Waszut-Barrett Scenery Documentation – Page 16

Travels of a Scenic Artist and Scholar. The Collingswood Scottish Rite, July 13 and July 17, 2019.

The front of the Collingswood Scottish Rite includes the original mansion that was built on the property in the 1850s

The design for the Collingswood Scottish Rite

My visit to the Collingswood Scottish Rite on July 13, 2019

In 1991, I encountered a series of Scottish Rite scenic designs with “Camden, NJ” written on the back. This was while I was processing the Holak collection for the University of Minnesota Performing Arts Archives as part of an Undergraduate Opportunities Program grant. The Holak collection was the second of two Masonic scenery collections that I processed between 1989 and 1991. The Holak collection included a variety of designs created by “Sosman & Landis” and their eastern affiliate “New York Studios.”

By 1992, I journeyed to the East Coast for the first time, newly engaged and visiting my fiancée’s family in Delaware. Unfortunately, there never seemed to be any opportunity to track down the Camden Scottish Rite, so it sat on the back burner for a few decades until this month.

Over the years, I would think of the Camden designs every time we visited friends or family in New Jersey. Opportunity finally presented itself while I was attending the League of Historic America Theatres national conference in Philadelphia. I was on my way back to New Jersey with our eldest child’s godparents when we decided to stop by and take a look. I had not scheduled a visit or checked if the building would even be open, just hoping to catch a glimpse of the fly tower. The Collingswood Scottish Rite was only two blocks away from the Camden city line and bustling with activity when we stopped.

There were cars in the parking lot and many exiting the building – score! This meant that I might be able to venture in far enough to see the lobby, and possibly the theater. Unbelievably our arrival coincided with the break between the matinee and evening performances of “Seussical” – not by the Masons, but by a local community theater group. Although, the idea of a Masonic version of “Seussical” does make me giggle – “Oh, the Thinks You Can Think!” But I digress…

Once inside the building, I met with an enthusiastic woman who eagerly listened to my connection with Masonic theater and then introduced me to Mary, the woman in charge. She was also delighted to hear my history about Scottish Rite scenery and promptly offered us a tour of the stage, patiently waiting while I climbed up to the fly gallery. “Seussical” had not been presented in the theater due to lack of central air. Instead, it was being presented in the only air-conditioned space below- the banquet room.

Postcard depicting the auditorium and one stage setting at the Collingswood Scottish Rite.

The proscenium line at the Collingswood Scottish Rite

The fly gallery at the Collingswood Scottish Rite

After examining the toasty auditorium and stage, we wandered up to another room where some of the backdrops were stored. I would later learn that local riggers working touring shows at the Collingswood Scottish Rite demanded the removal of the historic drops. All this seems very odd and I sincerely hope that I have misunderstood the chain of events leading up to the removal of the scenery. In the end, some of the scenes were gifted to the community theater for productions. The gifted drops have been repaired and repeatedly used in local theatre productions.

Without being able to unfold any of the drops, or see a stage book, I had no way of knowing if the Holak designs were ever realized for this particular venue. The designs may have simply been for a preliminary proposals. My host suggested that I contact the Scottish Rite Secretary the next week and meet with him, specifically asking to see the stage book.

It was not until after the conference ended, that I returned to the Scottish Rite, scheduling a meeting with the Scottish Rite secretary and bringing a few LHAT friends. I enjoyed a second tour of the theater before examining the stage book and chatting with the Scottish Rite representative. Before the scenery collection was removed, each backdrop had been photographed and placed in a packet, noting the original line sets. As I slowly flipped through the packet, I recognized many of the compositions from the Holak collection.

Folded backdrops at the Collingswood Scottish Rite

A design from the Holak Collection, with “Camden, NJ” written on the back.

Photograph of the same scene in the Collingswood Scottish Rite stage book

Although the scenery collection is folded up and in storage, it still exists – for now. There is also a greater possibility that the historic backdrops may avoid a final resting place in a dumpster if there is any perceived value of the artifacts; I did my best and even left a copy of “The Santa Fe Scottish Rite Theatre: Freemasonry, Architecture and Theatre” for the Scottish Rite Valley library.

The history of the Collingswood Scottish Rite complex is quite unique and fascinating. The Masons purchased the parcel of land with the intent of leveling the existing 1850s mansion that remained on the property at the time of sale. At some point, plans changed and the mansion was not leveled, just abbreviated; the front portion was left standing to be used as Scottish Rite offices. The new theater building was then connected to the back of the old mansion.

Recently, the Scottish Rite sold its building to the city, reserving the right to maintain the offices and use the lodge room. This arrangement is becoming more common across the country, as Scottish Rite Valleys sell their buildings for pennies on the dollar and negotiate with the new owners to still meet in the space. I remain unsure as to how much the theater is used for Scottish Rite degree productions, if it is used at all. Remember that the Northern Masonic Jurisdiction has mostly transitioned from degree productions to video presentations for instruction. The Collingswood Scottish Rite auditorium hosts a variety of touring shows, including an upcoming performance by Pink Martini, my new favorite musical ensemble. The current bookings at the Collingswood Scottish Rite remain limited to spring, fall and winter due to the lack of any central air.

