Drop Curtain – Page 6 – Drypigment.net

Travels of a Scenic Artist and Scholar. LHAT Historic Theater Tours – The Walnut Street Theatre, July 17, 2019

The Walnut Street Theatre in Philadelphia

On July 17, League of Historic American Theatre (LHAT) conference attendees toured the famous Walnut Street Theatre. Located at the corner of Ninth & Walnut Street in Philadelphia, the theater opened its doors on February 2, 1809. Initially the structure featured a ring for equestrian acts. Initially built for the Circus by Victor Pepin and Jean Breschard, over the course of two centuries, the building underwent many renovations. The building was initially enlarged between 1811 and 1816, transitioning from a circus arena into a legitimate theatre with elevated stage. Remodeled again between 1827 and 1828, gaslights were added in 1837 and air conditioning in 1855, an American first for both. By 1863, Edwin Booth and John Sleeper Clarke purchased the venue, initiating a new era under their leadership. Throughout the duration of the 19^th century and well into the 20th, the Walnut Street Theatre underwent a series of renovations, including multiple scenery purchases.

One of the framed prints at the Walnut Street Theatre

Another framed print depicting interior of the Walnut Street Theatre in 1865

The LHAT tour in July coincided with Walnut Street Theatre’s summer camp. Seated in the second to last row of the auditorium, I watched young performers below on the stage. It reminded me of our eldest child’s summer camp program at the Wilma Theatre, an annual gift from generous godparents who lived in New Jersey. These were the same friends that I stayed with during the conference this year.

There is something very heartwarming about watching young children on a very old stage, as they become part of the theater’s legacy. With these future thespians in the background, our animated host explained the history of the building. The Walnut’s website also does an amazing job at presenting the past. Here is the link: https://www.walnutstreettheatre.org/about/history.php

Despite the gracious welcome by Walnut Street Theatre staff, I was very disappointed with the current interior, somewhat reminiscent of a grey shell. I understand that the interior aesthetic of many theaters shift over time, their interiors constantly being re-envisioned by a variety of personalities. It is unusual for a theater to remain its original glory, exact in every detail. I understand the push for change or modernization of any space. However, I should have prepared myself for the Walnut Street Theatre before my visit. Over the past few years I have repeatedly written about the variety of artisans that contributed to the Walnut’s past, primarily focusing on scenic contributions. Whatever I had been expecting to see was not the current decor. I really didn’t have the heart to take any pictures of the space, a first for me. The stage was also unavailable due to summer camp, an element that I had really hoped to see.

The interior of the Walnut Street Theatre in 1952

The interior of the Walnut Street Theatre by 1969

Fortunately, images from the venue’s past were prominently displayed everywhere. The hallway behind the balcony contained a variety of images ranging from performers and shows, to historic floor plans and broadsheets. Blurry images that I have repeatedly encountered online were hanging in their full-scale glory. For that alone, the trip was worth it.

One of the artistic contributions by a scenic artist was mentioned in an 1894 “Philadelphia Inquirer” article. A drop curtain by scenic artist Matt Morgan was installed in 1877.

Here is the section about Morgan’s drop curtain at the Walnut Street Theatre:

“The drop curtain at the Walnut Street Theatre is strikingly different from any other in town. It is skillfully painted to represent silk, and appears to be made of sixty-four squares of white silk deftly sewn together, on which, in a large oval in the center of the curtains is painted a charming picture, representing Shakespeare reading his play, “The Merry Wives of Windsor,” before Queen Elizabeth. It is known as the Shakespeare curtain, and was painted by that versatile artist, Matt Morgan, in 1877. Matt Morgan, now deceased, was a prominent figure in the art world. Though born in Ireland, he was educated in London, and worked on a number of illustrated papers. He was also a figure artist of marked ability, but was unsuccessful in his business ventures. The curtain was first unrolled September 10, 1877, and shows none of the effects of the seventeen years of constant use. Through the oval occupies less than a third of the square surface of the curtain, it contains more than a score of personages. The aged queen, habited in a robe of yellow silk with pointed bodice of coquelicot satin, puffed sleeved trimmed with velvet and an enormous white lace collar and lace cuffs, is seated upon a throne surrounded by courtiers, pages and attendants, while she listen with rapt attention to the reading of the play” (Dec. 18, 1894, page 45).

A celebrated scenic artist and caricaturist, Morgan was an Irishman trained in London. The favorite pupil of well-known artist Clarkston Stanfield, in 1866 Morgan was working as an assistant to Thomas Grieve at the Covent Garden Theater in London (The Era, 23 Dec. 1866, page 8). By 1870, Morgan immigrated to America, soon making a name for himself as an illustrator at Frank Leslie’s Illustrated paper. He became a rival of Thomas Nast, the German-born caricaturist and editorial cartoonist (Reading Times, 12 Oct, 1876, page 4). Before immigrating to America, however, Morgan worked as a cartoonist for “Tomahawk,” a weekly comic paper during the 1860s. Later Morgan became the head of the art department of the Stowbridge Lithographing Company in Cincinnati. In America, Morgan worked as both illustrator and scenic artist all across the country, and by 1875, a Chicago newspaper article described Morgan as “far above the ordinary level of scene-painters” (Chicago Tribune, 14 Feb 1875, page 10).

In 1886, Morgan organized a scenic art company in Cincinnati, Ohio. The company was to “present a series of accurate and historic pictures of the decisive battles of the late war between the states. These great pictures, now approaching completion for the northern victories, are to be exhibited throughout the country under the directions of competent lecturers; well known officers of both armies” (The Pulaski Citizen, Pulaski, Tennessee, 12 Aug. 1886, page 2).

Newspapers report that Morgan died of pleurisy, brought on by his work at the new Madison Square Garden (Logansport Reporter, 3 June 1890, page 3).

