I have always enjoyed life at a frantic pace, zipping from one project to another with brief respites in between. At college, I was compared to a hummingbird on crack. Now, I am more like an over-caffeinated bumble bee.
Painted detail from “L’amant anonyme.”
I frequently wonder if my life’s theme is “damage control.” Although, I always plan ahead, preparing for any obstacle that may come my way. Last fall, I anticipated the brewing of a perfect storm – a tropical depression that had the potential to develop into a hurricane. My parents were battling several health issues at the time. I became hesitant to schedule any extended out-of-state projects until everything was under control. I delayed international projects and accepted “in-state” projects in their stead.
I gave myself a six-month window (Dec. 2021 to May 2022) to “wait in the wings” – just in case my help was needed at home. Thank goodness I decided to stick close by… In the past two months, my mother, father, and mother-in-law, have all visited the ER. I am glad that I listened to my intuitive hunch. I started writing this post in the hospital today, as we waited for more test results for my mother-in-law.
In addition to battling the geriatric health care system, I also juggled several work projects. Two of which included scenic designs for Haymarket Opera Company’s “L’amant anonyme” (Chicago, opened June 17) and Opera Louisiane’s “Tales of Hoffman” (Baton Rouge, opening tomorrow – June 24).
Fortunately, I only had to build and paint the scenery for “L’amant anonyme,” as “Tales of Hoffman” was constructed and painted by the New Orleans Opera shop in March 2020. As with many other 2020 shows “Tales of Hoffman” was cancelled and recently slotted for a new venue. Unfortunately, changing venues mid-stream is never easy. I am thankful that the same scenic artist for Hoffman, Nathan Arthur, was still on board.
By the end of April this spring, I began painting scenery for “L’amant anonyme” with traditional materials and historic painting methodology. Distemper painting (dry pigment paste and diluted hide glue) is extremely therapeutic – at least for me. Painting to classical music helps me find my center, and frequently lowers my own blood pressure. Who knew?
My dry pigment palette; the same containers that I learned to paint from at the University of Minnesota.My dry pigment palette; the same containers that I learned to paint from at the University of Minnesota.
Although the set-up is painstakingly slow, the scenic art speed and fast dry time makes up for any slow start. I rented the motorized paint frame at Hamline University in St. Paul, Minnesota. All told, was on site a total of 18 days. My first day on site included the load-in and set-up of the space. The second day was setting up my wet palette, making size, and positioning the first three pieces. By the third day, it was off the races.
Backdrop and one of two foliage wings.Painted detail from the foliage wing.Painted detail from the backdrop.
I had a total of three borders (5’x36’), six wings(18’hx18’w), one backdrop (18’hx24’w), and four profile pieces (4’-0” x 5’-6”) to paint. It was the combination of the subject matter (foliage and draperies) and traditional painting methods that made everything go lighting fast.
All four foliage wings.Two foliage wings and painted tormentors.The grand border.
In eleven days, I completed three borders, six wings and a backdrop, before loading out of the space; there was another rental in for a week. I returned a few weeks later for a few days to load-in, paint, and load-out the four profile pieces (two trees and two statues).
Painted panels that were attached to frames for profile pieces.
Keep in mind that I had also painted the model with distemper paint – so I knew the color combinations that I was aiming for…
Nothing like practicing when everything is small and manageable. It was also my own design, so I wasn’t laboring over “getting it perfect” for someone else. I was able to take a few liberties, ones that you can seldom do when it is someone else’s design, unless they really, really, trust your instincts. By the way, everything was designed to be easily transported from Minneapolis to Chicago in our SUV. This design also marks the first of Haymarket Opera Company’s stock scenery collection.
Model for “L’amant anonyme.” (1′-0″ : 3/8″ scale).Set under work light after install.Photograph taken during the first dress rehearsal.
I worked closely with the Lighting Designer, Brian Schneider, for both productions. Thankfully, we speak the same language. Translucencies were incorporated into both designs – but very differently. “Tales of Hoffman” utilized both backlighting and projections to indicate a time-travel theme (1880s, 1920s and 1960s).
LD Brian Schneider and Wendy Waszut-BarrettBrian in action during the light hang and focus.The drops were lit from a variety of angles, including the back to illuminate the transparent sections.Front detail on backdrop.Looking at same detail from behind the drop to show translucent area.