To be continued…

Travels of a Scenic Artist and Scholar. The Howell Opera House as Listed in Theatrical Guides, 1882-1884

Late nineteenth century theatrical guides provide great insight into historic theaters, especially the technical specifications, staff and local network of support for touring groups. I often cite Julius Cahn’s Official Theatrical Guide when writing about various historic theaters,” however, there were other theatrical guides too, including: Harry Miner’s American Dramatic Directory; The Donaldson Guide; Jno. B. Jeffery’s Guide and Directory to the Opera Houses, Theatre, Public Halls, Bill Poster, Etc. of the Cities and Towns of America; and Henry’s Official Western Theatrical Guide. Each provides a unique snapshot of theatrical activity and stage houses in North America. From small rural towns to large metropolitan areas during the 1880s through 1920s, one understands the scope of American theater construction, as well as the daily operation. These guides are a wonderful resource for historians, historic theatre enthusiasts and theatre technicians.

In 1884, the Howell Opera House was listed in “Harry Miner’s American Dramatic Directory.” Published by the Wolf & Palmer Dramatic Publishing Company, in New York, the publication was advertised as “a complete Directory of the Dramatic and Operatic Professions and a Guide to the Opera Houses, Theatres and Public Halls of America together with much other Information of Value to the Amusement Profession.”

The Howell Opera House entry listed a seating capacity of 825, with a stage measuring 26×44. Both Donaldson and Jeffrey confirm this size stage in their respective publications. It was only Harry’s Miner’s Directory that provided additional measurements and other technical specifications. The Howell’s proscenium opening was 19 feet high by 20 feet wide. This opening suggests that many of the roll drops were approximately that size, give or take a foot, depending on the painted side tormentors and other wings. The height from the stage to the top grooves measured 13 feet with 22 feet from the stage to the rigging loft. The groove height was to accommodate the painted side wings to mask the sides of the stage. The depth under the stage was 5 ½ feet with one trap in the stage floor. Traps allowed action to either emerge from, or disappear into, the stage floor, such as an apparition.

Harry Miner’s Directory also listed eight sets of scenery that were created by Sosman & Landis, with R. T. Holmes was listed as the stage carpenter. This was a standard delivery that would contain eight backdrops. The subject mater would range from landscapes, seascapes, woods and garden scenes to city scenes, fancy interiors, plain interiors and prisons. Each scene would utilize at least one pair of wings to conceal backstage activities. These wings were likely 4 to 6 feet wide by 13 feet high. It remains unclear how many sets of grooves were installed during the original installation of stage machinery and scenery. Additionally the original scenery installation would have included painted flats and profile pieces, such as garden balustrades, statuary, or rocks.

Some of the of the most exciting backstage elements that I noticed at the Howell were the extant border lights. A wooden base held the sockets; this same type of system was originally installed at the Scottish rite Theater in Guthrie, Oklahoma, only to be removed and replaced with a metal version less than a decade later. This was the first example that I have encountered since reading a description written by M. C. Lilley western sales manager, Bestor G. Brown.

Wooden border lights at the Howell Opera House.

Another exciting artifact was an original windlass, still positioned in the stage left wings, waiting to raise and lower the front curtain. There were so many other historically significant artifacts littering the old stage, that it blurred my focus; too much information to take in at once. I could have stayed for hours, but my guide had an impending dinner appointment.

From an administrative perspective, Harry Miner listed the Howell’s rental rates as $25 for one night and $50 for three nights. This number varies a bit from Jeffrey’s 1882 guide that reported rental rates were one night, $30; two nights, $50; three nights, $70, and one week, $125. Both publications noted that the preferred “to play on shares with good attractions.” The equivalent purchasing power of $100 in 1882 is around $2500 today. Between 1882 and 1884, the management of the venue went from Hunter & Holmes to just T. B. Hunter.

In addition to the above information, Miner’s noted the advertising protocol and local marketing expenses for touring production advertising. The local newspaper was the “Republican,” with advertising rates being $3 per column. Touring companies received a special rate at the hotels of $1.25.

Initially the Howell was illuminated by gas, with the gas jet holes for footlights, still being visible on the edge of the stage’s apron. As with many theaters during the turn of the twentieth century, gas jets were replaced with electrical fixtures. At the Howell, original gas fixtures were simply converted to electric. What is exciting about this aspect is that almost all of the original fixtures still exit, preserving the historical aesthetic throughout much if the building. The auditorium’s chandelier is a treasure to behold, instantaneously transporting any visitor to the 1880s.

Gas chandelier at the Howell Opera House that was later converted to electricity.

Later electric footlights installed at the Howell Opera House to replace original gas lights with reflectors.

Original holes for gas jest and reflectors for footlights at the Howell Opera House.

