< Previous10 Sightline Autumn 2020book tickets and, in return, we can check their health.CombinationAn astute combination of these factors can perhaps allow theatre to provide safer space. Some of the following ideas are for short term solutions, some are long term. First the virus must be brought under control. Then with measures such as these, eventually theatres might be seen by our public to be “safe.”A DEFENCE OF THEATRETOWARD A COVID-19 SAFER THEATREAn essential feature of theatre is the gathering together of live performers and a lively audience … clustered in a space that encourages active participation. Theatre’s essence is storytelling … to satisfy mankind’s most fundamental need to gather together in community.Of course, this is the absolute opposite to ‘social distancing’ that is apparently required under the threat of the coronavirus. Social distancing presently requires 2m (6 feet) between persons (possibly reduced to 1m under certain circumstances) and/or family/social groups or “Bubbles.”Theatre today faces a massive problem. Its fundamental need for its very existence is for human interaction. This must depend upon the public’s willingness to attend. It demands that the public accept that the theatre is a reasonably safe place to visit. To achieve this change in public perception will be a formidable challenge.Theatre must tell a new story to alter public perception … And, of course, it must be a true story, based on secure scientific evidence.How do we convert theatre from a perceived “place of danger” to a “safer place.” Any solution must require a multi-layered series of measures. No combination of steps will ensure absolute protection, but together might be sufficient to offer the public a sufficient degree of reassurance.Happily, the essence of theatre may be something that contains the seeds of its salvation. Theatres are usually indoor, contained, physically controlled spaces. Our workers, artists, technicians and our audiences are also known to us. Our audiences can book in advance and we can be in close touch with each and every individual. If we can control the space and every person within our theatre … how to turn that to our advantage?There are a series of measures that might beneficially affect both the space and those people within that space.THE RESULTS CANNOT PROVIDE PERFECT PROTECTION, BUT CAN OFFER A SUFFICIENT DEGREE OF MITIGATION. While coronavirus remains a threat, personal protection measures will still be required;• Face masks to reduce person-to-person transmission by air.• Hand sanitisers and simply soap and water to reduce transmission by touch.• Constant cleaning to reduce surface transmission.The development and deployment of a vaccine will inevitably be step one. It must be accompanied by comprehensive test and contact tracing regimes. Until an anti-virus vaccine is widely available public assembly must be constrained. But afterwards audiences will initially still be reluctant to mix in crowds. How do we make this transition and encourage theatre participation sooner rather than later?MEASURES TO EFFECT COVID-19 MITIGATIONA MULTI-LAYERED DEFENCESteps might include:• Isolation of audience and stage chambers.• Spaces occupied by the stage and auditorium are already isolated physically and acoustically. Successful mitigation of Covid-19 might require higher quality separation.Control of AirModern theatres have control over the movement, humidity and frequency of changes of air. Quality mitigation will probably require significant upgrade in the control of air changes, humidity, positive pressure between auditorium and outside spaces, stage/pit to house, etc. Displacement ventilation, with fresh air from below, exhausted from above, enhances air circulation. Maintain indoor relative humidity between 40% and 60%. MERV-132 filtration, as standard theatre practice, only filters particulate matter in the airstream. HEPA3 (high-efficiency particulate air – at least 99.95% absorption) filters that ensure air inside an aircraft is either fresh or recirculated will likely be needed for true 2 MERV 13 Filters block 98% of airborne particles3 HEPA (High Efficiency particulate air) air filters. Block 99.99% airborne particles Sightline Autumn 2020 11 pathogen filtration. HEPA filters, with their added size and maintenance needs, will add cost. The best possible technologies to use in the fight against multiple drug resistant organisms and other pathogens will be necessary. Obviously every theatre will present different opportunities and restraints. Top-class engineering skills will be needed. The higher volume of outside air and improved filtration will increase operating costs through added equipment and higher energy costs.Germicidal ultraviolet (GUV), risks, UV-C lamp sources.UV-C light has been employed for over 80 years as a technique to disinfect water, air and surfaces. However, to be effective, UV-C light must be of a type that can be hazardous to human beings. Therefore it must principally be used in spaces beyond access to humans, such as the interior of ducts or unreachable upper part of spaces to purify air entering the theatre. Frequent Cleaning and disinfection of Surfaces.