“L’amant anonyme,” however, was an 18th century period-inspired design. I used a combination of transparent washes and opaque washes, while incorporating Jean Honore Fragonard’s color palette from his painting, “The Swing.” The highly saturated dry pigments are perfect for scenic art translucencies. As I worked on tree trunks and foliage, their increased areas of opacity helped accentuate the transparent areas of sky and foliage. The scene was intended to glow and accentuate Stephanie Cluggish’s costumes.
Photograph from first dress. Costume design by Stephanie Cluggish. Pictured are Erica Schuller and Michael St. Peter.Photograph from first dress. Costume design by Stephanie Cluggish. Pictured are Nicole Cabell and Geoffrey Agpalo.
The show opened with a wonderful review in the “Chicago Times” that reported, “Commitment to period-appropriate details like those shaky yet era-specific natural horns – is an unalienable Haymarket signature. It’s also behind some of the more mouth-wateringly sumptuous details in this “L’Amant anonyme,” like Wendy Waszut-Barrett’s awe-inspiring hand-painted sets and Stephanie Cluggish’s intricate costuming, perched at the intersection of historical fidelity and whimsy.”
Showing transparency of wings, borders and backdrop. Original placement of profile pieces (dancers needed more room).Showing opacity of painting under work lights.The creative team (left to right) – Craig Trompeter (Music Director and Conductor), Sam Leaply (Production Manager), Brian Schneider (Lighting Designer), Wendy Waszut Barrett (Scenic Designer), Adrienne Bader (Stage Manager), Chase Hopkins (Creative Producer), Stephanie Cluggish (Costume Designer), Sarah Edgars (Director/Choreographer) and Megan Pirtle (Wig and Make-up Designer).
My next Haymarket Opera Co. project is Monteverdi’s “L’incoronazione di Poppea.” It opens in September.
On September 9, 2020, I published an article entitled “Maintaining and Restoring Historic Drops: How to Plan and What Not To Do.” This article was the result of several requests to share my restoration techniques with various scenic art groups.
It is time to share a revised version of the post as part of a my new series – Historic Stage Scenery Restoration 101. These articles will examine a variety of preservation methods for historic scenery. It will also highlight inappropriate materials and techniques; processes that can ultimately destroy culturally significant stage artifacts.
I am frequently asked about historic scenery maintenance and restoration techniques, with many suggesting I publish some form of manual. Unfortunately, there is no standard way to restore all historic backdrops, cut drops, leg drops, roll drops, borders, wings or shutters. Each one is different, demanding a custom approach based upon a unique set of criteria identified during the preliminary research phase.
Artistic provenance is key in determining a preservation strategy.
Extensive research must be completed prior to proposing a plan for the handling, cleaning, and repair of any large-scale artwork for the stage. Certain questions must be answered in advance: whomanufactured the scenery, whenwas the scenery manufactured, andwherewas the scenery manufactured? It is also important to identify the original client and use. The answers to these questions are critical in determining the preservation strategy for individual drops or entire collections. These answers also prompt a subsequent series of questions regarding appropriate materials, techniques, processes, timelines, future display and overall use. Is this historic scene intended for display in a theater, or will it simply hang on a wall? How often will the scenery be used, if at all? The answers to these basic questions help formulate a plan.
In addition to understanding an artifact’s artistic provenance, all stakeholders must understand that certain materials and techniques will destroy historic stage scenery. I will explain what not to do, based on examples of poor repairs that I have encountered in the past. There are specific materials and techniques that should never be used on historic scenery or fragile fabrics, as they cause irreparable harm and can destroy a significant piece of theatre history.
It is very important to understand that contemporary scene painting is a dramatic departure from historic scene painting, specifically in terms of fabrics, painting products and artistic techniques. So much has changed over the past century. Historic scenic art is foreign ground for many contemporary scene painters, especially as certain types of training and materials have vanished from most college curricula and theatre apprenticeships. Just because one is a scenic artist does not make them qualified to restore historic paintings; the two are worlds apart. In other words, an ability to paint historic scenes doesn’t mean you should repair historic stage scenery. Similarly, a fine art conservator is not necessarily qualified to assess and propose the preservation or acceptable display of historic stage scenery. It is a fine line to walk, and there is not always a straight path from point A to point B.
The perception of historic scenery must always consider its original purpose. Everything becomes complicated when historic stage settings are solely perceived as fine artworks. For many art historians and conservators, stage scenery is simply considered a large-scale painting. Yet it is radically different from artworks that hang on a gallery wall. A stationary painting in a museum is viewed under fixed lighting. Such is not the case with historic scenery for the stage; it is part of a whole. Few individuals outside of the theatre industry understand the true metamorphic quality of scenic art, specifically how it partners with stage lighting systems. Scenic art, regardless its age, remains part of an interactive art form intended to withstand the handling of many. Scenic shifts are necessary in many productions. This means that standard conservation techniques do not always work for historic stage scenery, as they cannot withhold the demands of a scene change.