During my tour of the Howell, my guide discussed many of the original artifacts that still exist. For example, poster bills and the signatures of famous personalities still grace the walls backstage. The amount of information contained in a relatively small area upstage of the proscenium wall, would cause any theatre historian’s heart to rapidly flutter. Each pasted piece of paper represents a production, providing a sneak peak into the performers and technical crews of the past. Most recently, piles of peanut shells were found under the balcony’s floorboards, left from patrons munching during a show over a century ago.

A small sampling of poster bills pasted to backstage walls at the Howell Opera House

Although some physical alterations have occurred over the decades, most instigated by well-meaning architects and structural engineers, much remains preserved. For example, even though the original grand staircase that led from the street to the second floor theater was removed, the original front doors were carefully sets aside. One of two original box offices, located at the top of the grand staircase, also remains as a window into the past. Although some of the dressing rooms were walled off when I new backstage staircase was constructed, they were not gutted, just entombed for another generation.

This theater is silently waiting for the renovation to continue.

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.

Travels of a Scenic Artists and Scholar: Thalian Hall’s Scenery Collections

For over a week, I have focused on the scenery produced for the Thalian Hall in Wilmington, North Carolina. Dozens of scenes were delivered from 1858 until 1909. This history is similar to thousands of other nineteenth century theaters across the United States, not accounting those that were lost to fire. Scenery was repeatedly delivered to entertainment venues in the 19^th century as managers sought various ways to attract the public, drawing audiences in with painted scenes. Then, as now, the audience expected to see something new and exciting. Here is a brief recap of the scenery delivered to the Thalian Hall from 1858-1909.

Russell Smith painted the original drop curtain and first set of stock scenery in 1858. By 1871, Smith’s original scenery was touched up by local artists.

The original 1858 Russell Smith curtain.

A decade later, in 1881, new scenery by Wilmington artist Ernest V. Richards was purchased at an expense of $247.00. Little is known of Richards beyond a few advertisements that he placed in Wilmington newspapers. Richards’ ran a “scene, fresco and sign studio” located on the “corner of Front and Princess streets (up stairs)” in Wilmington (Wilmington Morning Star, 21 Nov. 1888. Page 1). His newspaper advertisement noted, “All commissions in Art Work promptly attended to. Special designs in Christmas Cards and Advertising novelties.” By 1889, Richards expanded his service to include “Stained and Leaded Glass,” providing estimates and designs for church and house windows, with “matching and repairing a specialty” (The Wilmington Messenger, July 24, 1889, page 5).

In 1895, E. V. Richards again touched up the drop curtain and scenery at an expense of $53.80. This would be his last project for the theater, as William F. Hamilton was selected as a scenic artist to design and paint new scenery for the stage. In 1896, W. F. Hamilton converted the original painted curtain by Russell Smith from a roll drop into a fly drop. He also painted a new drop curtain and four new sets of scenery for the theater. In addition to working as a scenic artist, records indicate that Hamilton “completed a few other necessary improvements.” Transforming a roll drop into a fly drop suggests that a fly loft was added. Hamilton returned in 1899 to paint another drop curtain for the opera house.

On August 28, 1904, “Wilmington Morning Star” the stage was enlarged ten feet and scenery was again added to the stock. Records indicate that new scenery was delivered by C. N. Garing of Garing Scenic Studio painted new scenery. Garing was a lesser-known scenic artist who worked throughout the Carolinas. On September 5, 1905, the “Wilmington Morning Star” reported that new scenery was painted for the venue and “many new appointments added.” Little is known of Garing, by in 1907, he was living in Atlanta, Georgia (The Alamance Gleaner, 11 July 1907). That year, he was awarded the contract to paint stage scenery for the new opera house in Graham, North Carolina. As a side note, Garing’s brother was the well-known musical director A. J. Garing who worked at the New York Hippodrome (1918).

In 1909 after the renovation, all of the old scenery on stage was replaced with all new versions from New York. On August 5, 1909, the “Morning Star” reported “Yesterday a special scenic artist from New York city arrived and is now at work planning the full equipment of new scenery for the theatre, including a handsome drop-curtain, and will also map out the pretty interior decorations…the electric equipment of the theatre is also to be the most elaborate…The scenic artist will also direct the work of the interior decoration for the theatre, and is one of the best men in the business, representing a well-known northern studio.”

On August 20, 1909, the “Morning Star” included, “The painting of the scenery is fast progressing at the theatre, and today a handsome front curtain reached the city from the north, through there will also be a fine painted one here, this giving the theatre two curtains.”

When considering the amount of scenery delivered between 1858 and 1909, it is shocking to see that only two pieces remain – the original drop curtain and a book flat. However, looking at historic venues nationwide, this is a significant find. Many nineteenth century theaters have no painted remnants from their past, especially something that was delivered when the venue opened. Tomorrow will be my last post on the Thalian Hall and I will look at the last restoration of the 1858 drop curtain. Over 150 years, this curtain was “touched up” and “repaired” numerous times, each with the original paint. The most recent repair to patched and water-damaged areas incorporated the use of oil pastels.