“Fomite” is a term (used since the 15th Century) that describes surfaces that may be “seeds of disease.” Fomite transmission can be reduced by minimising touchable objects, frequent cleaning of all potential surfaces, and frequent hand-washing. Frequent cleaning of the auditorium, all interior surfaces, furnishings and fittings by hand, by robotised cleaners, and/or disinfectant fogging (perhaps the most effective) will be required.Intelligent LobbiesSpaces containing the performance are already isolated and lobbied. Sophisticated temperature detection might improve the Covid-19 defence of the actual interior theatre space. Portal temperature, identification detection, and disinfection systems (described by Andrew Lloyd Webber for his Palladium Theatre in London, as ‘Disinfectant Arches’) might be incorporated for our incoming audience.No Contact Infrastructure“No contact” infrastructure must be maximised. Hands-free, auto-opening doors, computerised audience ticketing and programmes, (antibacterial seats covers, etc.) should be employed. The more shared objects or surfaces that are eliminated, the more risk is minimised.Automated toilet facilitiesCommunal toilets that must be utilised in a short period of time will present a point of maximum danger. Increasing the quantity of touchless toilet facilities should be maximised. Hot-air hand dryers should be avoided. Portable air purifiers might be added. One-way circulation to be implemented where possible. Advance-booked, controlled, timed access of virus-free audience.We in theatre know our audience … In advance. And our audience are enthusiastic participants. As detection techniques improve, advance ticketing might be combined with a ‘medical passport’ - Covid-19-free certification into an integrated audience database system. Such systems might be used to monitor every person within the theatre building in real time. Every patron will be identified with data on their seat location, health status, temperature, home and recent address, contact and tracing information. This might be linked to a national or state health information system when available. Efforts are underway internationally to develop such App-based systems with only mixed success so far. Many theatregoers are passionate supporters of live performance. Investigation into a “Theatre ID” card system, nationally or international, perhaps in collaboration with Google or Apple toolkit should be explored. This might model the holder’s health status in real time with Bluetooth alert capability if potential danger is identified. The implementation of temperature screening and coordinated testing protocols for Arriving at the London Palladium test performance, July 2020. Photo by Andy Paradise12 Sightline Autumn 2020theatres will be necessary. Theatres should be aware of the many current issues around testing accuracy, availability, and ethics that may be relevant to these strategies. Control of timed arrival, discreet lobby division, one-way circulation, Plexiglass shielding in some locations, no-touch bathrooms, catering facilities, infra-red temperature inspection in pass-through sound and light lock spaces, with arrival testing must all be combined to ensure that everyone within the sterilized auditorium space is currently Covid-19 free.Performers and Staff.Clearly all necessary measures must be taken to ensure all backstage, orchestra, and FOH support personal are appropriately protected. A great deal of work has been undertaken by unions and organizations such as ABTT and USITT to establish safe protocols for backstage operations. Actor’s Equity has published four core principles to be observed: 1. The epidemic must be under control, with effective testing, few new cases in the area and contact tracing.2. Individuals who may be infectious can be readily identified and isolated, with frequent, regular and accurate testing with speedy results.3. The way we audition, rehearse, perform and stage manage may need to change and the venues we work in may need to undergo changes in order to reduce the risk.4. Efforts to control COVID-19 exposure must be collaborative, involving Equity members, employers, the union and all others involved in the production of theatre. There must be collective buy-in and ongoing evaluation and improvement of health and safety practices.CONCLUSIONI stress these proposals are about changing the public perception of theatre in addition to actually