By 1905, the “Pittsburgh Daily Post” described one of Morgan as a “forgotten artist” when his work was exhibited at the 1905 Scene Painters’ Show. Held at the Grafton Galleries by the Scenic Artists association, the exhibit featured Theater Artists of Great Britain, including cartoons by Morgan. (14 May 1905, page 26).

To be continued…

Travels of a Scenic Artist and Scholar. LHAT Historic Theater Tours – The Forrest Theatre, July 17, 2019

The Forrest Theatre tour took place on the final day of the League of Historic American Theatres National conference in Philadelphia. The LHAT program noted, “The Forrest is a quintessential ‘road house’, used primarily by touring theatre and dance companies. It was built in 1927 to compete with rival A.L. Erlanger’s planned new playhouse at Market and 21st Streets. The Shuberts intended the new playhouse–named after Edwin Forrest, the great Philadelphia born tragic actor of the nineteenth century–to surpass Erlanger’s new theatre in terms of size and splendor.”

Costing over $2,000,000, the structure was designed by architect Herbert J. Krapp. The space boasted wider seats in the orchestra and modern ventilation and electrical systems. Interestingly, the dressing rooms are housed in a separate building, connected to the stage by an underground tunnel. Theater representatives explained that the reason for this layout is still unclear.

In the 1990s, renovations included redecorating the grand lobby and accessibility improvements. By 2017, the auditorium and mezzanine lounge underwent extensive redecoration, as well as improvements to air conditioning and heating systems. During our visit, there was still work being completed and much was draped in plastic.

The Forrest Theatre during our visit on July 17, 2019

During our tour, we learned that the painted fire curtain had also been recently removed. Our tour guides explained that the painting was stunning, but then proceeded to cite the reasons for its removal. I understand that in many cases, encapsulation of an asbestos curtain may be cost prohibitive. When contemplating restoring an auditorium to its original splendor, millions of dollars will be spent. Yet often the original drop curtain, a painted element that often completed the auditorium’s décor, is left out of the conversation. I am fascinated with this omission.

The proscenium arch and view of the fly gallery

The proscenium arch and view of the grid

As I contemplated the funds spent on the Forrest Theater’s auditorium and mezzanine lounged, I wondered why stopping at the proscenium opening was optional. After all, this is the focal point of the theater that every person faces while waiting for a show.

When I walk into a historic theater, or any theater for that matter, I look around the auditorium to briefly examine the space. This often occurs while trying to locate my seat. Even if I am fascinated with the architectural ornamentation, seldom do I stop, as there is often a stream of people behind me also navigating their way to a seat.

Ornamental detail at the Forrest Theatre

Once seated, I take in the space, to my right, left and above. Turning around to see the complete auditorium will often wait until my exit. Even the most ornate auditorium will not cause me to sit starring at the ceiling for extended periods of time while attending a performance. Like many, if not looking at my program or chatting with a companion, I will face the proscenium and patiently wait for the show. I like to think that I am not an anomaly and that my experience is similar to many who have attended the theater over the decades. As audience members, we face forward while waiting for a performance to begin. All told, a substantial amount of time is spent facing the proscenium opening. I can only hope that a painted front curtain, fire curtain, or decorative grand drape is filling that void. This is an integral part of the theatre experience. One may even note that whatever is hanging in the proscenium opening may be the pinnacle of the pre-show experience.

The 1894 newspaper article, “Well-known Drop Curtain in Philadelphia Theatres,” reported, “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.” (“The Philadelphia Inquirer” on Dec. 18, 1894).

To be continued…

Travels of a Scenic Artist and Scholar. LHAT Historic Theater Tours – The Academy of Music, July 16, 2019

Painted detail on the ceiling of the Academy of Music, Philadelphia

From July 11 until July 20, 2019, I was on the road, traveling from Minneapolis to Philadelphia and then back again. In Philadelphia I attended the League of Historic American Theaters National conference from July 14-17. My good intentions to daily write about interesting sites and events were rapidly dashed when I realized that there was simply not enough time each morning.

As one of 330 attendees, I participated in a series of educational sessions and networking opportunities. The conference also included trips to visit nearby historic theaters on two of the four days. Our first visit was to the well-known Academy of Music in Philadelphia, an entertainment venue considered to be the oldest opera house in the United States that is still used for its original purpose. As noted in the LHAT program: “The Academy of Music is currently owned by the Philadelphia Orchestra and managed by Kimmer Center Inc. but the long-term caretaking of the building is overseen by a third entity: the Academy of Music Restoration Fund Office, a non profit with its own board of trustees and a mission to raise all the money required for the ongoing capital projects that ensure the structural integrity and long-term preservation of a National Historic Landmark.”

I was excited to see the Academy of Music because of one particular scenic artist who once painted for the venue. Although this aspect of the theater’s history is no longer part of the current steward’s story, the nineteenth century scenic illusion and dramatic painting delivered to Philadelphia audiences should not be forgotten; it is extremely exciting in its own right. Exciting enough that I felt my eyes tear up when I walked into the space. Creating the drop curtain and scenery for this theater placed a feather in the cap of any scenic artist during the nineteenth or twentieth century. His work was viewed by thousands of theater patrons.

This spring, my “Tales of a Scenic Artist and Scholar” looked at painted contributions to Philadelphia theaters noted in an 1894 newspaper article. “Well-known Drop Curtain in Philadelphia Theatres,” was published in “The Philadelphia Inquirer” on Dec. 18, 1894. One section of the article described four painted curtains by Russell Smith for the Academy of Music. They included the drop curtain, a Romeo and Juliet drop, an asbestos curtain, and a Japanese silk tableau curtain.

Of Russell Smith’s scenic contributions to the Academy of Music, the article continues:

“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.”