To be continued…

Travels of a Scenic Artists and Scholar: William F. Hamilton and New York Studios in Wilmington, North Carolina

Nineteenth century scenic artists relied on satisfied clients; this not only helped secure future contracts but also guaranteed repeat customers. William F. Hamilton created scenery for the opera house in Wilmington, North Carolina, during 1896 and 1899. He was linked to the 1909 production of scenery too.

On August 25, 1896, the “Wilmington Morning Star” included the following announcement on the first page:

“Improvements at the Opera House.

“Mr. W. F. Hamilton, scenic artist and stage manager of the Standard Theatre, New York city and his assistant arrive in the city to-day to paint things in general in the Opera House. The present roll-curtain will be converted into a drop curtain, and a new drop curtain will be added. Four new sets of scenery will be painted and other necessary improvements in this line will be made. The theatrical season of 1896-97 promises to be the most successful for many years. The house will open with ‘Jim, the Penman,’ on the 7^th of next moth.”

A few years later, Hamilton returned and the “Wilmington Morning Star,” reported “Mr. S. A. Schloss informed a representative yesterday that he had just closed a contract for a new drop curtain for the opera house, to be painted by Mr. W. F. Hamilton, the celebrated scenic artist of the Star Theatre, New York City. Mr. Hamilton was in Wilmington about two years ago and most of the finest scenes now at the Opera House were painted by him” (10 Oc. 1899, page 1).

And then there was his connection with another installation. The opera house underwent a significant renovation in 1909, with the installation of the current proscenium arch, measuring 32’ by 26.’ The work was completed under the direction of commercial lessee S.A. Schloss. In a local newspaper article Schloss explained that he was planning to restore and rehang the original drop curtain.

When I visited Thalian Hall this spring, Tony Rivenbark shared another piece of scenery found tucked away at the theater that looked to date from the early twentieth century. Sitting at the top of a backstage landing was an old book flat. It depicted a wood scene and was intended a masking, or a wing, for the side stage.

The New York Studios stencil on the Thanlian Hall flat in Wilmington, North Carolina, ca. 1910.

A painted detail from the New York Studios flat.

Backside of the New York Studios flat at the Thalian Hall in Wilmington, North Carolina.

The New York Studios flat at the Thalian Hall in Wilmington, North Carolina.

Amazingly, there was a studio stencil on the back of the flat, New York Studios. New York Studios was the eastern affiliate of Sosman & Landis of Chicago, started by David Hunt during the first decade of the twentieth century. In 1910, newspapers verified their increased presence in New York, describing scenery produced by “the well known New York and Chicago artists, Sosman & Landis” (The Times, Streator, Illinois, 14 Sept. 1910, page 5). New York Studios was incorporated on April 8, 1910, and lasted until its dissolution on Dec. 15, 1939.

An ad for The New York Studios from 1927.

In 1904, Joseph Sosman and David H. Hunt convinced Thomas G. Moses to return to Sosman & Landis in Chicago, effectively ending his partnership with Hamilton. Moses fostered many theatre connections along the eastern seaboard after establishing Moses & Hamilton. The success of the from 1900-1904 proved an asset to Sosman & Landis upon his return.

The New York Studios stockholders in 1910 included David H. Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle. Like many firms, they operated under the name prior to incorporating.

Hamilton continued to work for New York Studios until he permanently moving to San Francisco to focus on Shrine Circus scenery and other large spectacles during the early 1920s. A “Variety” article from November 9, 1921 noted Hamilton’s continued connection to New York Studios that year, while also working for local firms. Under the heading “Hamilton’s Special Events,” the article commented, “W. F. Hamilton, formerly of the New York Scene Painting Studio, came to San Francisco to prepare the scenic equipment of the recent Shrine Circus.” In San Francisco, Hamilton also found work at Flagg Studios.

To be continued…

Travels of a Scenic Artists and Scholar: The Drop Curtains of Thalian Hall in Wilmington, North Carolina

Many theaters forget their past. Fire, hurricanes, tornados or renovations can destroy artifacts that were never documented in the first place. Painted scenes and machinery are removed, stored, or disposed of at some point and then forgotten. When considering the amount of change that happened to Thalian Hall over the past 150 years, one has to believe that this drop curtain keeps reappearing for a purpose.

The original 1858 drop curtain painted by Russell Smith pictured in 1947.

Changes made to the theater since it opening in 1858 were documented in a paper, written and compiled by Isabelle M. Williams in 1976. There is also a wonderful book and numerous articles written by D. Anthony Rivenbark about the theater. Much of the information below is from the research of these two authors.

In 1858, Russell Smith received $200 for the drop curtain, a bill paid by five businessmen in Wilmington, North Carolina.

The 1858 drop curtain by Russell Smith now hangings in the lobby of Thalian Hall.

In her paper, Williams notes that major revisions to the theater took place at Thalian Hall in 1867-9, 1881, 1900, 1904, 1909 and 1938. She wrote, “It was remarkable that Thalian Hall has endured it all …” The renovations made over the decades were substantial, but it was the continuing delivery of scenery to the venue that really intrigues me the most.