achieving virus mitigation. It would seem to me that any ‘solution’ must be comprehensive. The challenge in the future will be to overcome a widespread public perception of danger in public gathering places. A steep mountain to climb. But theatres, particularly new, or recent ones, are already enclosed spaces. How to ‘virus-proof’ our theatres?How to turn the perception of closed space compared to open-air space, from dangerous to safe?Our audiences want our theatre to return. We must work together, through investment, engineering, skilful management, and good common sense.Many of the provisions related to engineering or architectural issues will be hard to achieve in a pre-1950s’ building. For all theatres there will inevitable be added expense in both capital spend and added operational cost. Investment will be needed by already cash-strapped organisations. There are, of course, also a tidal wave of managerial, insurance and financial challenges to be considered. But if a sufficient part of the above can be achieved, this might be the holy grail for future theatre. A dark, or 30% capacity, theatre will be far, far, far more expensive.Meantime, in the UK, Government action is needed. Theatre needs a date by which full opening will be allowed. As Lloyd-Webber has said: “Give us a date, mate”.• Postcript 1. By the way friends: Global Warming is only just around the corner. • Postcript 2. Other routes? My concern has been about theatre as we know it; West End, the regions, Broadway … When Shakespeare’s Globe was shut down for the plague, his company took to the road. They were well used to the roles of rogues and vagabonds. Strolling players would have found eager audiences in many country towns and villages. Shakespeare went home to Stratford and reportedly wrote King Lear. Our theatre workers today are passionate, committed and very ingenious. Maybe back to the road with a new informality and simplicity might find an enthusiastic public.Socially distanced seating at the London Palladium test performance, July 2020. Photo by Andy ParadiseSightline Autumn 2020 13 OTHER COMMENTSKen Davenport. Broadway. www.TheProducersPerspective.com. 22 June 2020.“One of the reasons I think we’re going to sit on the sidelines as other industries open up is that social distancing doesn’t work for what we do.Restaurants or airlines might be able to operate effectively with reduced capacity and social-distance between seats, but not theatre.Here are three reasons why:1. “It’s the economy, stupid.” Broadway Theatre (and theatre in general) has a very fragile economic model, because we are a very labour intensive industry. We require 100 people to show up every single night to make a product that can only exist in those few hours. Take seats out of the equation to allow for space between patrons, and your recoupment chart would be a fantasy novel. Good shows struggle to survive at 65% capacity in a non-pandemic world. And no, we’re not going to raise prices to make up for it. Raising ticket prices in a pandemic is like Oliver asking for more food at the orphanage. “More???? You want MORE?????”2. “It’s not just the Audiences, it’s everyone else (including the art).” What about our actors in their cramped dressing rooms? What about the musicians stuck in the pit? Ever try to navigate backstage at a theatre with those 100 people running around trying to make a show work? And what about onstage? Are you going to reblock Romeo & Juliet to take out the kiss? Doing so would change the art, which would change the experience. And the experience matters, which brings me to …3. “It’s also the word-of-mouth.” The theatre is a word-of-mouth industry. It’s not reviews. It’s not advertising. It’s a friend telling another friend, “You must, must, MUST see this show!” Word-of-mouth only works when the experience is extraordinary. And part of what makes that experience extraordinary is a packed theater. So, while audiences may enjoy a show that is 25% full, they just aren’t going to enjoy it as much as we need them to in order to recommend it to their friends. And not only will the word of mouth from reduced houses be less passionate, those less-sold houses mean fewer actual mouths! That’s why I’d rather be out longer – to come back stronger.”Andrew Lloyd Webber and the London Palladium. WhatsOnStage 2 July 2020“They have thermal imaging cameras at stage door and as you come into the theatre. These can identify if people have temperatures extremely quickly. We’ve ordered silver ion self-cleaning door handles, these are completely effective against pathogens like coronavirus for a long period of time. Everybody going into the theatre is fogged with the anti-viral chemical, which lasts 30 days.”A test performance at the London Palladium on 23 July with social distancing had an audience