted another act-drop, this time for the Gaiety Theatre in Douglas on the Isle of Man. It was my close examination of Hemsley’s act drop at the Gaiety Theatre that renewed my interest in this particular individual. Although I had encountered pictures of both Hemsley and his studio over the years, I was suddenly driven to learn more about the life and career of this extraordinary artist.
In 1900, Hemsley also painted a new act drop curtain for the Grand Theatre, Derby. It was part of F. W. Purcell’s £7,000 renovation of the space (The Era 11 Aug 1900, p. 29). As with the Gaiety, this was another Frank Matcham design.
In 1901, the Hemsley household included William (50 yrs.), Fanny (48 yrs.), George (24 yrs.), Harry May (28 yrs.,), Ivey (16 yrs.) and Grace (14 yrs.). William and George listed as “scenic artist and sculptor” for their occupation, with Harry listing only “sculptor” for his at the time. However, Harry was also a skilled artist. His experience while drawing children fueled his later career as a child impersonator. There are extant films on YouTube from the 1920s that show Harry’s impersonating skills. Here is one link: that shows Harry’s skill as an artist and impersonator: https://youtu.be/C7YG_0w3cPg?si=icThxT7N6YXsP9Sb Harry’s career is another rabbit hole that I could easily get sucked into. I will have to stop with a 1927 article that gives a little history. On May 26, 1927, The Guardian published an article about Harry, still remembering his father, “W. T. Hemsley, the eminent scenic artist” (pg. 12). The article reported, “[Harry] himself is an artist, and at an early age of sixteen was a regular contributor to many pictorial magazines. His principal studies were children, and on nearly all occasions when exhibiting at the Society of Arts invariably disposed of those pictures which represented child life. He has a natural attitude for imitation and since children were his principal models, every opportunity was afforded him of studying their habits and idiosyncrasies. All his stories and observations as taken from life, and his mimicry is considered to be lifelike.” In 1904, Harry married Rose Florence Kingswell.
Some of Hemsley’s designs from 1902 to 1907 are listed at Theatricalia.com. Sadly, they represent only a small sampling of his work. Designs listed include:
Dr. Nikola Frank de Jong and H. S. Parker with his son, George Hemsley, at the Princess’s Theatre, London (1902).
Two The Eternal City tours for Herbert Beerbohn Tree (1902-3 and 1903-4). The Darling of the Gods for Herbert Beerbohn Tree at His Majesty’s Theatre, Haymarket, London (1903-4)
The Taming of the Shrew for Oscar Ascheat the Adelphi Theatre, London (1904-1905).
The Darling of the Gods at the Prince’s Theatre, Bristol (1904-1905)
Richard III for Herbert Beerbohm Tree at His Majesty’s Theatre, Haymarket, London (1906-1907).
Despite a reduction of details about Hemsley’s scene painting projects in newspaper articles, he was certainly not fading from the public eye. 1905 30 March p 10. Manchester Courier and Lancashire General Advisor. “Scene Painters. Retrospect and Appreciation.” The work of both George Hemsley and W. T. Hemsley were included in the article. That year the Scenic Artists’ Association held an exhibit at Grafton Galleries. On April 11, 1905, The Birmingham Post reported, “The work of the best-known scenic artists is often seen and admired in the course of a year by a greater number of people than even the most brilliant efforts of painters with a world-wide reputation; but those who appreciate the wonderful settings which are a feature of so many dramatic productions fail to realize that their creators must possess the ability to wield a brush upon an ordinary-sized canvas, as well as upon material destined to assist in presenting life and nature behind the footlights. Between three and four hundred specimens of this position of the output of those whose names appear on programmes after the words “scenery by” have been gathered by the Scenic Artists’ Association, and are being exhibited during this week at Grafton Galleries, among those represented being Sir Lawrence Alma-Tadema, R.A., the late Sir Edward Burnes-Jones, Mr. Hawes Crave (the president of the association), Mr. W. T. Hemsley, Mr. Walter Hann, Mr. J. C. Harker, Mr. W. Telbin, Mr. Edward G. Banks, Mr. R. C. McCleery and Mr. W. B. Spong. The collection is very interesting, and many works are valuable, from both artistic and commercial standard; while an attractive section is devoted to a number of models for scenes, such as are prepared for the consideration of theatrical managers before the carpenter and artist commence on the finished article. Several of those shown are familiar to the playgoer, as they have recently been seen in their completed form, which, however, is hardly more elaborate that the model. Among them is a clever representation of “Sunrise,” which has been put together by Mr. W. R. Young, of the Prince of Wales Theatre, Birmingham, who has also sent a charming little painting depicting the Malvern Hills” (p. 6).