“One of the happiest examples of this style of curtain is seen on the handsome ‘drop’ at the Academy of Music. It was painted by Russell Smith in 1857, and has been in continuous use for the past thirty-seven years, during which time has apparently lost none of its original freshness of coloring, and is considered one of the finest specimens of that famous artist’s work. It is entitled “Como,” but the actual scene is from sketches made by the artist at the head of Lake Lugano, in Northern Italy. A conventional design representing a huge frame, surrounds the picture while in the center of the lower border is a Greek bust. The scene pictures a view of “Como” in summer time. There are the finest of Italian skies, the glitter and sheen of the greenish blue waters of one of the loveliest lakes in the world. In the left foreground rises a terrace with broad, low steps leading down to the shimmering waters of the lake. To the right, in the immediate foreground is a mass of semi-tropical foliage overhanging the cool and sparkling waters of the lake. Beyond rise several palaces of the nobility; while in the background the sloping sides of the mountains are gemmed with castles and palaces. Gondolas float on the placid waters of the lake, while some of the palaces seem set like jewels in the opalescent waters.”

I am still surprised that the drop curtain had remained in place for thirty-seven years by 1894, when many other theaters replaced their drop curtain and scenery every decade. This suggests to popularity of Smith’s work, especially in light of the drop curtain’s purpose described above. To last in place for almost four decades and remain unknown by the current theater stewards today is surprisingly. The 1894 article continued to describe the composition of another drop painted for the Academy of Music by Smith in 1883:

“The main curtain, often called the Romeo and Juliet drop, in use at the famous temple of music was painted by Russell Smith in 1883. It represents a moonlight scene from a terrace overlooking a lake. A gondolier has approached an overhanging balcony window, and delivers himself of his tender passion to the lady, who leans over the balcony rail while she listens to the music of his mandolin. The whole scene, faintly illuminated by the mystic light of the silvery moon falling on the rippling waters of the mist-covered lake, and the blue velvet curtains that drape the door opening on the terrace, with its mosaic floors and stone balustrade, making a witching moonlight scene.”

Smith also painted a fire curtain for the Academy of Music three decades after delivering the initial drop curtain. His asbestos curtain was claimed to be the first of its kind in the United Stated:

“The asbestos curtain at the Academy of Music is distinguished as the first asbestos curtain ever put in any American playhouse in America, and as far as is known, is the first in use in the world. It is made in three sections, the lower third of which has the asbestos pressed in on both sides. It was also painted by Russell Smith in 1887, and represents only a flight of steps nearly hid by a mass of red drapery.”

Finally, the article noted another scenic contribution by Russell, a tableau curtain:

“Another curtain at the Academy is the tableau curtain, made of pure Japanese silk and handsomely decorated along the border by Russell Smith, who has also painted 80 per cent of all the scenery at the Academy. The tableau curtain is made of a series of alternating perpendicular breadths of light blue and white Japanese silk with a satin finish to its surface. The curtain is divided down the center and has a border of flowers around each half. Along the bottom on an eight-foot border, are placed six large medallions representing scenes from ancient history and mythology on the left and modern views on the right.”

I was most intrigued with this particular scenic piece described in the article. This is the first description of a tableau curtain that I have encountered to date. The specific mention of Japanese silk makes me consider the incredible expense of the piece, as well as the difficulty in its painting. The decoration of the eight-foot high border was quite complex, especially when considering that individual scenes were painted in each of the in six medallions within the floral area.

This is such an astonishing heritage, transforming the theater experience for each event. It is a shame that we have lost so much beauty over the decades. Just imagine if those same scenes were redelivered today, would they still stun audiences?

To be continued…

Travels of a Scenic Artist and Scholar. Sosman & Landis and the Howell Opera House, 2019

Late nineteenth century theatrical guides provide great insight into historic theaters, especially the technical specifications, the staff and network of support for touring shows. I often cite Julius Cahn’s Official Theatrical Guide when writing about various historic theaters.

Julius Cahn was the manager of the Charles Froman’s Booking Department at the Empire Theatre. In the theatrical guide’s foreword Cahn states his reason for the publication, citing the need for a “complete and official Theatrical Guide that would give the managers of theaters throughout the country, the managers of traveling attractions and others closely interested in their affairs, a complete and exhaustive volume pertaining to the various braches of business, arranged in a concise and clear manner, so as to make it both valuable and available as a book reference” (Julius Cahn’s Official Theatrical Guide, 1895-1896, page VII).

Great idea, but there is the element of human error. Theaters owners, manager and staff submitted the information in regard to their space, mailing it to Cahn’s office. As far as I can determine, there was no independent study to verify that the submitted information was correct. I have noticed that the names of many scenic artists are misspelled.

In the case of the Howell opera house, the scenic artist credited with the stock scenery in Cahn’s Theatrical Guide is “S. E. Landis (Chicago).” This was Sosman and Landis. My guess is that the individual submitting the information read the ampersand as the letter “E” – so he read “Sosman E. Landis.” Thinking that this was an individual and not a company, he further shortened the name to S. E. Landis. I have encountered Sosman & Landis spelled in various ways throughout Cahn’s Guide, including Sausman & Landis, Sussman & Landis, Sosman & Lundis, and Sussman & Lundus to name a few.

In regard to their work for the Howell Opera House, however, corroborating information from many other sources confirms that the company painted the original scenery for the Howell stage. An 1882 article published in the “Macomb Journal” lists all of the theaters “fitted up” by Sosman & Landis from June 1881 to July 1882. The New Opera House in Howell, Michigan, is one of the 73 theaters listed in the article.

Regardless, it is possible that local individuals or other professional scenic artists added to the original scenery collection over the years. In regard to the Howell, the roll drops that have not been unfurled in decades. Although they look in fair shape from the stage floor, there is no way to anticipate the condition of the painted surface or verify a specific scenic artist.

