Theatre Design & Technology - Oct 1969 - 26

______________________________ Thomas Watson

BOOK REVIEWS
Books Received:
NOTES OF A DIRECTOR, Alexander Tairov
APOLLO IN THE DEMOCRACY, Walter Gropius
ARCHITECTURE:
INTENTIONS I
Schulz

ACTION AND

PLAN, Peter Cook

ARCHITECTURE, Christian Norbert-

PERFORMING ARTS, THE ECONOMIC DILEMMA,
William J Baumol and William G. Bowen
THEATRE CHECK LIST: A GUIDE TO THE PLANNING
AND CONSTRUCTION OF PROSCE IUM AND OPEN
STAGE THEATRES, The American Theatre PI'nning
Board, Inc.

The American Playhouse in the Eighteenth
Century, by Brooks McNamara, Cambridge,
Massachusetts: Harvard University Press,
1969; 174 pp.
Brooks McNamara in The American Playhouse in the Eighteenth Century has provided both the theatre and the architectural
historian with a much needed study of the
development and evolution of theatrebuilding in colonial America. Taking an
American studies approach to his subject,
he considers selected examples of American playhouses from both a chronological
and a geographical perspective. The paucity
of recorded fact about eighteenth century
American playhouses has forced McNamara,
when he cannot find specific evidence, to
look to provincial British theatres for ideas
about possible ways of organizing space
and for techniques of construction, which
would be both consistent with standard
English stage practice and transferable to
American conditions.
Beginning with the early temporary theatres
of amateur players, which were most often
simply rooms in a tavern or a home,
McNamara describes how Americans gradually demanded more and more permanence
in the structures which housed theatrical
activity. The first professional theatres,
such as Plumstead's in Philadelphia, were
often remodeled warehouses. He suggests
that it was the combined prosperity of th e
individual theatre managers and of the general cui ture wh ich was the key to the" architectural permanence, if not architectural
elegance" of American theatre-building. The
best theatres, as might be expected, were
in culturally diversified New York (John
Street and Park theatres) and Philadelphia
(Southwark and Chestnut Street theatres).
Boston continuerl its Puritan hostility towards public entertainments throughout the
century, severely limi ting prospects of building elaborate theatres. The smaller cities,
such as Charleston, Williamsburg, and Annapolis, did not have the population to support first-quality companies. Several of the
smaller playhouses, especially those constructed under the direction of Thomas Wade
West, had quite complete scene changing
apparatus, although they were undistinguished in other respects.

26

Each playhouse is studied with regard to the
plans of the acting and seating areas, the
scene changing devices, and the facade.
Some attention is given to ventilating and
lighting systems, especially in the postrevolutionary war theatres_ More might have
been said about the implications of the theatre's geographical location in its city with
regard to other public and commercial structures; the functions and furnishings of the
auxiliary rooms shown on the ground plans;
and construction materials and methods.
McNamara's major contributions to American
architectural theatre history are: his collation of heretofore scattered information about
our early playhouses; his identification of
spurious, but often reproduced, theatrical
prints; the publication of examples of early
stage equipment, including lighting apparatus from Williamsburg, an 1810 painted
stage curtain, and views of an 1888 American set of grooves; and perhaps most significant, his extensive commentary on the
plans and sections of Benjamin Latrobe's
project for a Richmond theatre (1798),
which the author calls a "transition to the
theatre of the nineteenth century and the
highest point in American theatre architecture of its day."
McNamara finds clues to construction methods, plans, and facade composition from a
wide variety of sources, including: British,
Irish, and American theatrical art in oil,
watercolor, and engraving; architectural and
archeological excavation plans; and miscellaneous artifacts. This special concern with
"material culture" distinguishes this study
from previous ones.

The American Playhouse in the Eighteenth
Century is produced in a visually handsome
art-book styl e layout with more than fifty
plates, which share an equal importance
with the text. For the scholar, complete
documentation is provided in an easy-to-use
footnote section. To anyone interested in
early American culture, this book is a welcome addition to theatre and architectural
history.
Michael T. Sheehan
University of Pennsylvania

The American Playhouse in
the Eighteenth Century

Brooks McNamara
New Theatre Forms, by Stephen Joseph,
Theatre Arts Books, New York, 1968;
144 pp., illustrated.
I should say at the start that New Theatre
Forms is the finest book on theatre architecture to appear in this decade. It is the
finest because Stephen Joseph is the only
author in the field who has successfully combined a strong personal bias with a faireven a generous-objectivity. Joseph'sbrief
work is so rich and suggestive of additional
ideas and interpretations, one is tempted to
write a review as long as the book itself.
In Chapter II, "Centre Stages," Joseph
writes, "One can love theatre in the round
without having to hate everything else."
The statement indicates his attitude toward
other theatre forms as well; he is will ing
to give each its due and, though we may
sense his partiality, that never intrudes on
his descriptive and evaluation remarks. In
fact, he turns out to be partial to many
different forms.
The book begins with a splendid introduction which puts the proscenium theatre (he
choses to call it the "enclosed stage") in
its proper place. This placement is not the
willfull putting down of a dead or dying
form, but is instead a thoughtful analysis of
the theatre form which happens to dominate
20th century stagecraft. He does not blame
the enclosed stage for all the ills of the
modern theatre but he is severe on those
who, in the name of economy, build inadequate proscenium stages. It is these
"imitation theatres," so common in schools
and colleges, that give the proscenium a
bad name, he believes. If you want a proscenium, make sure you have enough money.
If you have enough money, make sure you
get qual ity for it.

@I!C] THEATER DESIGN AND TECHNOLOGY

OCTOBER,1969



Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1969

Contents
Theatre Design & Technology - Oct 1969 - 1
Theatre Design & Technology - Oct 1969 - 2
Theatre Design & Technology - Oct 1969 - 3
Theatre Design & Technology - Oct 1969 - Contents
Theatre Design & Technology - Oct 1969 - 5
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