Two days later, another article, entitled “Scenic Artists’ Association” again mentioned Hemsley’s contribution to the exhibit. On April 13, 1905, The Times reported,
“Scenic Artists’ Association,- The Scenic Artists’ Association, which was founded last year, is holding at the Grafton Galleries a week’s exhibition of drawings, paintings, models of scenes and other things, most of them the work of the members, some of them sent by members and friends. Scattered among the works of the living artists – for no one who has visited the exhibition will hesitate to grant the living exhibitor’s right to the term – are a. few well-known old masters, examples of David Cox, Sam Bough, the Leitches, Nasmyth, Clarkston Stanfield, and W. J. Callcott. Mr. W. T. Hemsley sends a very interesting collection of the works by W. R. Beverly, and Mr. Gaskin contributes a small painting by an artist whom every scene-painter must regard with reverence and gratitude, de Loutherbourg. Another interesting feature is the sketches for Shakespearian scenes by John and Thomas Grieve, and one notable exhibit is Sir Edward Burnes-Jones’s “Passing of Arthur.” Of living members of the association, Mr. W. Telbin is well-represented; the president, Mr. Hawes Craven, sends a number of charming things, the most popular of which will probably be the series of black-and-white drawings for scenes in King Henry VIII. ; and among a number of works by other well-known names we may single out those of the Hemsleys, of Mr. Harker, Mr. Hann, and Mr. A. E. Bramley, and some beautiful things by Mr. R. C. McCleery. In the furthest room in the gallery is a collection of models and scenes, and here the visitor may see Mr. Telbin’s shipwreck in The Tempest and his church scene in Much Ado About Nothing; Mr. Harker’s beautiful garden scene, with the maze, in A Clandestine Marriage; Mr. W. T. Hemsley’s Act I of The Prayer of the Sword, and many other well-remembered views. The same room contains a small exhibition of curios, Shylock’s scales and Macbeth’s daggers used by Phelps, a prompt-book interleaved with sketches and notes by the same great actor, some old playbills and books on theatres, and a very fine set of illustrations of the Teatro Manzoni in Milan. The whole exhibition, through apparently rather hastily put together and not over-clearly arranged and catalogued, is of great interest to all who care for scenic art and its relation to other branches of pictorial art, but a further attraction may be found in the excellent little concert-recitals which are given every afternoon between 3 and 5. Several good names appear on the programme for each afternoon” (page 4).
Hemsley’s theatrical contributions for the next decade included W. W. Kelly’s London Co. production of A Royal Divorce at the Pleasure Gardens Theatre. On June 18, 1910, the Folkestone Express, Sandgate, Shorncliffe and Hythe Advertiser reported, ““The dresses and scenery are most praiseworthy, and perfect in details, the well-known scenic artist, Mr. W. T. Hemsley, having specially prepared the canvas scenes representing the palaces and gardens wherein Napoleon and his consorts passed their home-life. There, too, is the little inn at Genappe, and in this act there are two wonderfully realistic tableaux, representing the Battle of Waterloo and the overthrow of the Emperor. The last act shows Napoleon exiled to St. Helena – the departure from Plymouth Harbour.”
Hemsley gained international recognition during the last few years of his life. His name made California newspapers in 1914. On March 23, The Los Angeles Evening Express announced the debut of the Stratford-Upon-Avon Players at the Mason Opera House for a week-long engagement, reporting “Entirely new scenery was provided for this American tour for the whole repertory, the order being executed by W. T. Hemsley of London, the leading scenic artist of England” (p. 18). The repertoire included The Merry Wives of Windsor, King Henry the Fifth, The Merchant of Venice, King Richard the Second, As You Like It, and Hamlet.
Three years later Hemsley was featured in The Hippodrome Magazine, London (October 1917). His portrait was included with the caption, “Mr. W. T. Hemsley, One of Great Britain’s Leading Scenic Artists. The article was entitled “A Famous Scenic Studio. Mr. W. T. Hemsley and His Work.” The article reported, ‘All the World’s a Stage’ – said Shakespeare. If it were we verily believe it would be W. T. Hemsley who would be called upon to provide the scenery. No man has greater experience or possesses more intimate knowledge of the great Scenic Art than this painter, whose latest work for the successful play, Three Weeks at the Strand, shows how thoroughly he appreciates the poetical as well as the practical side of his Art. Although W. T. Hemsley goes back to the days when London had its summer and winter theatres, he has never failed to keep well ahead of the times, and with each new production in London, has actually increased the reputation that he has built up during a period considerably over a quarter of a century. Whilst Mr. Hemsley never overlooks the past and is never tired of telling of the theatrical geniuses whom he continually came in contact, he realizes that these are modern times and that it is the 20th century who is his Commander-in-Chief. This is the reason -a very good one, too – why, at his studio on Felix Street, Westminster Bridge Road, we find the most up-to-date paint rooms in London. Although one of the most characteristic of men, W. T. Hemsley is modern in his methods, and he could not have kept – as he had done – his finger on the pulse of the playgoing world if this had been otherwise. True, he belongs to an era of individuality, and there is not a more popular man in Bohemian Theatrical like than “W. T. H.” Beloved by all who know him and undertook him or work under him, he is the doyen of scenic artists, and the modern producer, like the producer of the past, relies upon his sound judgement and practical advice. Originally a cartoonist on the public Press, Hemsley at an early age took an active interest in scene painting, and it was not long before, young and ambitious, he was controlling the Grand Theatre, Islington. That was considerably over thirty years ago, and soon afterwards he established his present paint rooms. There is scarcely a production of importance in which his name and brush have not played a prominent part. The later Sir Herbert Tree – to come down in the West End, for the London Opera House, this being but one of many that he has executed for the West End and Provincial places of amusement. Distinguished by its beauty and originality, its accuracy and loyalty to the period it represents, the scenery of W. T. Hemsley has won the unrestricted admiration of the British playgoer. His son too – George Hemsley – who did so much to further the interests of scene painting in India, possesses many of his father’s attributes – and they are manifold – for W. T. Hemsley is endowed with a wonderful and a remarkable gift for retaining it, that few scene painters in England or on the Continent can equal.”