In 1858, the original proscenium was described as 30 feet high and a little less in width, with a stage area measuring 42 feet by 57 feet. It is believed that the original width of the proscenium was actually 28’ wide by 22’ high, making the drop curtain’s 29’w x 23’h measurements noted on the preliminary drop curtain sketch reasonable.

At the time of installation, it was common for a theater to include a painted grand border; this often occupied the top third of the proscenium opening. A painted grand border and painted side tormentors reduced the proscenium opening for a much more intimate staging. However, if the painted grand border, torms, and drop curtain were removed, the large proscenium opening could accommodate other forms of entertainment, such as aerial acts.

The current remnant of Smith’s original drop curtain was constructed with vertical seams, very similar to the backdrops manufactured at the Sosman & Landis studio in Chicago. The drop curtain panels measure between 26” and 27” wide. There are eleven full panel sections and two partial panel sections, in addition to the two fabric extensions that were added to each side at a later date. The total width of original painted fabric that still remains is approximately 27’ wide. The original edges of the drop, complete with leather rings rope guides, were retained and shifted; with a fabric insert in between the final panel, cut in half to extend the overall width of the drop curtain.

The original curtain (left) and fabric insert (right).

Williams further writes that by 1900, the “curtains” surrounding the drop curtain were replaced, as plans called for a new proscenium and grand drapery. At the time, the term “curtains” often noted painted pieces, while “drapery” described hung fabric that was not painted. It is likely that the original painted tormentors were replaced with actual draperies, thus necessitating the original drop curtain to be enlarged. Also, the Thalian Hall stage was altered “to give more room for scenery.”

There was also another drop curtain installed at Thalian Hall by William F. Hamilton. On October 10, 1899, “The Dispatch” reported, “Mr. A Schloss, the lessee of the Opera House has closed the contract for a new drop curtain for the Opera House. It will be painted by Mr. W. F. Hamilton of the Star Theatre of New York City. William F. Hamilton is the same scenic artist who I have previously written about; the one who partnered with Thomas G. Moses and formed Moses & Hamilton in 1900. The studio produced scenery for opera, Broadway and Coney Island from 1900-1904. Moses & Hamilton set up their new studio at Proctor’s 125^th Street Theatre, a variety theatre in New York City that included a scene room. They also rented paint frames at two other theaters. When their partnership ended, Moses returned to Sosman & Landis while Hamilton stayed in New York.

Hamilton was no stranger to Wilmington. In 1896, The “Wilmington Morning Star” reported, “Mr. F. C. Peckham, of New York, assistant to Mr. W. F. Hamilton, scenic artist and stage manager of the Standard Theatre, arrived in the city yesterday and will commence work on the scenery and a new drop curtain at the Opera House (Wilmington, NC, 26 August, 1896, page 1). It was not uncommon for a venue to include more than one drop curtain; a front drop curtain (landscape composition surrounded by ornamental frame and painted fabric surround), an advertisement curtain (sponsored by local businesses), and an olio curtain (for entr’acte pieces, such as short musical numbers between melodramatic acts); these would all be termed “drop curtains” to accompany the remained of painted settings. Drop curtains could also indicate painted backings, what we consider backdrops now.

J. Constantine provided another drop curtain and two scenes. Constatine was from the Grand Opera House in New York in 1900. The constant trickle of scenery into the theater is not unusual at all. Unfortunately, we do not know the exact compositions for any of the drop curtains painted besides that of Russell Smith. Consantine’s two additional settings, however, were described somewhat. The new scenery included an interior parlor setting with fourteen pieces and a street scene with borders (Star, May 8, 1900, page 13). I interpret this description to mean that the interior parlor scene included fourteen interchangeable flats that were lashed together, a standard interior box set for the time. The street scene included a backdrop, wings, and sky borders. That year, the stage was also remodeled to make room for the additional scenery, necessitating the purchase of new stage machinery at an expense of $740.

By 1904, there was a mention about a change in the proscenium, with the stage being enlarged by 10 feet. This did not include the proscenium opening, just the actual backstage area.

The original Russell Smith drop curtain was finally taken down and stored in the attic when a new front drop curtain arrived from New York City in 1909. The proscenium opening was not listed in Julius Cahn’s Official Theatrical Guide as being 35’ wide. A renovation of this sort, often demands new scenery or the refurbishment and expansion of existing scenery. The well-known Russell Smith curtain could have been enlarged and hung for sentimental purposes on an upstage line, or simply stored and replaced; it is not clear of the exact inventory and line sets at this time. Something prompted the removal of the curtain after the renovation in 1909.

By 1932, however, the original drop curtain was discovered in a storage room of Public Library. Smith’s work again appeared on stage in 1938 when it was hung for a brief period of time before returning to storage. At this point, records indicate that it was stored on the stage and subsequently damaged, with the top third being destroyed. Some accounts note that wheelbarrows were rolled across the top while it was on the floor, causing the damage. And the drop disappeared again before rediscovery a few decades ago.

