The second historic theater visited by League of Historic
American Theatres members during the National conference was the Merriam
Theatre. The LHAT program noted, “The Merriam Theatre, formerly the Sam S.
Schubert Theatre, is Philadelphia’s most continuous location for touring
Broadway show theatre. It is located at 250 South Broad Street within the
Avenue of the Arts cultural district of Center City, Philadelphia. The Schubert
Organization built the theater in 1918. In 1972 the theater came under the
ownership of the Academy of Music, and was owned by the University of the Arts.
In November 2016, it was purchased by the Kimmel Center for the Performing
Arts.”
The Merriam Theatre in Philadelphia
On March 30, 1918, the “Evening Public Ledger” reported,
“Plans for New Schubert Theatre.
“Theatrical patronage has recovered bravely from the
melancholy slump which afflicted it last December. It weathered the fuel
administration’s ruling and it has even experienced a rather lively ante-Easter
period. And now, despite the war, there are definite prospects for additional
footlight activity in this city.
“The handsome Schubert Theatre, under construction on the
former site of the Horticultural Hall, is scheduled from completion on May 10.
There are rumors that the daring venture of giving summer musical plays in
Philadelphia may be made. The plans have not yet fully matured, but it is
asserted on reputable authority that the new house will be opened as soon as it
is finished. The initial attraction may be “Maytime” or the new Winter Garden
potpourri, “The Passing Show of 1918.”
“Less frivolous offerings will, of course, be presented
there when the regular season is on, and by next autumn eight so-called
“first-class” theatres will be in operation here for the first time in the
city’s history. This figure can be swelled to eleven if the Little Theatre,
whose policy has lately been variable, and the Academy and the Metropolitan,
devoted to music, are included” (Philadelphia, page 10).
Academy of Music, PhiladelphiaAcademy of Music, PhiladelphiaThe Academy of Music, PhiladelphiaThe Academy of Music, PhiladelphiaPainted detail on the ceiling of the Academy of Music, PhiladelphiaPainted 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?
The opera house in Howell, Michigan.The opera house in Howell, Michigan.
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 HouseBackstage 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.
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 curtainHistoric scenery still hanging above the stage at the Howell Opera HousePainted 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.
I left Minneapolis on June 11, to head east for the League of Historic American Theatres national conference in Philadelphia. Breaking down the drive into two days, I decided to visit family in Michigan. On the way, I planned a stop at the Howell Opera House. Rick Boychuk had visited the small opera house last year and shared images of the space.
I was familiar with the name, as Sosman & Landis
delivered the original stock scenery collection. Over a year ago, I discovered
an 1882 article published in the “Macomb Journal” that listed all the
performance venues “fitted up” by Sosman & Landis from June 1881 to July
1882 (see past installments #384 and 385). Here is the article in its entirety:
“SOSMAN & LANDIS – A Leading Firm in Their Line in
Chicago – The Senior a Macomb-Raised and Educated Boy” (The Macomb Journal, 13
July 1882). “Nearly all the county
readers of the Journal know “Joe” Sosman, and that he is in Chicago in the
scenery-painting business, but few, if any, are aware of the prominence of the
firm of which he is the senior partner. “The News Letter,” a paper devoted to
the theatrical interest, in an article not long since, gave some account of the
prominence and business of the firm, which article we append below. We know it
will be perused with interest by hundreds of the “Journal” readers, who have a
lively solicitude not only for Mr. Sosman, but for every McDonough county boy
who goes out in this great world to carve his fortune, his head and hand being
his only capital. Here is the article:
“One of the surest indications that
Chicago is fast becoming one of the most important dramatic centers in America
is the evidence before us, that in all matters pertaining to the theatrical
profession Chicago has become, so to speak, a manufacturing center. Theatrical
printing, etc., have long been staple industries, but of late years, matters
which hitherto might have been considered as peculiarly belonging to the great
metropolis of the East, have taken prosperous root in Chicago. Among the industries
we refer to is that of fitting up opera houses and out of town theatres.
Some five years ago, Messrs. Sosman
& Landis, a firm composed of a couple of enterprising young fellows
established in this city what they termed a scenic studio. The beginning gave them
a good deal of hard work, but in the period we have mentioned above, their
business has grown from comparatively nothing to being one of the most
important of its description in the United States. This all speaks volumes for
Chicago as a theatrical center, and say what we may, there is no disavowing the
fact that next to New York city, Chicago is without a question the most
important locality in America in all matters pertaining to general amusement
affairs.