Less than four months later, Hemsley passed away. On Feb. 5, 1918, the North Mail, Newcastle Daily Chronicle announced,“Well Known Scenic Artist Dead. Mr. W. T. Hemsley, a Native of New Castle.” His obituary notice continued, “The death was announced yesterday of Mr. W. T. Hemsley, the well-known scenic artist at his residence, The Chase, Clapham Common. He has been ill for some months. Mr. William Thompson Hemsley, who was in the front rank of scenic artists, was born at Newcastle in 1850, and was a grand-nephew of John Graham Lough, the eminent sculptor. At an early age Mr. Hemsley went to Swindon to work at engineering, and there spent leisure time at the local School of Art. When only 16 years of age he obtained a teacher’s certificate and also the Society of Arts’ first-class certificate. Mr. Hemsley became acquainted with the later Rev. J. M. Bellew, father of Mr. Kyrle Bellew, and by him was introduced to Mr. Augustus Harris, sen., at Covent Garden Theatre, and to Mr. J. O’Connor of the Haymarket Theatre, obtaining through the letter of engagement with the late Mr. Beverly at Drury Lane. While Mr. Hemsley was studying at the Lambeth School of Art, Mr. Tom Taylor, the celebrated dramatist, frequently selected for him subjects and criticized his sketches, and notably highly commended his composition of “The Lady of the Lake.” In 1874 Mr. Hemsley returned to Swindon, and there his artistic ability was recognized by Charles Mathews, who gave him and introduction to Miss Sarah Thorne at Worcester, and for some years he remained under her management at Margate as resident scenic artist. On the conclusion of the ninth successful pantomime, Mr. Hemsley was presented with a valuable gold watch, engraved with a testimonial. This was in 1885, and it was while painting scenery at Margate Mr. Hemsley filled up his time by drawing caricatures for a local newspaper, and then went on tour to do lightning caricatures. While resident artist at Sadler’s Wells Theatre, Mr. Hemsley painted scenery for Kyrle Bellew’s production of ‘The Corsican Brothers,’ and for Miss De Grey’s Shakespearian productions. Mr. Hemsley then went to the Grand Theatre Islington, and a little later, entering into a partnership with the late Charles Wilmot, he opened a scene factory in the Belvedere Road, and there painted scenery for Mr. F. R. Benson’s fine production of “The Midsummer Night’s Dream” at the Globe Theatre. In 1892 the partnership was dissolved, and Mr., Hemsley opened on his own account large studios in Felix Street. Mr. Hemsley’s special forte was a skillful combination of mechanical ingenuities allied to scenic effects. He painted for all the leading London theatres and was concerned with Mr. Hugh Moss in some sixty productions. He painted several years for the Cambridge University, and for Mr. Henry Dundas all the reproductions of the Drury Lane successes. He painted upwards of fifty act-drops for the new provincial theatre, and also did work for the principal London music halls. He took a very active interest in the Scenic Artists’ Association and was one of the original members of the council management.”
Similar announcements made newspapers all across the country. The Norwood News added, “There is hardly a West-end theatre which, since then, he has not furnished with convincing proof of his talent as a painter. He was responsible for the scene in many of Sir Herbert Tree’s “La Poupee,” and had also been associated with the productions of Mr. Arthur Bourchier, Sir Frank Benson, Mr. Lewis Waller, Sir. J. Forbes-Robertson, and Mr. Oscar Asche. He began scenic work fifty years ago by painting the stock scenery for the Mechanics Institute at Swindon. He was a member of the Savage Club. With him the readiness was all, and the celerity with which he would provide a humble interior, a palatial edifice, or a garden set was quite remarkable. He knew, as he was known by, everybody, and his fund of good stories and interesting reminiscences was practically inexhaustible. He will be sadly missed by his many friends and acquaintances.”
Detail of W. T. Hemsley’s Act-drop for the Gaiety Theatre in Douglas on the Isle of Man.
Throughout my career, I have encountered examples of scenic art that took my breath away. My most recent experience occurred during a visit to the Gaiety Theatre and Opera House in Douglas, Isle of Man.
The act-drop, painted by William Thompson Hemsley (1850-1918), is exquisite.
Photograph by Mike Hume while I am attempting to document painted details.
It is obvious that Hemsley was at the peak of his painting career when he produced this large-scale artwork. Hemsley’s economy of brush stroke and color combinations are quite remarkable. In fact, they are inspirational. Seeing this drop should be on every scenic artist’s bucket list. You will learn so much about the brevity of scene painting when examining his work.