It is astounding that this curtain survives at all, let alone is still hanging at all in the original building.

To be continued…

Travels of a Scenic Artists and Scholar: Alterations to Russell Smith’s 1858 Drop Curtain at Thalian Hall

According to Virginia Lewis in her book “Russell Smith, Romantic Realist, “ in 1872, the artist Russell Smith painted a replica of an earlier work. In 1857 Smith created the entr’acte drop curtain for the Academy of Music in Baltimore, Maryland. This replica composition was described in the “Baltimore Sun” during 1907. That year, the article reported, “a curtain, painted by the late Russell Smith, famous the world over as a curtain painting artist, has just been hung. The curtain, painted more than a quarter of a century ago, has been retouched around the borders so that it will harmonize with the decorations of the proscenium arch.” In other words, they added colors to unify the old painting with the new interior décor.

This parallels what happened to the 1858 drop curtain at Thalian Hall in Wilmington, North Carolina. The Smith curtain was enlarged and altered at some point. I studied the additions and alterations over the course of a few hours while sitting in the Thalian Hall lobby on April 23, 2019.

What initially struck me was the addition of black paint. The reason for my surprise is that black is seldom used in 19^th century and early 20^th scene painting, unless it is for lettering on an advertisement curtain. The darkest color is typically Van Dyke Brown, especially for shadow areas and it reflects light better than black. For the Smith curtain in Wilmington, opaque black shadow lines were added by a second artist well after the original composition was painted. The black was added to the painted ornament on the frame, the center medallion and the statue on the right side of the composition. However, black was not the only new paint introduced to the original painting, as both a red glaze and green glaze were added to the frame. These two colors were likely an attempt to “harmonize” the drop with the decorations of the proscenium arch, similar to what happened at the Academy of Music in Baltimore when Smith’s curtain was rehung in 1907.

In regard to the Thalian Hall drop curtain, the center medallion was repainted in a style inconsistent with the remainder of the composition; specifically, the portrait and lettering are of an inferior quality. The inferior brushwork not only applies to the actual features Thalia, but also the lettering of “Thalia.” For both, the painting style is much more rudimentary than the remainder of the work, especially the quality of the lettering. The lettering “Thalia” is not centered and even touches the bottom of the portrait. Furthermore, the font is muddy and the brushstrokes unrefined.

There is also the problem with the use of black for background for the portrait that dominates the entire composition. The black immediately draws focus from the rest of the composition. It is likely that the second, and currently artist, recognized his mistake as soon as he stepped back from his work. I always hate to presume what an artist was thinking when creating a painting; we cannot know what was going on in another’s mind during the time of artist creation. However, here is my hypothesis, as I too have unwittingly placed myself in a similar position. After adding a detail that was too dark for the painting, you panic a bit, and think “Oops! Well, I’ll just add a little more of that same color here, and here, to make it look like as if it belongs.” This is always mistake, as a once small inconsistency grows into a substantially larger problem.

In an attempt to unify the work, the artist took the same black color from the medallion and added little touches here and there throughout the lower third of the painting to make it seem like it was part of the original color scheme. Unfortunately, the artist did not have the same ‘hand” as Smith. It is his inferior technique that gives away the over painting in addition to the color. The artist who added the black lines did not use a straight edge to draw the straight black lines. The remainder of the composition clearly shows that all of the straight lines were painted while using a straight edge. Without a straight edge, the lines waiver and suggest an artist’s inexperience; this still happens in scenic art today too.

Example of a black line added by a later artist to the Russell Smith drop curtain at the Thalian Hall in Wilmington, North Carolina.

The lettering of Thalia is inconsistent wit the remainder of the painting.

The flat black added to the statue obliterates the original shadow shapes an is inconsistent with the remainder of the composition.

The same can be said for the shadowing of the other ornamentation along the border where black is applied. The little “U” shadows placed at the bottom are also inconsistent and sporadic, unlike the remainder of the original shadow work in deep brown and sienna glazes. The black also reads as opaque, unlike the remainder of the painted ornament around the frame. Smith’s style harkens back to the English tradition of glazing. The center medallion and black accents are opaque and inconsistent with this tradition.

In addition to the over painting, the width of the entire curtain was extended and the bottom border was repainted to match the new décor, just as the case with the Academy of Music in Baltimore during 1907. In Wilmington, the fabric extensions on either side of the drop were painted in a reddish hue, likely to match the new décor. This same color was also added to the ornamental frame surrounding the landscape composition, placed as an accent on the original white and gold frame. In addition to red, green was added at the bottom. You can see that the frame was originally white with gold trim; the golden shapes being defined with yellow, ochre, burnt sienna, umber and a bit of Van Dyke brown. The red is placed as a glaze over some of the detail; effectively obliterating the dimension and making it area appear flat. The also glaze extends onto the fabric extension, which is how we know it is not original to the composition. The same can be said for the green glaze; the color again obliterates some of the detail.

