A Victorian Drawing Room is revealed
MC: Home sweet home. Here is the man who has all he could possibly wish for.
FATHER: He has a fine house, a strong faith, but above and beyond all this he has a beautiful lady wife.
MOTHER: She has a beautiful smile. She wears the finest of dresses, and she dances like a dream.
- SHOCKHEADED PETER p. 4
We’re thinking of using J. W. Turner’s Fairy Wedding Waltz Opus 120 to underscore this dance. Check out this beautiful cover for the sheet music from 1863:
Publisher Oliver Ditson & Co.
Thanks to Army of Broken Toys wrangler Edrie for the image!
Questions having been coming up periodically in rehearsals about what things looked like, or if things existed, during the Victorian Era.
How will we know this character is a doctor? What type of bag would one have had?
What did cat owners use for litter?
Sand, sawdust, or torn-up newspaper [source]
Did they use salt and pepper shakers?
Yes! “The lady of the house often used condiments as the centerpiece for her table in the Victorian era…Some were cruet sets consisting of salt, pepper and a vinegar cruet on a glass tray…More frequently found were condiment sets consisting of a salt, pepper and mustard pot, normally on a matching glass base.” [source]
What did dustpans look like?
In rehearsal this week, we’ve started playing with some stuffed animals–using them primarily as props and stand-ins for puppets. We only have access to contemporary ones at this point, but it’s gotten us thinking about stuffed animals from the Victorian period, and the different mood they would create.
Check out some of our favorite images:
One of our central thematic and design touchpoints for this production is the daguerreotype.
The daguerreotype was the first widely available photographic process available to the public, beginning around the 1840s, and falling out of favor by the late 1800s when newer methods became cheaper and easier to manage. These antique photos are identifiable by their particular aesthetic qualities: the image appears as if on a mirrored background, and depending on the angle at which it’s viewed, can seem as if it’s been printed in negative. In reality, the image is printed on the silver-coated glass as a reverse — the side we view is the side that was originally facing inwards, towards the camera’s guts. Another quality of the daguerreotype is that most prints were one-offs. Whereas later negatives could produce numerous paper photographic prints, copying daguerreotypes was pricey, labor intensive, and rarely done [source].
Of interest to us, perhaps, is this unique quirk of viewing daguerreotypes: “The surface of a daguerreotype is like a mirror, with the image made directly on the silver surface. It is very fragile and can be rubbed off with a finger. The finished plate also must be angled so as to reflect some dark surface for the image to be visible. Depending on the angle viewed and the color of the surface reflected into it, the image can change from a positive to a negative. The viewer’s own reflection will be seen at the same time” [source].
At the time the process was introduced, photographing a subject in daylight required 10 full minutes of still exposure, making it difficult to effectively capture people (which also explains the particularly wooden poses and expressions in early daguerreotype portraits). Technical innovations soon sped the process up. By the mid-1800s, “for the first time in history, people could obtain an exact likeness of themselves or their loved ones for a modest cost, making portrait photographs extremely popular with those of modest means. Celebrities and everyday people sought portraits and workers would save an entire day’s income to have a daguerreotype taken of them” [source].
Both the Library of Congress and Harvard University have excellent collections of early daguerreotypes — view some highlights HERE and HERE.
Below, find a copy of the slides presented at first rehearsal by the dramaturgy team.