of less than 1/3 capacity, about 650 people. Interestingly, despite way-marking on the floor to guide one-way movement the normal FOH staff of 45 had to be increased to 60. The disinfectant arches were in fact not used by suggestion of the government. The performance drew this response from Lloyd-Webber. “This proves why social distancing doesn’t work . . . it’s misery for performers.” But of the air filtering system, he said: “We are safer here than you would be in Oxford Street.”4SUPPORT MATERIAL.1. Steve Terry, director of standards at ETC, attended this IEE conference in NYC on germicidal disinfection.5Germicidal Ultraviolet Disinfection in the Days of COVID-19Description: The Illuminating Engineering Society (IES) has facilitated an educational program to provide a in-depth look at GUV Disinfection. Building upon the basics of photobiology, our presenters will provide insight into germicidal ultraviolet (GUV), carcinogenicity risks, UV-C lamp sources, and current relevant research.The 2014 outbreak of the Ebola virus and the recent spread of the novel coronavirus disease 2019 (COVID-19) have renewed interest in germicidal ultraviolet (GUV) lamps for disinfection. UV radiant energy was first used for disinfecting surfaces in 1877, for water in 1910, and for air in 1935. GUV is being used in many countries to control airborne transmission of tuberculosis (TB). More-widespread use of GUV is often limited by safety concerns, but these are manageable and minor compared to potential infection prevention.Germicidal ultraviolet (GUV) – refers to short-wavelength ultraviolet “light” (radiant energy) that has been shown to kill bacteria and spores and to inactivate viruses. Wavelengths 4 https://www.theguardian.com/stage/2020/jul/23/london-palladium-opens-at-30-capacity5 https://elearning.ies.org/products/germicidal-ultraviolet-disinfection-in-the-days-of-covid-19#tab-product_tab_speaker_s14 Sightline Autumn 2020in the photo-biological ultraviolet spectral band known as the “UV-C,” from 200 to 280 nanometres (nm), have been shown to be the most effective for disinfection.UV-C kills living bacteria, but viruses are technically not living organisms; thus, we should correctly say “inactivate viruses.” Individual, energetic UV-C photonsphotochemically interact with the RNA and DNA molecules in a virus or bacterium to render these microbes non-infectious. This all happens on the microscopic level6.72. A study from ART Boston and Boston University has further useful information:ROADMAP FOR RECOVERY AND RESILIENCE FOR THEATRE8A Collaboration Between the American Repertory Theater at Harvard University and the Healthy Buildings Program at the Harvard T.H. Chan School of Public HealthThe COVID-19 pandemic has forced theatres around the world to shut their doors and face existential questions about the future. This interdisciplinary collaboration seeks to imagine a path toward recovery and resilience for theatre following science-based public health principles.A. A layered defence strategy is warranted. There is no such thing as “zero risk,” and there is no singular solution to recovery and resilience. The goal is to minimise risk by pursuing a multi-layered defence integration strategy with shared responsibilities across staff, artists, and audiences.B. Timelines will be determined by disease dynamics.C. Recovery will require flexibility and agility. There will be a learning curve for all theatres, and it will be crucial to acknowledge that approaches will vary from venue to venue, and to leave room for plans to be modified based on new insights and advances, including developments in screening and testing.D. Acceptance of new norms. This crisis will require staff, artists, and audiences to adapt to new behavioral norms. E. Building trust will require transparency and open communication. While some 6 https://elearning.ies.org/products/germicidal-ultraviolet-disinfection-in-the-days-of-covid-19#tab-product_tab_speaker_s 7 https://media.ies.org/docs/standards/IES-CR-2-20-V1-6d.pdf8 https://americanrepertorytheater.org/roadmap-for-recovery-and-resilience-for-theater/table-of-contents/introduction/control methods may be immediately visible, others (such as ventilation changes) may not. Explaining all the steps, will go a long way in re-establishing confidence and trust.F. Ethics and equity must inform all responses3. Berliner Ensemble: Proposals for socially distant seat spacing appear to this author, to be disastrous. (see link below) No theatre could sustain itself financially on one-fifth audiences. Furthermore theatre as an art form must be decimated by such a socially scattered audience94. Covid control for an airline. (VirginAtlantic)Airlines have a parallel challenge to ensure safety for the traveller. This brochure illustrates on approach include safe air at 35,000 feet.105. Bubbled auditoria – a path to artistic and financial disaster?11An architect’s view for social distancing theatre design. Bubbled auditorium – a path to artistic and financial disaster?6. Dr. Erin Bromage (Comparative Immunologist and Professor of Biology, University of Massachusetts Dartmouith). Important discussion on the virus and mitigation. June 3, 2020. The following is my rough transcript of Dr. Erin’s broadcast.