When I visited the Howell opera house on July 11, 2019, I had the opportunity to examine an enlarged photograph of the original drop curtain. It depicted a lovely Venetian composition, one popular for drop curtains at the time, especially those credited to Sosman & Landis. Purportedly, the original drop curtain is still in place, and the painted details visible from the stage floor support that idea.

Photograph of the original Howell drop curtain

Historic scenery still hanging above the stage at the Howell Opera House

Painted detail of scenery at the Howell Opera House,

During the 1880s, Sosman and Landis sent out teams of scenic artists to paint scenery. Joseph S. Sosman and Thomas G. Moses traveled as a team, following Abraham “Perry” Landis as he secured contracts across the country. At the time, there were five scenic artists on staff; it is unclear if this number included studio founder Sosman.

The 1882 “Macomb Journal” article reports, “A visit to the studio of Messrs. Sosman & Landis, in this city, reveals the fact that these gentlemen at this time give employment to five of the best scenic artists in the United States, and that their facilities for turning out first-class work with promptitude and at reasonable figures is unequaled by any establishment in America. At this very moment these gentlemen are actively employed in fitting-up the interior of one or two of the best theatres in the West, and their large corps of artists and stage carpenters are constantly kept busily at work.” Any one of the five scenic artists working for the firm at this time could be responsible for the drop curtain in Howell. Until the Howell drops are unrolled, it is impossible to identify any potential artist.

Although Moses painted in the studio, he was on the road – a lot – traveling from city to city to paint stock scenery and drop curtains on site. In addition to painting scenery at their Chicago shop and shipping it by rail to distant venues, scenery was still painted on site. When looking at the listed of theaters supplied with scenery from 1881 to 1882, the main Sosman & Landis studio could not accommodate the sheer amount of work contracted by their salesmen. Therefor, pairs of artists were also sent on site to paint scenery. Paint frames were constructed for each stage, providing a temporary studio for scenic artists to work. This not unusual, a common practice for nineteenth century itinerant artists, especially as the scenic studio system was relatively new to the country. Keep in mind, that at the time only a handful of scenic studios had been established, with the majority of work being completing by individual scenic artists or pairs or artists in temporary partnerships.

At Sosman & Landis, Moses records that he went on the road to paint scenery with not only with Sosman but also Will Davis and Lem Graham.

More about the Howell Opera House tomorrow.

Tales from a Scenic Artist and Scholar. Part 772 – Joe Sheehan and the Wieting Opera House, 1911

In 1911, Thomas G. Moses wrote, “I did a good ‘Mme. Butterfly’ set for Joe Sheehan.”

Joe Sheehan pictured in the “Lansing State Journal,” 14 March 1914 page 11

Joe Sheehan was the star of the Sheehan Opera Company of Chicago, also known as the Sheehan English Opera Company. While I was looking for information pertaining to the company and show, I happened upon an interesting blog by Mary Lois – “Finding Myself in Hoboken.” Unbelievably, one entry included a gentleman’s reminiscences about his wife’s grandfather, Joe Sheehan. Posted on May 29, 2008, it provides some basic information about Sheehan from an interesting and familial perspective. Slezak had been sent Lois a series of emails since he discovered her blog. Lois commented, “He likes to remember what Hoboken was like in the late 1940’s and through the 1950’s, and he describes it vividly” (https://myselfinhoboken.blogspot.com/2008/05/).

She included the following sample:

“My wife’s dad – what a nice guy he was…played with the big bands during the war. (His dad was an opera singer from Dublin who toured Europe with the Carl Rosa opera company..he came to America in 1900…and started his own opera company, Joseph Sheehan Opera Company …you can look him up on the computer. In them days he was the greatest tenor English opera singer in the world. After he retired from that he worked for RKO Radio studios in NYC…and later it became NBC studios…he lived on Garden Street just across the street from me) My wife’s both grandmothers lived across the street from me when I was a kid. I have a picture of me and my wife in the same picture – she was 5. I was 9, not knowing I would marry her some day and spend the rest of my life with her. I got lucky and always had good luck…with every thing I did in life.”

In advertisements, Sheehan was billed as America’s Greatest Tenor and Famous Opera Star” (The Akron Beacon, 5 April 1913, page 8). He toured the company, starring in a series of operas that appeared in not only large metropolitan areas, but also many small towns.

As I was examining the various performance venues where Sheehan appeared, one jumped out – the Wieting Theatre in Toledo, Iowa. His performance is mentioned on their current website (https://wieting.tamatoledo.com/theOpening). The history page noted, “The new curtains of the Wieting Opera House parted for the first time at 8 o’ clock on the evening of Sept. 12, 1912. A capacity “house,” all dressed for the gala occasion (especially those in the box seats), had paid $1.50, $2.00 or $2.50 per ticket to see the Sheehan English Opera Company’s presentation of “Il Trovatore.” The show featured Joseph F. Sheehan, “America’s Greatest Tenor” and a supporting cast of more than one hundred.”

Until two years ago, I was unaware of Toledo, Iowa. A scenery evaluation brought me to the small town during the spring on 2017 to examine their front curtain and present some information about the painted aesthetic for early-twentieth-century stages. At the time the Wieting Theatre was well ino the process of renovating their entire stage area. I stayed at the home of the executive director and learned quite a bit about how the history of the Wieting theatre, and its two sister theaters in Syracuse and Worcester, New York. These three memorial theaters have an intereting history in their own right.

The front curtain by Twin City Scenic Co. at the Weiting Theatre in Toledo, Iowa.

Painted detail of the front curtain at the Weiting Theatre in Toledo, Iowa.