Perhaps no better recommendation
could be given to the firm we have referred to above than the information which
is contained in their circulars to managers, and which tells the actual number
of houses they have fitted-up since the first of June, 1881. We give the list
as a matter of curiosity as much as anything else:
New Opera
House, Rockford, Illinois
Academy of
Music, Minneapolis, Minnesota
Grand Opera
House, Richmond, Indiana
Hill’s Opera
House, Ann Arbor, Michigan
Humblin’s
Opera House, Battle Creek, Michigan
Union Opera
House, Kalamazoo, Michigan
Russell’s
Opera House, Bonham, Texas
Brownsville
Opera House, Brownsville, Texas
My Theatre,
Fort Worth, Texas
Leach’s
Opera House, Somerville, Tennessee
Kahn’s Opera
House Boliver, Tennessee
King’s Opera
House, Jackson, Tennessee
Stummer’s
Hall, Washington, Georgia
Vicksburg
Opera House, Vicksburg, Mississippi
McWhinney’s
Opera House, Greenville, Ohio
Yengling
Opera House, Minerva, Ohio
City Hall,
Athens, Ohio
Freeman’s
Opera Hall, Geneseo, Illinois
Odd Fellows
Hall, Peshtigo, Wisconsin
Hyde’s Opera
House, Lancaster, Wisconsin
Klaus’ Opera
House, Green Bay, Wisconsin
Storie’s
Opera House, Menominee, Wisconsin
Holt’s Opera
House, Anamosa, Iowa
King’s Opera
House, Hazleton, Iowa
Opera House
Nanticoke, Pennsylvania
Opera House
Athens, Georgia
Opera House Gainesville,
Texas
Opera House
Reidsville, North Carolina
Edsell Opera
House, Otsego, Michigan
New Opera House, Howell, Michigan
Stouch Opera
House, Garnett, Kansas
Germania
Hall, Blair, Nebraska
Bennett’s
Opera House, Urbana, Ohio
Klaus’ Opera
House, Jamestown, Dakota
Opera House,
Westville, Indiana
City Hall,
Mineral Point, Wisconsin
City Hall,
Lewisburg, West Virginia
Opera House,
Denison, Iowa
Opera House,
Nevada, Ohio
Opera House,
Hoopeston, Illinois
Opera House
Cambridge, Illinois
Turner Hall,
LaSalle, Illinois
Kolter’s
Opera House, Wausau, Wisconsin
Opera House
Moberlv, Missouri
Krotz’s
Grand Opera House Defiance, Ohio
Opera House,
Montague, Michigan
Opera House
Eutaw, Alabama
Opera House,
Greyville, Illinois
Opera House,
Carthage, Illinois
Masonic Hall,
Macomb, Illinois
New Hall,
Good Hope Illinois
Music Hall,
Eau Claire, Wisconsin
Temperance
Hall, Seneca, Illinois
Opera House,
Jefferson, Iowa
Opera House,
Waupaca, Wisconsin
Soldiers’
Memorial Hall, Milwaukee, Wisconsin
Opera House,
Mexia, Texas
Opera House,
Wilson, North Carolina
Opera House,
Newbern, North Carolina
Opera House,
Goldsboro, North Carolina
Grand Opera
House, Cheyenne, Wyoming
Cosmopolitan
Theatre, Miles City, Montana Territory
Arbeiter
Hall, Ludington, Michigan
Opera House,
West Bay City, Michigan
Opera House,
Detroit, Minnesota
Opera House,
Lockport, Illinois
Opera House,
Fort Atkinson, Wisconsin
Opera House,
Grass Lake, Michigan
Opera House
Demopolis, Alabama
Opera House,
Unionville, Missouri
Opera House,
Harrodsville, Kentucky
Opera House,
Hancock, Michigan
City Hall,
New London, Ohio
Opera House,
Stevens’ Point, Wisconsin
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.
We take some little pride in the
success of these gentlemen. It has always been, and still is, our ambition to
see Chicago ahead in all matters pertaining to western dramatic affairs, and
the unusual success which has attended the venture of Messrs. Sosman &
Landis is a feather in the cap of our wishes.
It is true that much of the success
attended these gentlemen has been due to the fact that they have proved
entirely reliable in all their transactions, and that their work has always
been of the very best. They take contracts to fit up the entire stage of any
new house in course of erection, and we venture to say from undoubted
information that no contract that they have ever undertaken has proved aught
but most highly satisfactory. With their success the success of Chicago as a
dramatic center is blended, and we are more than glad to see that to-day, in
nearly every opera house in the West which is under erection, the contract for
fitting up the stage has been let to Sosman & Landis.”
Between 1880 to 1889, Sosman
& Landis outfitted 1000 thousand theatres. By 1894, the company’s brochures
advertised that 4000 places of amusement were using scenery made by their firm.
In 1880, Thomas G. Moses wrote that he and Sosman
traveled a great deal in the beginning and Landis was always away, traveling to
secure orders. Sosman and his crew followed Landis, painting whatever was
contracted. It would take six months before Moses even meet Landis after being
hired as he was constantly traveling across the country to drum up work.
Interestingly, Thomas G. Moses
left the Sosman & Landis studio for the first time during May 1882, just a
few months before this article was published.
He left his position at Sosman & Landis to partner with Lemuel L.
Graham. Graham would later found Kansas City Scenic.
Tomorrow, I
will share some images of the many treasures that still remain in this
delightful building.
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 19th 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.
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 7th 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.
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.
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.
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).
The seam of the fabric insert.
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 125th 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.
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 19th century and early 20th 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.
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.
Detail of Russell Smith’s 1858 curtain
Detail of Russell Smith’s 1858 curtain
“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.
Detail of Russell Smith’s 1858 curtain
“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
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.