“Understanding the risk. How to find a degree of normalcy. This virus is 18 times more dangerous indoors than outdoors. In an indoor poorly ventilated space one person can be responsible for creating a super-spreader event. The virus must enter the body to establish infection. A larger number of people magnify the problem. The challenge is the ‘sub-clinical period’ where an infectious person may not carry any sign of infection. This can be as much as five days, during which time the infection is increasingly potent. Identifying such people is almost impossible. This is the period of extreme hazard. Standard masks effectively may reduce risk by 50%. Better quality masks may be more effective. Tests too early may be deceptive until sufficient viral load has been accumulated in the body. In a space with no air circulation or filtration, 6’ separation is insufficient. In an aeroplane the entire interior air is changed every 4-5 minutes and HEPA filtration destroys 9 https://www.designboom.com/architecture/berliner-ensemble-removes-seats-social-distancing-06-04-2020/10 https://flywith.virginatlantic.com/gb/en/youre-in-safe-hands.html11 https://www.auditoria-magazine.com/features/how-covid-19-could-impact-theatre-design.htmlSightline Autumn 2020 15 THE WORLD'S FIRSTTRANSFERABLE LED ENGINE#RobeInnovation16 Sightline Autumn 2020over 99% of any pathogen. Healthy Buildings (Harvard University) have demonstrated that more frequent air changes and more efficient filtration can reduce the risk significantly. UV-C can effectively disinfect surfaces but only in direct line of sight of the light. The correct size UV-C lamp in an air duct will destroy the pathogens passing by, and be a successful supplement to filtration. Outdoor amphitheatres might be 18 times ‘safer’ with natural air flow. Orchestras: woodwind instruments can be worrisome. Other instruments might need N95-quality masks and improved ventilation. Toilets. Faeces of infected person might be infectious. Lid on a toilet will contain a large part of the plume from flushing a toilet. Paper towels and sanitary facilities outside the toilet area to be preferred.Maximise external air in indoor spaces and filtration and mask use will be most effective. A vaccine would be highly desirable to return to normalcy. You can’t hurry. Fastest vaccine production so far has been over four years. Is the vaccine safe? This takes years of testing? During testing, can we purposefully infect people while there is no available treatment? Groups of people together can be treated as a “pod” They should be kept as single pod with 6’ separation. But are we testing enough? What is level of community transmission?127. Colorado State University Study Aerosols Emission Study.13 The goal of this research is to reduce the risk of human exposure and co-infection during performing arts events and rehearsals among musicians and performers. The impact of singing and use of wind instruments.8. The Producer’s Perspective – A Blog from Broadway Producer Ken Davenport’s website.14Ken Davenport reproduces comments on how the theatre in South Korea is coping with Covid-19 by Tom Gabbard, who has been CEO of Blumenthal Performing Arts in Charlotte North Carolina since 2003. (Theatre Projects was theatre design consultant on the Blumenthal in 1992).9. The Situation in South Korea.1512 https://www.youtube.com/watch?v=HN4EGxbts1U&feature=youtu.be13 https://smtd.colostate.edu/reducing-bioaerosol-emissions-and-exposures-in-the-performing-arts/14 https://www.theproducersperspective.com/my_weblog/2020/06/guest-blog-what-we-can-learn-from-korean-theatre-on-theater-safety.html15 https://twulocal769.com/broadway-can-learn-from-south-koreas-theatre-market-during-covid-19/Many theatres in South Korea have remained open with a rigid policy including universal temperature checks, frequent cleaning, health questionnaires and extensive disinfectant fogging.1610. COVID-19 Broadway Theater Think Tank.17Broadway working party to examine re-opening strategies.11. The Event Safety Alliance Reopening Guide.18For Event Professionals During the Covid-19 Pandemic. A highly detailed report on measures to be implemented to reduce dangers of infection in every aspect of the management of a performance facility. It emphasises the responsibility of every person involved and stresses “We are all in this together.”12. ‘Gotham Refuses to