The theaters are connected to Dr. P. G. Wieting and Helen “Ella” Wilder. The couple was married on December 5th 1866, and initially lived in Worcester, New York. Only staying in the area a short while, heir second homes was located in Toledo Iowa by 1867. Dr. Wieting was successful dentist in Toledo, but also was involved in many other business ventures. In 1878 Dr. Wieting and Helen’s father started the Toledo City Bank. Though the Wietings eventually returned to the East Dr. Wieting continued to be involved with the Toledo bank until his passing in 1906.

To honor her husband after his death, Mrs. Wieting donated theatres to the communities of Worcester, New York, and Toledo, Iowa. These theatres were intended to carry on the name of her late husband while enriching the communities. The Wietings were also responsible for the construction of a previous Wieting Opera House in Syracuse, New York. Although there had been a series of Weiting Opera Houses in Syracuse since 1852, Mrs. Wieting was responsible for the third and final building. The first Wieting Opera House was donated to Syracuse by 19^th century physician and medical lecturer John M. Wieting, M.D. (1817-1888).

Attached are a few images of the front curtain from Toledo, Iowa.

To be continued…

Tales from a Scenic Artist and Scholar. Part 766 – The Empire Theatre, Syracuse, New York, 1911

In 1911, Thomas G. Moses wrote, “Syracuse, N.Y. claimed my personal attention for awhile, and I did my best work for it.” Without the name of a show or a specific theater, it is difficult to know where Moses worked in Syracuse during January of 1911.

Postcard of the Empire Theatre in Syracuse, New York

Syracuse theaters listed in Julius Cahn’s Official Theatrical Guide for the 1910-1911 seasons included the Bastable Theatre, the Crescent Theatre, the Grand Opera House, Grand Theatre and the Wieting Opera House. The following year, Syracuse theaters expanded to include the Empire Theatre and Keith’s Theatre. Based on that information, I started to do a little digging and discovered that Sosman & Landis delivered the stock scenery collection to the Empire Theatre in when it opened in 1911. The Onandaga Historical Association includes a collection of photographs taken during February 1911 when finishing touches were being completed in the auditorium.

Image posted at https://rjbuffalo.com/programs-and-things.html

By March 1911, there were regular advertisements placed in the Amusements section of the “Post Standard.” Tickets were on sale for shows at the Onandaga Hotel, with prices ranging from fifty cents to two dollars.

The original drop curtain depicted a picturesque forest scene, divided by a babbling brook – a signature Moses composition.

Located on S. Salina Street, the theater was designed by the local architectural firm Tabor & Baxter. Previously, the firm was responsibly for a series of residential structures. The seating capacity for the Empire Theatre was 1709, including 707 on the lower floor, 452 in the balcony, 486 in the gallery and 64 in the boxes. The proscenium measured 40 feet high by x 50 feet wide. The depth if the stage was 42 feet from the footlights to the back wall, with 72 feet between the side walls and 54 feet between the fly girders. The height of the stage house measured 70 feet from the stage floor to the rigging loft and 30 feet from the stage floor to the fly gallery. The backstage area boasted fifteen dressing rooms, a sizeable number for a large touring production. There was also an orchestra pit that accommodated up to eight musicians.

The Empire Theatre was renamed DeWitt Theater during the 1930s. By 1940, however, the name reverted back to the Empire Theater name while under the management of RKO, primarily featuring movies. At the time, the space was also “modernized,” to give the auditorium a Streamline-Moderne appearance. The ornamental makeover was completed under the direction of architect Michael J. DeAngelis. Part of the renovation included walling over the original opera boxes and decorating the space with Art Deco elements.

The original building still stands and is now known as Empire House. Unfortunately, the rear auditorium was demolished in 1961, and the remainder of the building divided into apartments and offices.

To be continued…

Tales from a Scenic Artist and Scholar. Part 744: Returning to Masonic Scenery Production in the Life and Times of Thomas G. Moses, 1909

I return to the year 1909 in the life and times of Thomas G. Moses. For the past several posts, I explored famous Philadelphia drops curtains mentioned in an 1894 newspaper article. Scottish Rite theaters also used drop curtains as the focal point of an auditorium. The ornate draping of fabric popularized on the public stage appeared on a variety of fraternal stages throughout the nineteenth century. Often, the only difference was the placement of a Masonic emblem in the center.

The Scottish Rite drop curtain in Salina, Kansas

The Scottish Rite drop curtain in Yankton, South Dakota

The Scottish Rite drop curtain in Wichita, Kansas

The Scottish Rite drop curtain in Tucson, Arizona

As in commercial theaters, Masonic drop curtains were hung on the first line, concealing the remainder of stock scenery, often numbering between 80 to 120 drops. In addition to backdrops, scenic studios manufactured set pieces, props, and stage machinery for Scottish Rite stages. Although massive in scope, Masonic theater work only accounted for approximately 25% of all work contracted by studios such as Sosman & Landis. Of that percentage, Scottish Rite scenery consisted of only a fraction of the total number for Masonic work.

By the end of Moses’ career, spanning from 1873 to 1934, his Masonic work included the design and supervision of scenery production for 55 Scottish Rites, 14 Commanderies (York Rite), 9 Grottos (MOVPER) and 7 Shrine (AAONMS) Auditoriums. In 1909, Moses wrote, “We have forty-eight on the payroll, which includes the sewing girls and foremen. At 20^th Street we have an average of twelve. I think we should turn out some work and we do. It is often a puzzle to me where it all goes, but the Masonic work requires a lot of time, and there is an average of eighty drops in each order so it makes plenty of work and is very interesting. The artists never grumble when they get it to do.

In 1909, Moses also wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” Other Scottish Rite scenery collections that year produced by Sosman & Landis Scene Painting Studio included, Kansas City, Kansas, Memphis, Tennessee, Winona, Minnesota, and Atlanta, Georgia.

