Theatre Design & Technology - Fall 1978 - 28

(Gontinued from p. 24)
The chapter on painting the set presents an introduction to the
standard materials and tools generally used in the execution of traditional scene painting techniques, illustrates a series of texturing,
stenciling, and lining techniques, and finally outlines standard preparation and layout procedures in the painting of soft scenery. The
chapter also includes a brief but confusing discussion of color harmony in design. The particular usefulness of this chapter is greatly
reduced by the unclear illustrations and especially by the absence of
color illustrations.
Wolfe's discussion of properties begins with a very elementary and
basic guide for selecting period furniture and related accessories.
The text also includes simple construction solutions to frequently
encountered property problems. Of special note is the inclusion of a
brief section on drapery construction and drapery hanging problems.
The author recognizes that a comprehensive treatment of period

Sales-Service -Rentals
Luminaires, Distribution
& Dimming Systems
Lamps & Color Media
Cable Connectors & Accessories
Stage Scenery & Hardware
Curtain Tracks, Curtains & Drops
Scenery Muslin & Fabrics
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Makeup, Wigs & Beards
Theater, T.V., Motion Picture
& Concert Lighting
Theatrical Design, Supplies and Lighting Consultants.

Box 816 Stockbridge, MA. 01262
(413) 298-3771

CORRECTION
USITT would like to apologize for the fact that Larry Kirkegaard's
company affilliation was incorrectly listed throughout the convention
program. Larry is not President of. nor now associated with Bolt
Beranek and Newman Inc as indicated in the program. Since early
1976 he has headed his own acoustics consulting firm in the Chicago
area. Correspondence or calls should be referred to
R. LAWRENCE KIRKEGAARD AND ASSOCIATES INC.
125 Everest Road
Lombard, Illinois 60148
(312) 620-4527
Larry has been active in USITT for may years and is currently
serving as US ITT's Liaison Representative to the American Institute
of Architects. We regret the error and ask that members note the
correction.

furniture and styles or properties construction is impossible in the
current volume, however. it does provide a starting point for the
beginner and emphasizes that a property person is not only a gatherer. but is a knowledgable and sensitive individual in his own right
who is able to proceed when detailed design specifications are lacking.
The text concludes with an outline of technical organization used in
most academic or community theatre structures. The treatment includes production-area job descriptions as well as sample production-running charts. Because of its focus on materials and stagecraft
of the theatre on an elementary level, this book would make a useful
text for a one-semester technical theatre or stagecrafts course. especially for individuals who might not have a primary interest in that
area but who are majoring in another aspect of the theatre and desire
a general introductory knowledge of theatre stagecraft.
James F. Franklin

The University of Texas at Austin

The Bluebook of Men's Tailoring, by Frederick T. Croon borg. Van
Nostrand Reinhold Co., 1977, ISBN 0-422-21763-3, 237 pp., illus.,
£15.00.
From the very opening of The Blue Book of Men's Tailoring (originally printed in 1907) with its rich turquoise cover and its electric blue
flyleaf, the reader is aware of having discovered a very special toolan authentic textbook and pattern book for Edwardian men's clothing. The contemporary value of such a book particularly of the pattern drafts is aptly outlined in the preface written by Judy Sterner,
formerly a member of the costume staff of the Tyrone Guthrie
Theatre in Minneapolis, and Annette Garceau, currently costumier at
the Guthrie.
Much of the book's charm resides in the ever-present personality
of its author, Frederick T. Croonborg, With a magnificent flourish, he
declares that his purpose in publishing the book was to meet "the
demand from the progressive members of the profession who desire
to keep abreast of the latest developments in sartorial science and
art, and the necessity for a permanent record of the thought and
work, both of the author, and of the thousands of earnest students
who, by use of the Supreme System have attained success and have
created many original ideas."
Groonborg's deft commingling of scientific knowledge with the
"acme of artistic skill" (the Supreme System which exemplifies his
ideal of tailoring) provides the reader with a double bonus of period
information-everything from his aphoristic advice to students ("All
things Come to Him Who Hustles While He Waits") to the measurements of the Standard Edwardian Man based on an Apollo of 5 feet 8
inches weighing 135 pounds. In spite of such exacting corporeality,
the book is comprehensive because the pattern drafts are also applied to non-standard human shapes such as slim. corpulent, and
stout body types. A discussion of how to alter proportions to adjust
for individual characteristics such as sloping and square shoulders,
long and short necks. bow legs and knock knees is also included.
Groonborg's personality does on occasion overwhelm with the
result that the text suffers from a flatulent turn-of-the-century literary
style. Yet the reproductions of garments and the actual pattern drafts
provide an accurate descriptive record of garments worn by Edwardian gentlemen. The wardrobe thus captured and dissected in the
book includes sack coats. frock coats (Newmarket, surtout. box. and
Chesterfield); Inverness cape; full dress coat; tuxedo; cassock; vests;
trousers (peg top. knickers, riding breeches. broad and split falls,
spring bottoms. over-gaiters and leggings); U.S. Army uniformssummer and dress versions; clerical and knight templar coat; coachman's, footman's automobile and chauffeur's coats; policeman's
blouse; Norfolk jacket; golf. riding and hunting coats; outing and
novelty sack coats. and a shell for a fur coat.
The Blue Book of Men's Tailoring is a thorough delight both as a
museological work affording clear and concise pattern drafts and as
a sociological record of the dress ethics through the "sartorial arts" of
the Edwardian period. In fact. everything you ever wanted to know
about Edwardian men's costume but didn't know who to ask.
Syvalya Eichen

Toronto

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1978