It would be wonderful to see the drop as it looked when originally painted by Smith, without the black, red and green additions; they all detract from the soft atmospheric effect of the composition. In particular, without the later red accents, the small touches of that same color in the clothing of the figures would have jumped out, making the scene come alive with splashes of brilliant colors.

To be continued…

Travels of a Scenic Artists and Scholar: The Russell Smith Curtain, April 23, 2019

I spent much of yesterday examining a drop curtain painted by William Thompson Russell Smith (1812-1896) in 1858. At the time of installation, a local newspaper placed his work alongside that of other scenic artists whose work hung in many prominent New York theaters.

The Russell Smith curtain hanging at Thalian Hall in Wilmington, North Carolina

On October 7, 1858, the “Daily Herald” in Wilmington, North Carolina, reported, “There are many theatres there [New York], but none which possesses even a decent drop curtain as a work of art. Take the great Lyric Temple on Fourteenth Street, what have we there? A large masse of elaborate drawing, a pile of impossible architecture, devoid of the poetry and charm of color, and feeble in light and shade. Again at Burton’s there is an extensive canvass, the subject the town of Miessen, Saxony, celebrated for the clay which forms the world famous Dresden china, treated in a tame and common place style. At Laura Keene’s there is another mass of incongruous architecture, with great plethoric Shakespeare in the centre, at whose feet are some figures of sitting boys holding scrolls, having the appearance of very uncomfortable seat, and dangerous liability of slipping off. At the Broadway, the subject is an allegory, something of Shakespeare-for the Bard of Avon is unmistakably there-but what is about, must ever remain as inscrutable as the Egyptian Sphinx. Then at Wallack’s and the Bowery, we have one, a view on the Hudson, the other the Falls of Niagara, neither possessing a single feature entitling them to rank as works of art. The province of art, as of poetry is to expand the mind, and prepare it for the reception and diffusion of elevated ideas and reflection. And in this respect, has Mr. Smith well chosen his subjects. There are doubtless, who would have preferred a local, or national subject for a drop curtain.

“Without desiring to ignore the beauty of American scenery, or importance of many of our historic annals, let us fairly place the picture before us in the balance, and find out what are its superior attractions and intellectual teachings.

“Americans must bear in mind, that–nationally–we are but infants. We present to the world the nucleus of a great Future, the artist has portrayed the customs and great beauties of the great Past. Therein lies the lesson.

“On the banks of a beautiful river–an arm perhaps of the fair [Argean]–rises a majestic Temple of the Doric order, grand and imposing in its proportions, pure in details. On the steps of the portico a mystic ceremony is taking place. The Seers, are invoking the protection of the Gods on some favored warrior, perhaps, who is evidently about to embark on a warlike expedition, indicated by the fleet of gallies ‘peacefuly slumbering’ on the golden waters.

“When the eye has thoroughly scanned and surveyed the varied beauties of the pictures; then let the mind enquire who were those people who related such imposing edifices, sailed on such gorgeous gallies; and lived in a land of perpetual sunshine?

“As we said before, the picture is a perfect study and well worthy of an extended visit….We predict an entire success to Mr. J. F. Marchant and the new Theatre.”

The fact that this curtain still exists is unbelievable when considering that much of the original scenery was repainted over the years, and then replaced multiple times when the stage was enlarged and repeatedly renovated. The drop itself was widened, shortened and “tweaked.” Regardless of the alterations, Smith’s original design and painting radiate from the fabric.

When looking at the overall history tied to both the curtain and the theater, it is remarkable that anything remains of Smith’s painting. This significant cultural artifact disappeared and reappeared over the years, yet kept returning home. The drop curtain now permanently hangs in the lobby, greeting each new patron who arrives to see a performance at Thalian Hall.

Russell Smith’s curtain at Thalian Hall in Wilmington, North Carolina

I am going to devote the few posts to what I discovered yesterday about the drop curtain and the prolific artist who painted it. Simply put, this curtain is a national treasure.

To be continued…

Travels of a Scenic Artists and Scholar: Wilmington, North Carolina, and Scenic Artist Russell Smith

My daily blog follows the life and times of Thomas G. Moses (1856-1934), a prolific scenic artist who worked for sixty years behind the curtain line. In 1931, he compiled a typed manuscript that recorded many of his projects over the years. In the early 1990s when I compiled an index for both this typed manuscript and Moses’ scrapbook, I vowed that one day I would go though his writing, line by line, and expand on each specific event and project mentioned by the artist. I am on year 1909.

I have examined not only his work and that of his contemporaries, but also Moses’ predecessors; scenic artists from previous generations who paved the way for the painting techniques employed not only by the artist, but also at the Sosman & Landis studio. One of Moses’ scenic art predecessors was William Thompson Russell Smith (1812-1896).