While, Sosman & Landis were cranking out stock scenery collections for Scottish Rite theaters, their primary competitor, Toomey & Volland Studio of St. Louis, Missouri, was gaining ground; the St. Louis company was becoming increasingly popular among Scottish Rite Masons in the Northern Masonic Jurisdiction. That year, Toomey & Volland delivered two large scenery collections to Scottish Rite theaters. Although they produced much less scenery than Sosman & Landis at this time, the firm would soon grow to dominate the industry after World War I.

To put all of this Scottish Rite scenery production in context, by 1910, I have identified the following Scottish Rite installations:

33 scenery collections were delivered by Sosman & Landis

18 scenery collections were delivered by Toomey & Volland

2 scenery collections were delivered by E. T. Harvey

2 scenery collections were delivered by Henry C. Tryon

This list counts for only a fraction of the Masonic scenery produced during the late nineteenth and early twentieth century. It does not include painted settings produced for other fraternal groups, such as the Elks or Knights of Pythias. The list does not take into account scenery for other Masonic stages, such as those used in Grottos (Mystic Order of the Veiled Prophets of the Enchanted Realm), Commanderies (York Rite), or Shrines (Ancient Arabic Order of the Nobles of the Mystic Shrine).

The numbers above do not reflect any of the early scenery manufactured for some of the very first Scottish Rite lodge rooms, those scenic pieces and roll drops painted by itinerant artists or talented members. There are also those other collections produced by unidentified studios prior to 1910. Yet, when we look at the amount of historic scenery still hanging in Scottish Rite theaters across the country, the sheer amount is somewhat staggering to comprehend when considering the ephemeral nature of commercial stage scenery.

I spend a significant amount of time exploring Masonic scenery produced by Sosman & Landis in my blog, primarily because it remains a significant part of American Theatre history, long after a traditional painted aesthetic declined on the commercial stage. Much Masonic scenery is also still in use, an aspect that makes these fraternal theaters living history museums. Scottish Rite stages, machinery, scenery, lights, properties and costumes are a primary resource still available to theatre technicians for study and reference.

Masonic business for Sosman & Landis continued to boom until the onset of World War I. They road the crest of a fraternal wave that produced unprecedented profits until approximately 1915. This year also marked the passing of studio founder Joseph S. Sosman. The years 1909 to 1910 is a peak period in Scottish Rite scenery production at Sosman & Landis; the studio was swamped with it.

As I continue with Moses’ life and times from 1909-1910, keep in mind that the production of Masonic scenery is ever-present in his daily life and the running of the studio. At first, the Masonic scenery, as well as all worked subcontracted by M. C. Lilley & Co., were completed in the Sosman & Landis annex studio. However, as business boomed, Sosman & Landis’ eastern affiliate, New York Studios, run by David H. Hunt, also completed numerous Masonic projects.

To be continued…

Tales from a Scenic Artist and Scholar. Part 743 – Drop Curtains in Philadelphia, 1894 – South Broad Street Theatre and Gustave Dore

Illustration published in the “Daily Republican,” 5 Feb, 1883, page 4

The last mention of a drop curtain in “Well-known Drop Curtains in Philadelphia Theatres” mentioned Gustave Dore. The article was published “The Philadelphia Inquirer on Dec. 18, 1894.

“The famous curtain, ‘The Sleeping Beauty,’ said to have been painted by Dore, which for many years formed the chief attraction at the South Broad Street Theatre, was taken down by Mr. McCaul in 1880 and painted out.” Nothing else is mentioned of the composition or artist. I decided to do a little digging and discovered a few other mentions about Dore’s drop curtain.

In 1878, the “Pittsburgh Post” reported, “A specimen of Gustave Dore’s early work may be seen in Philadelphia, in the shape of a drop curtain of the Broadway Theatre. It was painted for the theatre of the Porte St. Martin, in Paris, and was brought to this country by the Kiralfys. It is unusually handsome” (23 Feb. 1878, page 1).

In 1879, the “Wisconsin State Journal” reported, “Gustave Dore was born in Alsace and is 48 years of age. He is a brunette – dark-eyed, black haired – and is a bachelor. It is not generally known outside of Philadelphia that the drop-curtain at the Broad Street theatre was painted by this artist. It is the only curtain Dore ever painted” (Madison, 9 Dec, 1879, page 1).

The only other scenery that I came across noting Dore’s scenic art work appeared the “Boston Globe” during 1877. The article reported, “The revival of ‘Robert le Diable” at the Grand Opera is chiefly noteworthy for the magnificent scenery which has been given the production. The forest scene in the second act by Gustave Dore, is pronounced very fine, and the cloister scene in the last act a marvel of artistic skill” (13 Jan 1877, page 2).

Much has been written about Dore as an artist, with very little mention of any scenic work. Only three years after his drop curtain at the Broad Street Theatre was removed in Philadelphia, the artist passed away. “The Daily Republican” published an article about Dore’s passing, reporting,

“The best known artist of modern times, Paul Gustave Dore, died on the twenty-third of January 1883. He had survived his extraordinary popularity, which was due rather to fertility and daring originality of genius than to superiority of conception and thorough work, which give enduring value to artistic productions. During his short life he made about fifty thousand designs founded on a remarkable diversity of subjects. He developed surprisingly capacity in various departments of art, but did not attain an enduring distinction in either. His work was too diffuse, his undertakings too numerous, to give him more than ample income and an evanescent eminence. That chapter in the history of art covering Dore’s period of activity will not record his name among immortal master.