When stage scenery is identified as fine art, many methods selected for repair and preservation are based on traditional methods employed in art conservation, not those familiar with theatre history or stage technology. Therefore, the conservation of each drop follows strict conservation guidelines without considering the function. Accepted conservation practices are not always appropriate for the stage. Many art conservation materials are solvent based, posing fire threats as accelerants.
The first step in any scenery restoration project starts with research. You need to establish the artistic provenance of a stage artifact or scenery collection, and here are the questions that you need to ask, and why you need to ask them
1. ESTABLISHING ARTISTIC PROVENANCE
WHO made it? Is it a backdrop painted on cotton sheeting by a student for a class play in the 1920s, or is it a drop curtain constructed of Russian linen and painted by an internationally recognized artist in the 1890s? The manufacturer of a scenic piece matters, as it is integrally tied to the painting process and materials.
Many nineteenth-century and early-twentieth-century American scenic artists attended art institutes, at home and abroad. In many cases, fine art studies were completed in addition to a lengthy apprenticeship at a professional scenic studio before striking out on one’s own. American scenic artists at this time were members of fine art organizations across the country, and much of their work continues to be treasured in the fine art world. For example, some scenic artists in the east belonged to the Salmagundi Club and/or Rochester Art Club. In the midwestern states, scenic artists studied at the Chicago Institute of Art, joining unique groups, such as the Palette & Chisel Club. In the west, scenic artists belonged to a variety of fine art organizations established in the Pacific North West, California, New Mexico and elsewhere. Theatrical scenery created by scenic artists should not be considered any less significant than their smaller fine art pieces. Large scale works provided generations of artists with opportunities to explore color theory, painting techniques, compositional lay outs and lighting conditions. Theatre scenery offered artists and opportunity to create a unique installation that was interactive. That being said, there were many amateur artists producing scenery; their work is easily identifiable, yet remains culturally significant too.
Regardless of skill level and/or final product, the terms “old backdrops,” “old backings for the stage,” and “old scenery” devalues stage art. Instead, refer to historic scenery as “large-scale artworks for the stage” painted by local, regional, national, or internationally recognized fine artists. Public perception is crucial when preserving theatrical heritage. Your terminology could save a piece of American theatre history, or world history.
WHEN was
the artifact manufactured? The year, decade, and/or century that the theatrical
scene was produced helps identify the type of fabric, paint, and painting
process. Knowing the age of a scene
helps identify various materials, especially the fabric and basic construction
techniques. Fabric seams, whether vertical or horizontal, can also identify a
particular era and studio. How the drop is suspended and operated also matters.
Are there sandwich battens, rollers, jute webbing, or something else at the top
and bottom of the scene? Is there a counterweight system with arbors or a pin
rail with sandbags? Keep in mind that the overall suspension affects the
deterioration of both the fabric and painted composition. Understanding the original
materials and display are crucial in identifying and locating appropriate and compatible
materials for any repair.
WHERE was the artifact manufactured? Location can help identify a specific construction and painting process. Certain regions adopted unique approaches to scenic art, often based upon the influx of immigrants. Scenic art in the United States began as a large melting pot of languages, traditions and techniques, with two dominant approaches emerging between 1850 and 1900. At this time American scenic artists primarily worked with opaque washes, thin glazes, and later a combination of the two. These artistic influences are still recognizable today across the country. For more information, read my article, “American Scenic Art: The Immigrant Contribution,” in TheatreInitiative Berlin’s Die Vierte Wand #110. It is available for online at https://archive.org/details/itheam_d4w-010_202009. Here is the a link to the pdf: https://issuu.com/itheam/docs/itheam_d4w-010.
Throughout the twentieth century American scenic art continued to change, incorporating new products and methods over the years. As an industry, many American scenic artists shifted from painting on vertical frames to the continental method (painting on the floor). A backdrop painted in 1920 and another painted in 1940 may seem light years apart when examining construction, materials, and painting techniques. When planning scenic repairs or complete restorations, one must intimately understand the entire scope of painting methodologies, traditional materials and historical techniques, as well as contemporary products to avoid.