Get Scared’: In 1918, Theaters Stayed Open.19. NYTimes: Poll Shows One Hurdle to Reopening Broadway: Fear of Jerks.2014. British Government Advice to the Performing Arts on Covid-19.2115. A Renewed Call-to-Action. A Covid Symptom Study App.2216. US Societies join to fight infections.2317. Phantom of the Opera in South Korea.2418. A UK Study into the Covid dangers from singing and playing woodwind and brass instruments.2519. Indoor Air Quality – Stantec.26 16 https://www.instagram.com/tv/B_2DoKShU3U/?utm_source=ig_embed17 https://broadwaynews.com/2020/06/17/covid-19-theater-think-tank-looks-at-reopening-strategies/18 https://static1.squarespace.com/static/5aec979d3e2d09db8bcad475/t/5eb86f694a67d30048528163/1589145456606/2020-05-11+Event+Safety+Alliance+Reopening+Guide.pdf19 https://www.nytimes.com/2020/07/14/theater/spanish-flu-1918-new-york-theater.html?20 https://www.nytimes.com/2020/05/26/theater/broadway-coronavirus-poll.html?referringSource=articleShare21 https://www.gov.uk/guidance/working-safely-during-coronavirus-covid-19/performing-arts22 https://covid.joinzoe.com/us23 https://www.ies.org/lda/left-to-their-own-devices/?utm_source=IES&utm_medium=Email&utm_campaign=Client%20Updates&_zs=Wk2Ja&_zl=EJEB224 https://www.nytimes.com/2020/06/01/theater/phantom-of-the-opera-seoul-virus.html?auth=login-email&login=email&searchResultPosition=125 https://www.theguardian.com/music/2020/jul/22/sing-funnel-covid-19-lab-hoping-declare-singing-safe?CMP=fb_gu&utm_medium=Social&utm_source=Facebook&fbclid=IwAR3wgj4sFThvwRN-joUzEtRyKj0qltsx9QSpNPtaiAvKkLRR27av5h6oEvA#Echobox=159541473626 https://www.abtt.org.uk/resources-guidance/covid19/Sightline Autumn 2020 17 ABTT Technician of the Year 2020Winner: Sarah Hemsley-Cole The Technician of the Year Award is one of the most important accolades the Association bestows, as it recognises the achievement of an individual at the height of their career who consistently delivers technical excellence.This year it has been awarded to Sarah Hemsley-Cole of SC Productions LTD. Sarah began her career after a 1-year Post Grad course at the Welsh College of Music and Drama in 1992, starting work as Technical Manager at Blackwood Miners Institute in Caerphilly. She then moved to Cardiff City Council before setting up her own company SC Productions which has become a massive success – most recently providing accreditation and site assistants for the building of the makeshift hospital at the Principality Stadium in Cardiff for Covid-19 patients.Sarah is also in great demand as a Production Manager while also passing her knowledge onto the next generation, teaching at The Royal Welsh College of Music and Drama, along with taking placements on her shows and taking a risk with young people giving them a chance!”The ABTT felt that Sarah’s broad ranging achievements in our Industry highlighted everything that the ABTT Technician of the Year Award encompassed, and we are very proud to announce her as this year’s winner. ABTT AwardsABTT Award for Emerging Excellence 2020Winner – Jamie VellaThe ABTT Award for Emerging Excellence has been added to our Awards to recognise the achievements of individuals at the start of their career who consistently deliver excellence in all that they do.This year this Award has been awarded to Derby Theatre’s LX Technician, Jamie Vella.At the age of 16 Jamie began touring as Lighting Designer with a medium scale tribute band, which toured into some of the largest theatre’s in the UK outside London, whilst also studying ‘Technical Events’ at the Confetti Institute of Creative Technologies.In addition to his full time role at Derby Theatre, Jamie also supports a number of local amateur performance companies, over a wide range of genres covering dance, musical theatre and plays.Jamie is also fully engaged in supporting the students on the Technical Theatre degree courses, specifically helping to develop the practical skills of individuals who work as part of their casual team.The ABTT felt that Jamie’s already impressive achievements and wide ranging skills highlighted everything that the ABTT look for in the winner of the ABTT Award for Emerging Excellence, and we are very proud to announce him as this year’s winner. 