Dore was born in Strasbourg, January 6, 1833. He was taken to Paris before his school-boy days, and educated in the capital, at Lycee Charlemagne. The bent of his genius was disclosed early in life. His first lithographs were produced when he was only eleven years of age. When he was fifteen his series of sketches entitled ‘The labors of Hercules’ was exhibited at Paris. His earliest efforts as an artist yielded him a precarious income, made chiefly by illustrating cheap books and illustrated periodicals. In 1848 certain sketches made by him in pen and ink, were exhibited in the Solon, Paris. Six years later his designs for ‘The Wandering Jew’ gave him a reputation in other countries beside France. In the same year, 1854, he produced the most powerful designs originated by him throughout his whole career, namely, those for Balzac’s ‘Contes Drolatiques.” His pictures illustrating Milton’s ‘Paradise Lost’ were made in 1865, in which and the subsequent year, he illustrated the Bible. In 1866 and the two subsequent years, he illustrated Tennyson’s ‘Idylls of the King.” ‘Christ Leaving the Prætorium,’ a gigantic picture, was exhibited at the Solo, 1876, and in the same year and place, his ‘Entrance of Christ into Jerusalem.’ His last seven years of the prodigious activity, which terminated only with his death, were I part bestowed on the illustration of Shakespeare. The disease which carried him off was inflammation of the throat, a result of a severe cold.

The deceased artist lived a simple, quiet life with his mother. He was a bachelor, married, as he expressed it, to his mother and his art. He would facetiously ask his friends, when they spoke of his wifeless condition: ‘Must a man be a Turk to prove he is of a domestic turn.’ The two wives he had were enough for him. He was a strongly-built, athletic man, and in his youth excelled in feats of strength and agility. His complexion and eyes were exceedingly dark, and his hair raven black. Visitors to his studio, which was the best provided in all Paris, found him in one of two contrasting moods – either in frolicsome, frank, childlike Dore who was irresistibly amiable, or a saturnine, morbid being, ashamed of himself and an affliction to his friends. In a review of his life the necessity is to deplore the fact, that Dore’s attainments as an artist were vastly disproportioned to the originality, versatility and power of his genius” (The Daily Republican, Monongahela, Pennsylvania, 5 Feb. 1883, page 4).

To be continued…

Tales from a Scenic Artist and Scholar. Part 742 – Drop Curtains in Philadelphia, 1894 – Gilmore’s Auditorium and H. J. Overpeck

Gilmore’s Auditorium constructed at 807 Walnut Street in Philadelphia, just one in a series of popular nineteenth-century theaters located at the same address. Welch’s National Amphitheatre and Circus, the Continental Theatre, the American Variety Theatre, Fox’s New American Theatre, the Grand Central Theatre, and Gilmore’s Auditorium. The tale of four fires is presented in an interesting post by Harry Kyyriakodis about about the various entertainment venues at this address. Here is the link: https://hiddencityphila.org/2013/05/blazing-ballerinas-and-a-rampaging-elephant-at-807-walnut-street/

Photograph of Gilmore’s Auditorium, Philadelphia, from the “Official Building Directory and Architectural Handbook of Philadelphia,” 1899, p 257.

The theater’s proprietor, William J. Gilmore, had made a career in theater management by the time Gilmore’s Auditorium was constructed. He had successfully managed several Philadelphia theaters as well as others across the country.

“The Times” included an article on Gilmore’s Auditorium rising from the site of the burned Central theatre on June 4, 1893 (page 15). The article reported, “From the ruins of the New Central Theatre is rapidly rising a new building that will be, when completed, one of the finest playhouses in America. The new theatre will be known as ‘Gilmore’s Auditorium,’ and built in the Moorish style of architecture, from brownstone, terra cotta and light buff brick, beautifully embellished with colored glass and new electric lights. Architect John D. Allen, under whose direct supervision the house is being erected, has provided every device known to modern science that contributes to the safety and comfort and convenience of the prospective patrons, resulting in a building that is practically fireproof. One of the chief factors contributing to this end of the building is the proscenium wall, having no opening between the stage and auditorium except the arch, which is protected by a heavy asbestos curtain, while the stage roof is fitted with an automatic ventilator, so adjusted that a rise of a few degrees in temperature will at once open it and form an excellent flue by means of which any flames that might possibly break out in the stage or among the scenery, would be diverted from the building proper. The system of heating and ventilating adopted has been proved absolutely effective, thus insuring a cool house in summer and a warm one in winter. The colors selected for all interior decorations are such that everything harmonizes in the manner, forming a perfect rest for the eyes, which is not destroyed even when the full glare of the innumerable electric lights is turned on. So rapidly has the work of construction progressed that although the ground was broken only on February 8 last, it is expected to throw open the building for inspection early in August. Taking into consideration that only thirty-two clear working days were available since the beginning of the work the progress has been wonderfully rapid, although everything has been done in the most careful and workmanlike manner.”

Image of Gilmore’s Auditorium during construction from “The Times,” (Philadelphia) 4 June 1893, page 15

Gilmore’s Auditorium was illuminated by electricity and boasted a seating capacity of 3,076. John R. Wilkins was listed as the scenic artist in Julius Chan’s Official Theatrical Guide, 1896. With the theatre on the ground floor, the proscenium measured 33 feet wide by 34 feet high, with the distance from the footlights to the back wall being 30 ½ feet. The distance between the side walls was 75 ½ feet and the distance between the girders measured 42 feet. It was 60 feet from the stage to the rigging loft, with the depth under the stage measuring 9 feet. There were three traps and one bridge along the back wall. By 1905, Gilmore’s Auditorium became the Casino Theatre, soon gaining a reputation as a popular burlesque venue.

The Gilmore’s Auditorium asbestos curtain was mentioned in “Well-known Drop Curtains in Philadelphia Theatres,” published in “The Philadelphia Inquirer on Dec. 18, 1894. Instead of listing the scenic artist, the article highlighted the stage carpenter for his innovative stage machinery- hydraulic engine was used to lift the asbestos curtain.