Smith was integral in the training of Moses’ one time business partner and life-long friend, Walter Burridge. At one time, Burridge worked at various Philadelphia theaters, many the old stomping grounds of Smith. It was the strong recommendation of Smith who supported Burridge’s employment at the Academy of Music, in Baltimore. Burridge was hired to paint some of the scenery for that venue during his early career.

Smith was mentioned in numerous publications over the years, including the article “Curtain and Scene Painting,” published in the “St. Louis Post-Dispatch,” 21 Jan. 1884, page 8. The article reported, “The other first-class curtain painters of the country do not number more than half-dozen. All enjoy national reputations, and their services are in demand to the other.” The article listed those they held in highest regard, including “Russell Smith, formerly of the Academy of Music, Philadelphia, makes a specialty of landscapes.”

Like Moses, Smith left a legacy that extended far beyond examples of his art for the stage or fine art galleries. Smith left a detailed written account of his life, family and projects. In 1856, Virginia E. Lewis wrote “Russell Smith, Romantic Realist.” She does a wonderful job chronicling Smith’s life while incorporating segments of his words. About a year ago, I decided that it was Smith’s scenic art career that I would explore after completing the life and times of Moses. Smith’s generation of scenic artist defined American scenic art techniques, infusing old world artistry with a new spirit. Moses’ generation further developed and shaped the field of subsequent schools of American scenic art.

I am in Wilmington, North Carolina, to give a presentation on 19^th century scenic art and historical painting techniques. My trip began after a conversation with D. Anthony “Tony” Rivenbark at the League of Historic American Theater’s national conference last July. He is a nationally recognized theatre historian and Executive Director of Wilmington’s Thalian Hall. Tony shared an image of their extant drop curtain painted by Smith in 1858. Although it is no longer used during performance, the painted curtain has been conserved and is prominently displayed at the Thalian Hall Center for the Performing Arts. Here is a link to the theater: http://www.thalianhall.org/#map

I am looking forward to seeing it in person today.

To be continued…

Travels of a Scenic Artist and Scholar: The Louisville Scottish Rite, March 20, 2019

On occasion, there were USITT sessions where members visited a Scottish Rite during the conference. The last was in Milwaukee, Wisconsin. Lance Brockman and I spoke at the local Scottish Rite – the Humphrey Center. Planning the event was a less than a pleasant experience, and I have been hesitant to propose an off-site session again. That being said, whenever I am attending USITT, I look for a nearby Scottish Rite. It provides me with an opportunity to document just one more collection.

This year, I had multiple requests from colleagues who were attending USITT to visit while I was documenting the Scottish Rite scenery. I always have to check once on site that the Scottish Rite is okay with the extra people showing up during the documentation, but I never mind the company.

Some of the Scottish Rite stage crew who helped during the documentation at the Louisville Scottish Rite.

My only day to photograph the scenery was Wednesday, as there was a Scottish Rite Reunion starting on Thursday. The other logistical parameter for Wednesday was trying to finish up in time to attend the Scene Design Commission meeting. I had from 9AM to 3PM to document as much as possible and make my way back to the convention center. I knew that it would not be enough time to get everything and double-check the inventory. In short, to have people come around and chat really prohibits my ability to rapidly document scenes. However, I also don’t want people to miss the opportunity to see the collection, especially when they have asked in advance.

A group of colleagues from Cobalt visiting the Scottish Rite in Louisville, Kentucky.

Having fun with painted illusion at the Louisville Scottish Rite.

There were a few fortuitous moments on Wednesday that just made the day. The first was meeting Richard Bryant for coffee before heading over to the Scottish Rite. Richard decided to join me for a little bit, as the building was quite close to the convention center. The Masonic stagehands greeted us with donuts and a short visit. So much for my gluten-free diet, as I have no will power against a chocolate donut. Over the course of the morning, Richard did some interviews with his Archiving Technical Theatre Podcast, then ran the light board for one scene so I could capture the painting under different lighting situations. His interviews with the local Masons were such a good idea! This is something that I should have been doing for the past three decades. Richard’s podcast comes out today.

Richard Bryant interviewing a Scottish Rite Mason in Louisville, Kentucky.

Gradually, a series of students and colleagues joined me for a short while and then headed back to the conference. It is always wonderful to listen to their observations about the painting, as I always learn something new. Midway through my project, the Scottish Rite held a small pizza party for our lunch break. It was a wonderful opportunity to chat with the Masons who showed up to help work the lines. Again, so much for being gluten free.

I returned to the convention center for the Scene Design Commission meeting, as I am the VC for Heritage. After the standard introduction, we all broke into our respective sessions to plan for next year. There were only two of us in the Heritage group, Rick and I. The point of the commission meeting is to come up with topics for USITT 2020; these ideas are now filed online with the deadline being June 1. The sessions for next year have been reduced from 1 hour 15 minutes to 45 minutes, with the option for double sessions slots. I am conflicted and a little concerned about the lack of interest in heritage, the reduction of session time, and our industry’s future plans. In hindsight, as I sat with Rick and came up with several session ideas for next year, I realized that this all could have been done over a drink in a bar.

To be continued…