Restoration is for the long term. Unlike the ephemeral nature of contemporary scenery for a short-run show, certain materials and techniques to repair historic scenery should be avoided. Use common sense and think of the big picture; one beyond a quick repair. The results from this project should outlive you and almost always remain reversible. That being said, stage settings are not fine art, created for a stationary place on a gallery wall. Your ultimate goal is to not permanently alter the artifact, but preserve it for continued use. Contemporary methods to patch and repair modern drops are seldom an option for historic ones. Likewise, contemporary methods for fine art conservation are not always appropriate for the theatrical stage. Let’s start with inappropriate fabric repairs.
Below is a list of specific materials and techniques that should never be used on historic scenery.
Metal: Sheet metal is never
an option to patch fabric. The weight and sharp edges pose a threat and the
rivets puncture the fabric.
Metal repair on historic scenery used by the Quincy Scottish Rite.
Plaster: Plaster on fabric adds
too much weight and the painted composition will stretch an irreparable amount.
Plaster repair on historic scenery used by the Grand Forks Scottish Rite.
Hot Melt Glue: This product
embeds itself in the fibers and is irreversible, while adding unnecessary weight
to the area. Hot melt glue should never be considered when repairing fragile
fabrics or historic scenery. It is also an accelerant, posing a fire hazard.
Hot melt glue used to attach netting on historic scenery once used at the Fort Scott Scottish Rite.
Wood Glue: This product is
too brittle to use on soft goods. It was also never intended for fabric; it’s
for wood.
Wood glue repair on historic scenery, once used by the Richmond Scottish Rite.
Wood Putty: This product was never intended for use on fabric. Again, it is for wood and too rigid for repairs.
Masonite: The weight of any wood or composite material glued to the back of drop or flat causes stress and will irreparably stretch the surrounding area.
Masonite repair on historic scenery once used by the Wichita Scottish Rite.
Contact Cement: This is an
irreversible and a solvent-based product that should not be used on historic
scenery. It poses a fire hazard.
Contact cement used to attached wood stiffeners on historic scenery, once used by the Wichita Scottish Rite.
Flexible Foam: This product should
not be glued to historic scenery at all.
Flexible foam repair on historic scenery used by the Cheyenne Scottish Rite.
BEVA 371: This conservation adhesive, sold as either a liquid or clear film, is extremely flammable. Although the product is recommended for the repair of fine art paintings, it should never be considered an option for stage scenery. This product is a fire accelerant and will be presented in detail at a later time.
BEVA 371 film is extremely flammable.
Plastic: Plastic should never pair with historic or fragile fabric for many reasons. In regard to plastic netting, the rigidity will harm the fabric. Look for all-natural cotton fabrics and nettings.
Plastic pipe pocket added to a historic scene used by the Louisville Scottish Rite.
There is another type of repair frequently suggested for historic scenery collections -replacing traditional sandwich battens with pipe pockets on the bottom and jute webbing on the top. What appears to be a reasonable solution introduces a weakness to the historic fabric and it will fail. Over time the stitching will act like a perforated page, eventually tearing off. This topic will also be discussed in detail at a later time.
Pipe pockets that replaced wood battens on historic scenery once used by the St. Louis Scottish Rite. Pipe pocketswill ultimately fail.
It is extremely important to understand painted illusion for the historic stage, whether eighteenth-century, nineteenth-century or twentieth-century. The necessary skill set for successful scenery restoration is more than a combination of product knowledge and artistic experience. You must understand not only the traditional methods and materials, but also all of the historical processes and how each artifact was a product of a specific time period. In other words, it is a complex combination of historical research and innate talent. Painted illusion was used in a variety of venues, including theaters, opera houses, cinemas, music academies, city halls, schools, lodge rooms, armories, coliseums, and hippodromes. None of it was intended to be viewed up close, or on a museum wall under fixed lighting.
Leg drop, cut drop and backdrop by Sosman & Landis Scene Painting Studio for the Scottish Rite Theatre in Santa Fe, New Mexico, 1912.
Many extant backdrops were produced as part of a set, a combination of backdrops, cut drop, and leg drops, or shutters, roll drops, wings and borders. Flat profile pieces were added for painted dimension in each case. Furthermore, painted grand teasers and tormentors were often permanently positioned within the proscenium opening to frame these painted settings. The level of detail for each stage artifact also shifted as the scenes ranged from upstage to downstage positions.
Before you decide to formulate a maintenance plan or the restoration of any historic scenery collection, you must identify its placement with in theater history or popular entertainment; past materials, techniques, stage systems and venues inform any future repairs. Choosing the appropriate path is akin to the saying, “measure twice, cut once.”
In almost every case you have only one opportunity to do this right.