Detail of dancer’s foot in W. T. Hemsley’s act drop at the Gaiety Theatre.
This post will examine Hemsley’s drop in detail, placing it within the context of theatre history. It will also examine its current condition and past repairs. My next post will look at the life and career of scenic artist W. T. Hemsley (1850-1918). Then I will continue with my last two theater visits in the UK during September 2023.
As with most front curtains for Victorian performance venues, Hemsley’s design for the Gaiety Theatre unifies the auditorium’s color palette and décor. Although the central subject exhibits an exotic eastern theme, the painted surround seamlessly blends with the architectural surround and auditorium designed by Frank Matcham.
Detail of painted curtain next to proscenium arch.
Detail of painted curtain next to proscenium arch.
I am going to briefly touch on theatre terminology first. Hemsley’s “act drop” design is identical to many “drop curtain” designs in the North America. Drop curtains, also labeled in the US as front curtains and main rags, were frequently lowered in between acts, unless an advertising curtain was employed. In many cases the terms act-drop, drop curtain, painted front curtain, and main rag can be used interchangeably. Terminology is based on where you live. It is very important to not get caught up in the name, but to look at the actual function of the scenic piece. I think of the dispute between “hot dish” and “casserole” in the United States. They are both a one-dish meal, baked in the oven. Same thing, different name.
Back to the act drop…
This type of scenic design frequently includes a central “painting” – one that often replicates a popular artwork or subject matter. This central “artwork” is surrounded by an ornate frame, draped in lush fabrics. These drop curtains were often the pinnacle of an auditorium’s décor, tying everything together while concealing the magical realm behind the footlights. As audience members waited in their seats for the show to start, or the next act to commence, the drop curtain (act-drop) provided theatre patrons with an opportunity to study the grand work of a scenic artist. The proscenium opening became a gallery wall, providing many scene painters with an opportunity to flaunt their artistic abilities. Painting a successful drop curtain required extensive skill, as well as a thorough understanding of distemper painting techniques for landscapes, architecture, draperies, and, in some cases, figure painting.
There is an article entitled, “Well-known drop curtains in Philadelphia, published in The Philadelphia Inquirer on Dec. 18, 1894.” It examines the significance and subject matter of drop curtains at the time. The article describes the work of Matt Morgan, Russell Smith, William M. Voegtlin, Alfred Voegtlin, Hugh Logan Reid, E. H. Chase, Lee Lash, Gaspard Maeder, and Frederick Schaefer, are featured in the article. Here is an excerpt from the article:
“The drop curtain is the most expensive piece of furniture in any playhouse. Managers are most solicitous about the care of a handsome drop curtain than almost any other appointment in the theatres. They are usually painted by the artists of wide fame in the peculiar branch of art which they represent, whose charges for the work range from $1000 to $3000…It is claimed by managers that a handsome drop curtain has much to do with the drawing qualities of the house. A charming landscape depicting the greenest of lawns, sparking fountains, rare shrubbery and bright flowers, the dimpled surface of a placid lake, with magnificent hills or rugged mountains in the distance to kiss the brightest fleecy clouds, forms an ensemble well calculated to put the audience in good humor to witness a play. And when let down between the acts, it has a tendency to calm the soul after turbulent passages and rouses it to cheerfulness after tearful ones.”
Only a small percentage of historic backdrops that I have documented include figures, especially on those dubbed drop curtains. Most recently, I documented an 1897 drop curtain for the Forum Theatre in Bronzeville, Illinois (a community on the south-side of Chicago). The forum scene depicts very small figures to suggest the scale of their monumental surroundings.
Painted detail from Sosman & Landisdrop curtain at the Forum in Bronzeville.
My hand showing scale of the figures on the Forum drop curtain.
The inclusion of larger, or full-scale figures, is extremely rare in extant scenery collections. In fact, the only times that I have consistently encountered figure-work is painted on scenes at Scottish Rite Theatres; specifically, group scenes for 18th degree productions. For context, many North American Freemasons theatrically stage their “degree work”, like a morality play. It is performed for the educational purposes of members. Here are a few examples from Scottish Rite scenes for context.
Painted scene by Toomey & Volland Studio (St. Louis, Missouri) at the Masonic Theatre in Deadwood, South Dakota.
Painted scene by Toomey & Volland (St. Louis, Missouri) at the Masonic Theatre in Quincy, Illinois.
Although some of the work is quite skilled, in some cases there have been few questionable choices. This detail of a foot may simply indicate the speed at which these scenes were painted. Keep in mind that most American scenic studio artists were working in a factory setting to mass-produce painted illusion.
Painted detailfrom cut-drop created for the Scottish Rite Theatre in McAlester, Oklahoma, c. 1908. This painted scene is now used at the Scottish Rite Theatre in Salina, Kansas, USA.
The Gaiety Theatre act drop holds a unique place in World Theatre History, when considering not only the artistic skill of Hemsley, but also the subject matter.