18 Sightline Autumn 2020THEATRE & SCENIC ARTOur need to create images to help tell stories goes back deeply into pre-history and later to support and contribute to performances or to form a background for religious enactment, perhaps in flickering warm firelight. This is the forerunner of our scenic art skills.Early paint was made from earth pigments mixed and then ground and a liquid created as a carrier medium. This was often linseed oil or by crushing flax, although these tended to have a slight yellow tint, so more expensive oils were used from walnut to poppy seeds, later lac or soya or tung. In China and Japan there was a ‘varnish tree’ which yielded a sap for a carrier.The woad plant was used as a blue dye in England before the Romans came.The Cochineal insect yielded a red dye, and was used so much by Renaissance artists it became known as the ‘Scarlet Fever Period’. Indigo was a widely used dye from India. Most prized was an expensive blue which came from a mineral – lapis lazuli, meaning ‘blue stone’ mined in Afghanistan which was processed to become a deep blue colour, and was known as Ultramarine (from over the sea) and sometimes described as ‘the colour from Heaven’ and shipped to Europe on the Silk Road. It was used almost exclusively by Renaissance artists to depict the Virgin Mary’s robe and cloaks.In the reign of King Henry III (1216 – 1272) there are court records showing artists retained for work on pageants, banners and court events.Little detail is known about scene painting as a craft until the early 16th century, although there was some earlier activity, but no examples remain and there was interest in producing images, like the Camera Obscura for artists, shown in 1597.Before that da Vinci experimented with anamorphic art and in 1530 the first Trompe l’oeil figures were produced, perhaps the beginnings of artists exploring changing perception of the viewer.Before the 14th century there were no rules of perspective, but Duccio and others started to explore a sense of depth and illusion. But the key figure was Brunelleschi whose rules of ‘vanishing points’ stood for centuries and scenic artists were quick to follow.In 1530 sets of scenery and set designs were published and frescoes in Florence and wall paintings do survive.From 1587 onwards many theatres were built near the Clink and the Bear House on the South Bank of the Thames, followed by the Globe and Fortune Theatre and Shakespeare’s ‘Tragicall Hiftorie’ of Hamlet was previewed in 1603.All theatres were closed for two years in 1592 because of a Plague pandemic.These theatres were mostly open to the sky, but closed roofs were made by 1633, with evening performances lit by candelabra and cressets.Sir Christopher Wren’s Drury Lane theatre of 1674 had space and facility for perspective painted scenery and backcloths. Inigo Jones introduced sliding wing flats and back shutters, and the tradition of spectacular finale scene changes.Cloths were often used again and repainted and, with frequent theatre fires, no cloths survive.Michael HallSCENIC ART TIMELINE1415First use of linear perspective1705Growth of Colourmen1499Era of London Theatre building1750Multiple painted sets in German monastery1530First trompe l’oeil figures1761First pantomime in Drury Lane1545First formal stage design1782Robert Barker Panorama and long painted sets1645Inigo Jones pioneered painted shutters and wings1800sFirst gauzes for transformation scenes1673Garrick introduced 2 point perspective1800sGas, carbon arc, lime and electric lamps were developed and used in theatre1692Classic Colour Guide by A Bogent1875 - 1982The D’Oyley Carte era1705Named scenic artists in programmes1975Dry pigments superseded by safe concentrated scenic paintsSightline Autumn 2020 19 A little known relic from 1750 has been rediscovered in a Cistercian Monastery (founded in 1287) in the Eastern part of today’s Germany, close to the Polish border.A theatrical presentation was mounted of ‘The Passion of Christ’: it comprised a painted proscenium arch, with side flats which were painted, and cut out free-standing figures added. A stage was raked up towards the back to help the illusion of greater depth. It has recently been carefully restored in a special museum.The collection contained 240 painted panels, 200 of which survive, there were five acts in fifteen scenes portraying the betrayal of Christ to the Resurrection. The scenery was formed from wooden boards and stretched canvas and painted with distemper (i.e. pigment and size).With better brighter light sources progressively available and continued search for more pigment colours and dyes plus cotton cloths, silk and gauzes, the need for scenic artists grew and more appreciation of their skills encouraged theatre managers to hire quality artists who often took curtain calls.Another boost for scenic artists was the evolution of Pantomime, which started as an English version of the Italian Harlequinade, from Commedia dell’ arte. Pantomime then known as Annual, or now perhaps ‘Look behind you’ first appeared at the second Drury Lane theatre in 1677, introduced by David Garrick.The fairy tale and mystical style and high audience appeal used lavish scenery and often called for 12 or more back cloths (21 once for Cyclorama Stereoptican Geneva in 1881, moved to a new rotunda in 1889, and carefully restored recently.The 112m long moving painted canvas is on the back wallNext >