“The asbestos curtain in Gilmore’s Auditorium is a model of its kind. The curtain is thirty-four feet wide by thirty-six feet high, and is lifted and lowered by means of a one-half inch steel wire cable over a drain in the flies. The curtain, which is nearly one-half an inch thick, is not rolled up, but lifted bodily, away up in the flies by a small hydraulic engine. It is painted a creamy buff in harmony with the other decorations, but is devoid of any ornament save the single word “Asbestos” painted in the center. All of the act and scene “drops” in this popular amusement temple, like the asbestos drop, are made to lift bodily, the system, which is new, being devised and put in by Mr. Gilmore’s stage carpenter, H. J. Overpeck.”

. The only information that I have uncovered pertaining to anyone named Overpeck in the theatrical profession is an A. J. Overpeck who was listed as a stage machinist with Baitley Campbell’s Siberia in Harry Miner’s Professional Directory (1884). By 1896, Julius Cahn’s Official Theatrical Guide would list Harry Spillman as the stage carpenter and electrician.

Of asbestos curtains, however, an interesting article was published the same year in the “Boston Globe” (23 Feb. 1894, page 8).

“Asbestos Curtain at the Boston.

It is the duty of every theatrical manager to provide his patrons with the best protection possible against fire. No means has yet been discovered equal to a fireproof curtain, and such a one as the Boston Theater has just been put in place is the best of its kind. The curtain is 52 by 50 feet and is made entirely of asbestos. It is hung by wire rope which runs through iron chives [sheaves] fastened into the brick wall over the proscenium, and as all the battens are of iron piping, there is not a bit of woodwork or anything combustible about the entire construction.

The curtain was put in place by Mr. W. P. Prescott, the theater’s machinist, who also made all of the machinery. Last week a test was made before the insurance commissioner, and he pronounced it a splendid piece of mechanism and an ample protection.

By pulling a small wire rope at the prompt stand the curtain can be lowered in three seconds, so that in case of fire not an instant will be lost in shutting off the auditorium from the stage by an asbestos wall through which no flames could penetrate.”

Furthermore, an article in the “Democrat and Chronicle” (Rochester, New York) on Dec. 6, 1894, was entitled “Theater Fires” (page 6). It reported, “Statistic of theater fires from 1751 to the present year have been compiled by the Scientific American, and the figures show a total of 460 theaters destroyed in all countries during the period covered. There were 31 of these disasters in London, 29 in Paris and 29 in New York. The number of victims was great, but as separate lists of the killed and wounded are not given, no accurate statement of the loss of life can be made. It was, however, appalling.” The article later commented, “We believe that most of the modern theaters in this country afford fair protection of their patrons, by means of asbestos curtains, which can be lowered quickly, separating the stage from the auditorium, and by reasonably ample facilities for exit.”

Finally, as asbestos curtains gained prominence by the end of the 19^th century, a funny article came out that reminded me of the plain asbestos curtain hanging at Gilmore’s Auditorium. It was published in the “Philadelphia Inquirer” on Feb. 7, 1897, page 20: “I has an afternoon off this week,” said a well-known comedian to me last evening, “and as I had nothing else to do I wandered into a theatre where a matinee was being given. Directly in front of me sat two stylishly-gowned girls, and they wore hats that were veritable flower gardens. Of course, I could se very little of the stage, but I was repaid by the charming conversation I was forced to overhear. It was just previous to the opening overture and the fair maids were discussing the asbestos curtain.

“That curtain is not half as pretty as the one they used to have here,” said one.

“No indeed it is not, chimed in the other.

“By the way, Marie, who was Asbestos?”

“Asbestos?” queried her friend.

“Why Asbestos was a Roman general, wasn’t he?”

“Was he?”

“No. Laura; let me think – Oh, I remember now; he was a mythological character.”

“Why to be sure he was,” acquiesced Laura.

“How foolish of me not to have thought of it.”

“And they resumed munching caramels.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 741: Drop Curtains in Philadelphia, 1894 – Clarkston Dye and the Kensington Theatre

Scenic artist Clarkston Dye was mentioned in the article “Well-known Drop Curtains in Philadelphia Theatres” published in “The Philadelphia Inquirer on Dec. 18, 1894.

“One of the prettiest landscape pictures on a drop curtain is that of the Kensington Theatre, painted by Mr. Clarkson Dye, giving a view of the river-bank of the Delaware. A picturesque bit of marsh land to the right, and a representation of the wharf traffic, with the empty boats, carts, dock-loafers, etc., in the foreground lend life to the scene.”

Built in 1888, the Kensington Theatre had a seating capacity of 1,400. Situated on the corner of Frankford Avenue and North Street. The land and building were surveyed by E. Hexamer & Son on February 23, 1889. The owner was John W. Hart, with Jacobs and Hickey as the lessees. The proscenium opening was 29 feet wide by 35 feet high. The distance to the back wall was 34 feet and this distance between the footlights to the curtain line was 4 feet. The distance between the side walls was 53 feet with the distance between the fly girders at 36 feet. There were five sets of grooves for scenery with the height of the grooves from the staging measuring at 18 feet high; they could be taken up flush with the gallery. The distance between the stage to the rigging loft was 44 feet.

Dye also painted a drop curtain for the Ninth Arch Street Museum in Philadelphia that was mentioned in the same article:

“A reproduction by Mr. Clarkston Dye of a very charming picture painted by Mr. Irving R. Wiles for the Academy of Music at Baltimore forms the drop curtains of the Ninth and Arch Street Museum. The flower market at the entrance of Central Park, New York, is the scene represented, with the wide boulevard thronged with stylish turnouts and promenading figures of pretty girls. The coloring is high, yet delicate, and the picture is altogether a fine specimen of the kind.”

Of the artist, I have been unsuccessful in locating any information at all beyond this article- a first for me.

To be continued…