When I first encountered Hemsley’s design for the Gaiety Theatre, it reminded me of a drop curtain design by scenic artist John Z. Wood (1846-1919). At the time, Wood was working for the Twin City Scenic Co. in Minneapolis, Minnesota. Wood’s design also incorporated a dancing girl. Interesting aside, Wood was born in England and emigrated with his family as a young both, eventually settling in Rochester New York. For more information about Wood and his artistic style, here is a link to one of the many posts that I have written about him: https://drypigment.net/2019/12/10/tales-from-a-scenic-artist-and-scholar-john-z-wood-scenic-artist-1846-1919/
Wood, John Z. “Drop curtain.” University of Minnesota Libraries, Performing Arts Archives., Accessed November 02, 2023.
Painted detail. Wood, John Z. “Drop curtain.” University of Minnesota Libraries, Performing Arts Archives., Accessed November 02, 2023.
Painted detail. Wood, John Z. “Drop curtain.” University of Minnesota Libraries, Performing Arts Archives., Accessed November 02, 2023.
Wood’s scenic designs are part of an online digital database.Here is the link to the design: https://umedia.lib.umn.edu/item/p16022coll116:1819
Sadly, Wood’s central composition is somewhat obscured under a layer of glue; another central design was pasted over this original composition at a later date. The original work was discovered when the Twin City Scenic Company Collection was catalogued, under the supervision of my mentor, Prof. Emeritus, C. Lance Brockman. Between 1999 and 2000, I assigned metadata to each of the artifacts. My familiarity with four scenery collections in the online database has allowed me to help link designs with extant scenery over the years. Here is the link to access the collection in its entirety: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections
Although I have read descriptions of exotic eastern scenes for Victorian stages, few have survived. Here are some photographs of Hemsley’s act drop so that you can appreciate his skill and attention to detail.
Central dancer.
Dancer’s shoes.
Looking even closer at fabric and brush stroke.
Reclining man.
Hand detail of man in composition.
Detail of frame.
Fabric and frame detail.
Fabric and frame detail.
Painted detail of floral arrangement.
Painted detail of tapestry.
Another painted detail.
Painted fabric next to practical fabric.
Tassel detail.
Hemsley’s act-drop is the first fully-framed drop that I have ever encountered. It also meant that the cleaning of this act drop in the 1990s became problematic. The restoration team requested that the framed piece be relocated upstage and face the paint-frame floor. Roy McMillan describes the process in his book A Full Circle, 100 Years of the Gaiety Theatre and Opera House:
McMillan wrote,
“To carry out the work, the drop had to be removed from its fly-bar at the front of the stage, walked (that is, moving one end forward a few feet while the other remains stationary, then repeating the process with the other end) halfway to the back, rotated through 180 degrees, then re-flown and the cleaning done from the paint frame floor. When Mervin and David were releasing it from its fly-bar onto the floor, the side struts nearly buckled. The canvas ballooned out like a wind -caught sail; a few seconds more of the strain and the drop would have been gone forever…[They] managed to haul it back into its original position on the fly-bar and decided another method would probably be safer. It would, however, take more time.
They fixed the drop by three tie lines along a bar. It was moved back one side at a time, one bar at a time, with both of them clamoring up and down ladders to secure it or to untie it, to the center of the stage. Once there, two of the three ties were released, and the center left alone. The intention was to rotate it, so the painted side faced upstage and be attended to on the paint frame floor. But as they turned it, they realized that it was three inches wider than available. This was not a design feature of the drop or a miscalculation. It was because a bridge between the left and right side of the fly floor gallery had been built at the front of the stage, making it impossible to turn the drop round. This bridge was not in the original theatre and has since been removed to allow the house curtain to rise correctly, but it was very much present at the time. Faced with the choice of cancelling the first project of the restoration, or dropping the act drop onto the floor again, they chose a much more straightforward means of solving the problem. They cut a chunk out of the bridge…Once in position, the backing canvas was removed. On the painted side of the canvas itself, the copper-headed nails that held it to the frame had oxidized and rotted the canvas in the immediate area…Its delicacy meant it had to be repaired in situ and the frame rebuilt around it.”
The preservation of the painted composition is also described in McMillan’s publication. McMillan wrote, “In order to avoid glare when lit by the footlights the drop had to be painted in stage paint. This is a powdered water-paint mixed with size – a sticky, globby gel that serves as a fixative.”
[I am going to pause here to correct this statement. This drop was painted with distemper paint. The distemper painting process necessitates that dry pigment is turned into a paste and placed on the scenic artist’s palette. Some artists in the UK refer to distemper painting as Size Painting. Regardless, during the painting process dry pigment paste is mixed with diluted hide glue (size) on the palette and directly applied to the drop. The size cannot be used as “a sticky, globby gel.” If the size were this consistency, it means that it has been mixed too strong and will dry with a sheen, thus reflecting stage lights. When size it properly mixed, it will not gel, unless a studio is kept at an abnormally cold temperature. In my humble opinion, there is no way, that Hemsley (then at the age of 50 yrs. old) would have made this amateur mistake. If he had, the whole drop would look like the painting were sealed with a gloss coat.
Here is an example of a restoration process that used size that was too strong and formed a sheen.
Scene at Scottish Rite theatre in Louisville, Kentucky.
McMillan continues to describe the restoration process:“However, as it was water-based, if the surface was rubbed, the paint smudged immediately,”
[I must explain that distemper -“water-based”- paint is not subject to dusting unless the binder has failed over time. There are hundreds of extant drops, c. 1900 or earlier, that show no signs of dusting and are stable.]
McMillan continues “To clean it required an intermediary layer between the surface and the restorer’s brush. It was achieved using mulberry tissue paper, infused with a liquid that caused the dirt to soften on the paint surface and stick to the paper, leaving clean paint of the original drop beneath.”
I am curious to know what about the “liquid.” I have cleaned hundreds of historic scenes cannot envision how this process worked. However, it may explain the extensive spotting throughout the composition.
Spotting that looks like small areas of water damage as there are tide lines and pigment loss.
Areas with spotting near the bottom of drop.
Spotting that looks like small areas of water damage as there are tide lines and pigment loss.
Spotting that looks like small areas of water damage as there are tide lines and pigment loss.
In the past, I have removed both surface contaminants and embedded dirt from extant drops. If the pigment is relatively stable (meaning that the binder is still working) surface contaminants are easily removed with low-suction dust extraction, Absorene putty, and/or Absorene sponges.
Example of removing surface contaminants with low-suction dust extraction.
Example of using Absorene sponge to remove surface contaminants left after low-suction dust extraction.
Half of a scene that was cleaned at the Scottish Rite Theatre in Duluth, MN.
If the pigment is severely dusting, the loose paint must be consolidated so that it does not continue to dust. This is when conservators debate whether to remove the dirt and cause minimal pigment loss or encapsulate the dirt when the loose paint is consolidated.
McMillan further explains, “if the surface was rubbed, the paint smudged immediately.”
I don’t really know how to interpret this statement. When distemper paint comes into contact with any liquid, even a damp cloth or humid environment, the paint will immediately reactivate. This is why I don’t understand how “mulberry tissue paper, infused with liquid” works in removing surface contaminants from distemper drops.
If McMillan meant that the distemper paint smudged when dry, that indicates the binder was failing; the pigment dusting from the fabric.
Despite the hard work to preserve Hemsley’s work, the curtain is again compromised. There are a few scrapes that will need attention before the damage spreads, again compromising the longevity of the artwork.
Damage documented during my September 2023 visit.Thankfully, the cause of the scraping has been rememdied.
Detail of the damage.
Theatre backdrops are unique and cannot be preserved like large-scale paintings that hang in stationary positions on gallery walls. They are metamorphic in nature, intended to be constantly handled or shifted. That is magic of painted scenery; artworks that come to life under stage lights.
In early-twentieth-century North America, many stunning act-drops were replaced with fabric draperies, movie screens, or a combination thereof during the twentieth century, the original scenes long forgotten by theatre audiences. Instead of raising a painted curtain to reveal the mysteries of Thespis, heavy draperies were drawn apart to show a movie. The Gaiety Theatre has three front pieces:
Main draperies (that draw apart).
Hemsley’s act drop (also known as a drop curtain).
A contemporary advertising curtain (also known as an ad drop).
It is remarkable how each piece changes the energy in the auditorium. It is certainly a testament to the importance of what fills the proscenium opening.
My next post will be about the creator of the Gaiety Theatre’s act-drop, William T. Hemsley, scenic artist and sculptor.
Mike Hume, Rick Boychuk and I hopped a plane on the morning of Sept. 17, 2023. Our final destination was the Gaiety Theatre and Opera House in Douglas on the Isle of Man.
Our descent to the Isle of Man on Sept. 17, 2023.
A view of the countryside between Douglas and the airport. When the sun comes out, it is paradise.
For quite some time, this theater has been on my bucket list.
Why?
Because of the drop curtain, painted by William T. Hemsley (1850-1918). It is absolutely exquisite, and one of the best examples of historic scenic art out there.
Drop curtain at the Gaiety Theatre.
For years, I have searched for detail images of Hemsley’s painting technique in online photos. My next post will look at the painted composition in detail. This post is about everything else.
Our tour guide was Alex Davidson, Light and Sound Technician at Villa Marina and Gaiety Theatre. Both are located along the promenade in Douglas.
Mike Hume, Wendy Waszut-Barrett, Alex Davidson and Rick Boychuk, in front of the Gaiety Theatre, Douglas, Isle of Man, Sept. 18, 2023.
For geographical context, here is a map with the location of the theater.
The theater is right near the red box that says ” You are Here.”
The garden across from the theatre, alongside the Promenade.
As the tide comes in later that day.
Another view of the Promenade later that day when the tide is in again.
A view of the theatre from the beach at low tideon the morning of Sept. 18, 2023.
Yes, we saw our share of rain. Especially when Mike and I went to visit the Laxey waterwheel on the morning of our second day in Douglas. By the way, Lady Isabella is the largest waterwheel in the world. Here are a few photos from our side trip.
The waterwheel in Laxey, Lady Isabella.
Another view of the water wheel.
Information about the water wheel.
Mechanical information.
But the sun came out by the afternoon. Back to the Gaiety Theatre…
Gaiety Theatre, Douglas, Isle of Man.
Designed by architect Frank Matcham, the Gaiety Theatre opened on July 16, 1900. It was constructed on the same site of a previous venue; an entertainment pavilion. Matcham’s design utilized many parts of the original structure, including the roof.
The Pavilion Theatre, Douglas, Isle of Man.
Interior of the Pavilion Theatre, Douglas, Isle of Man.
A portion of the Pavilion Theatre’s ceiling still remains in the gallery section of the auditorium.
Our visit to both the grid and dome above the auditorium ceiling gave us an opportunity to examine the original structure.
The original Pavilion Theatre roof and the Gaiety Theatre grid, with Rick Boychuk for scale.
Alex Davidson on the Gaiety Theatre gridiron.
Mike Hume next to the drum for the paint frame.
Drum for the paint frame below.
Above the auditorium dome, designed by Frank Matcham for the Gaiety Theatre.It was placed well below the original Pavilion Theatre roof.
Ornamental iron work remains above the current auditorium doom.
The original Pavilion ceiling was incorporated into Matcham’s design for the ceiling above the gallery.
Part of an original Pavilion Theatre arch was preserved in the stairwell.
Here are some photographs of the auditorium.
Grand drape at the Gaiety Theatre.
The ceiling of the auditorium.
Ceiling detail.
Auditorium boxes, house left.
Auditorium boxes, house right.
View from the house left box.
Another view of house right box and drop curtain.
View from the house right box.
Statuary near house right box.
More architectural details.
More architectural details.
Entrance to the Gaiety Theatre.
Behind the Main Drape.
Movable grooves, so that the wings can be angled.
Movable grooves, so that the wings can be angled.
Upstage.Notice the underside of the paint room and bridge.
Doorway to the paint room.
Paint roomat the Gaiety Theatre.
Another view of the paint room.
Skylights for paint room. Alex pulled one of the shades. The angle of the light is perfect so that no shadows are cast on the frame when one is painting.
Movable paint frame.
Paint frame detail.
Paint room sink.
Windlass for the paint frame.
Another view of the windlass.
Under-stage machinery at the Gaiety Theatre.
Here are some images of the machinery below the stage.
Under-stage machinery at the Gaiety Theatre.
Under-stage machinery at the Gaiety Theatre.
The Corsican Trap at the Gaiety Theatre.
A working model of the Coriscan Trap.
A working model of the Corsican Trap.The model researched and constructed by Robert Stafford. The model was designed and painted by John Romayne.
The paperwork for the Corsican Trap Model with history and other information.
If you are interested in learning more about this exquisite venue, please consider purchasing “A Full Circle, 100 Years of the Gaiety Theatre and Opera House” by Roy McMillan.
A scene from our walk to the Citizen’s Theatre, Glasgow, Scotland, on Sept. 16, 2023.
A scene from our walk to the Citizen’s Theatre, Glasgow, Scotland, on Sept. 16, 2023.
The sun was out in Glasgow as Mike Hume, Rick Boychuk, Megumi, Alan Butland, and I walked to the Citizen’s Theatre, 119 Gorbals Street. Here is a link for the history of the building, also known as “The Citz”: https://www.citz.co.uk/about/citizens-theatre/history-the-building
The Citizen’s Theatre on Sept. 16, 2023.
Mike Hume had arranged a tour with Graham Sutherland, head of production and client representative of the Redevelopment Project. In 2019, the Citizen’s Theatre broke ground on a £21.5 million project to enlarge and modernize the building. The reopening is currently anticipated for 2024.
Our visit necessitated that an architect to be on site, as the building is in the midst of a massive project; a big ask.
Mike Hume, Rick Boychuk, Wendy Waszut-Barrett, Megumi, and Alan Butland.
The complex is magnificent and I am especially intrigued with the history of the building. I can only hope to visit once the project is complete.
On Dec. 28, 1878, the venue opened as Her Majesty’s Theatre and Royal Opera House. Less than a year later, the building went under new management, was renovated, and rechristened the Royal Princess’s Theatre. On Oct. 24, 1879, the Glasgow Herald reported, “A lease of the theatre has, as we learn, been taken by Mr. Cecil Beryl, who will be favorably remembered by many playgoers, and arrangements have been made for the commencement of the season on the 22d of December with the production of Merrit’s drama ‘New Babylon,’ which has reached something like the 250th night of performances at the Duke’s Theatre, London” (page 4).
On Dec. 19, 1879, the Glasgow Herald announced, “Our south-Side playhouse, rechristened the Royal Princess’s Theatre, is to be opened under the management of Mr. H. Cecil Beryl tom-morrow evening. During the time the establishment has been closed it has undergone considerable alteration and redecoration…a new act-drop painted by Mr. W. W. Small, and representing a scene on the Bosphorus, has been hung, while much of the scenery is fresh” (page 4). This was William Wilson Small (1830-1890), the resident artist who lived nearby. He is quite an interesting character, and now on my list of scenic artists to track down.
Small also painted scenery for the opening show that winter. An advertisement in the Glasgow Daily Mail on Dec. 27, 1879, credited Mr. H. Emden and Mr. Wm. W. Small as the scenic artists for New Babylon at the Royal Princess’s Theatre (page 1). They likely worked on paint bridges and frames high above the stage floor.
For visual reference of a paint bridge, here is an illustration by scenic artist Charles Graham for Harper’s Weekly Magazine in 1878.
Harper’s Weekly Magazine, Nov. 30, 1878.
It was not until 1894 that the Citizen’s Theatre backstage area was expanded to include a paint room with two vertical frames. Amazingly, the paint frames and machinery are still functional and intact. The distemper paint palette that scenic artists used for decades is also still in the space!
Here are a few photographs of the paint room from our tour.
Paint room with two frames at the Citizen’s Theatre.
Paint room at the Citizen’s Theatre.Notice the distemper paint palette on the right.
Graham explained that they were analyzing the paint on the walls to see what colors were used.
Paint-spattered walls and frame.
Looking up at the skylights.
Paint frame counterweight.
Winches in the paint room.
I will be curious to see what colors they identify, and if they are from the standard color palette promoted in Victorian scene painting manuals, such as F. Lloyds “Practical Guide to Scene Painting and Painting in Distemper.”
One of many scene painting guides published in the 19th-century.
Color chips were included in F. Lloyds’ book.
More color chips from F. Lloyds’ book.
It was not until Sept. 11, 1945, the theatre opened as The Citizen’s Theatre. Hume has written a lovely history about the venue and photographed the entire building before the current redevelopment project. Here is a link to his page: https://www.historictheatrephotos.com/Theatre/Citizens-Glasgow.aspx
Here are a few photographs of architectural details from our tour on Sept. 16, 2023.
Mike Hume, Rick Boychuk, and I visited Glasgow after attending the Tyne Opera House & Theatre conference last month. The stop not only offered an opportunity to visit historic theaters, but also an opportunity to visit our good friend Megumi, now scenic art tutor at the Royal Conservatoire of Scotland. I first met Megumi in 2018 at a CITT (Canadian Institute of Theatre Technology) scene painting workshop in St. Catherines, Ontario, Canada.
Megumi in front of Wallace Studios, Royal Conservatoire of Scotland.
Megumi and Alan Butler joined Mike, Rick, and I on the morning and early afternoon of Sept. 16, 2023. We toured the Theatre Royal Glasgow, King’s Theatre, Tron Theatre, and the Citizen’s Theatre (the Citz). We then took Glasgow’s tiny subway, the “Clockwork Orange” to visit Megumi’s paint shop.
Glasgow’s tiny subway, now dubbed “Clockwork Orange.”
We took the subway across town to the Royal Conservatoire of Scotland’s Wallace Studios building. Megumi wanted to show us the motorized paint bridge in her paint shop and the two theater spaces.
Motorized bridge and paint frame at Wallace Studios, Royal Conservatoire, Scotland.
This was the first time that I have ever encountered a motorized bridge, where the paint frame is stationary and the painter moves up and down. This is opposite to what I use at home: a paint frame that moves while I remain stationary. I considered the pros and cons while I watched the bridge in action. The “con” of a motorized bridge is that you can’t quickly step back to see the entire composition, or rush to get something. It also requires a bit more planning when you shut the gate and operate the lift; no rushing to the sink. I can see that this system could slightly prolong the painting process in the long run. The “pro” is that retrieving dropped tools is far easier.
Motorized paint bridge at Wallace Studios.
Another view of the motorized paint bridge.
Controls for the motorized paint bridge.
When the paint bridge is “up.”
Caution sign on paint bridge gate.
Lookingbelow the bridge when it is in the “up” position.
There is a second vertical paint frame in the nearby Royal Conservatoire of Scotland building that houses the New Athenaeum Theatre and Chandler Studio space.
The second paint frameat the Royal Conservatoire of Scotland.
The Royal Conservatoire of Scotland building that houses the New Athenaeum Theatre and Chandler Studio.
After touring the Wallace Studios, we headed to the Royal Conservatoire’s New Athenaeum Theatre and Chandler Studio. For geographical context, these two theaters are across the street from the Theatre Royal Glasgow (the site of our first theatre tour that day).
The Theatre Royal across the street from the Royal Conservatoire of Scotland.
Here are a few pictures from our tour of the studio building and theaters at the Royal Conservatoire of Scotland. For more information about the school, visit: https://www.rcs.ac.uk/
The New Athenaeum Theatre entrance.
The New Athenaeum Theatre auditorium.
The New Athenaeum stage and auditorium.
The New Athenaeum Theatre stage.
The New Athenaeum Theatre counterweight system.
The Chandler Studio entrance.
The Chandler Studio.
The Chandler Studio.
Map depicting out location at the Royal Conservatoire of Scotland in Glasgow.
