Theatre Design & Technology - Fall 1981 - 20

This idea of the set as unifying element is important to
Loquasto, and is something with which he has been quite
successful. Critic Walter Kerr was referring to this very quality
when he described the set of the otherwise unfortunate musical
Sarava as "one of Mr. Loquasto's finest achievements."
The use of color is another distinguishing element of Loquasto's style, although he protests that his use of color is "all rather
low key." It is true that at least in the design process he tends to
work more with pencil sketches and white models than with
color, but it is color that is frequently singled out by the critics.
"[The set for Sarava] hauls us instantly into a suspension of
disbelief; and the hazy turquoise backdrop of the scrim locates
this suspension precisely in a decaying tropical city," noted
Walter Kerr. The same critic remarked of Bent: "The blazing
reds and yellows with which designer Santo Loquasto has made
a hothouse of the passage are directly followed by the cool
grays and muted blues of a vast public park equipped with a
lone bench." When pressed, however, Loquasto describes the
very subtle use of the color red in The Suicide. The play in
general is almost a paradigm of Loquasto's techniques and
elements.
The play by Nikolai Erdman is set in a nightmare world
representing the Communist dream gone awry. It is ostensibly
set in the bedroom of a house taken over by the state. The set
was, in terms of line, an open cube-the high back and side
walls at right angles to each other-and was made of doors. "It
was like a tenement," explains Loquasto, "only the doors were
like Russian icons and antiques." The moving back wall was a
shooting gallery with faces of writers and other figures which lit
up. Across the top of the back wall and along the sides were
catwalks that extended into the auditorium as far as the balcony.
Scenes occurred over the audience on these catwalks. There
were tattered political banners on dropcloth-like material hanging from the auditorium walls, and rusty pipes and old rags
visible throughout the set. To create the proper mood he worked
with "dark icon colors" to achieve an old, but rich, feeling. All the
doors were painted red beneath their surface colors and the
paint dried and cracked so as to expose bright red cracks
against the somber background. "You felt that this rich age had
been splattered by a sort of decadent contemporary world,"
explains Loquasto.
In Bent and Suicide as in other productions, Loquasto is
interested in exposing the mechanics of the theatre to acknowledge the limitations of the stage. "It's not illusionistic, it's not
about fooling the eye," he declares. "But then, of course, you try
to fool the eye within that limited, expressive situation." The
purpose of the designer is to "either deceive or clarify; the
requirements depend on the job."
He looks upon ballet a bit more theoretically, and more
willingly acknowledges his use of color there. "When I'm doing
dance concerts," he explains, comparing it to theatre,
I work over and over and over again because it is, as it
were, pure design. If there's a scenario, if it's a "story
ballet, " with its often rather decorative demands, I find
it even more of an exertion because you have so much
to draw on-in other words, art, or architecture, or the
music, and the movement itself. It's a much freer form
of design . .. it's so much less specific because you're
dealing with abstractions. Plays, usually, can be much
more cut and dried.

Prrocess
Loquasto begins each new theatre project by reading the
script, but does not like to do so until a director has been chosen
since he feels that the basic concepts must come from the
director. While he is always interested in doing a good play, "it's
usually the collaboration with the director," he reflects, "that is
the fun of the project and that attracts me the most." In general,
he says he wants to do plays that provide "an opportunity to do
something important-not important in terms of fame or for18

Theatre Design & Technology

tune-but important to my development." What Loquasto
seems to want most from a director is the creation of a positive
working atmosphere that allows ideas to develop, to be tossed
around, to "gestate and change." Nikos Psacharopoulis, artistic
director of the Williamstown Theatre and a professor at Yale is,
according to Loquasto, ideal in this respect. He "allows you to
search out production values in a play. He points out ways of
exploring a play that give it a kind of physical and visual energy.
He sets up an atmosphere in which the designer can pursue an
idea."
This seems to be the key to Loquasto's method. Rarely does
an idea spring full-blown into his head. He likes to pick a
director's brains, mull over ideas, let things evolve and change,
both in the abstract and through the design process. Frequently
he will do several models, changing elements or whole concepts
each time as he did with Bent. A ballet he did for Glen Tetley is
typical. Several models were constructed, each one a pared
down version. "He's choreographing," Loquasto explains,
"you've designed it-but you're still finessing the design, so
you're all working together. That, of course, is quite exciting." He
expresses a similar sentiment about the process of film: "When
you get a compatible group of people, the day-to-day process is
exhilarating." Occasionally this evolutionary process can get a
bit extreme as in Floating Ughtbulb in which an already constructed scenic unit was taken down and "played with."
Process is a word that comes up over and over as Loquasto
describes his work and it seems that the process is ultimately
more exciting for him, and perhaps more important, than the
finished product. If, for instance, this evolutionary process is
interrupted or thwarted he seems frustrated as in the case of
Twyla Tharp's dances (and some others) in which the dance is
choreographed and set before the designer is brought in. He
must then react to a completed work. For this reason he
considers Sam Shepard's Curse of the Starving Class his
favorite production, primarily because of the working relation he
established with director Bob Woodruff. It is perhaps for this
reason that he is fond of working in regional theatre with its
opportunities for experimentation and exploration in a relatively
unpressured environment, as well as the wealth of "talented
young technicians from schools," as he puts it, "and the great
skills and atmosphere with which to work."
His physical execution of a design is ordinary: "Sketches, and
paper models and occasionally really finished models, but not
consistently. Sometimes it happens quickly, and sometimes it
[the process] just goes on forever and you never feel at rest with
it. Productions that have worked I don't think about, and I find
the ones that have been tortured or twisted are always with me
and always I'll see something and go 'That's what I should have
done.' "
Loquasto's assistants generally consist of a draftsman/technical assistant who also works at the shop, and a production
assistant who deals with props and set dressing and the like,
although Loquasto himself usually selects the set dressing.
Steve Hawkins has been his primary assistant for years. If he is
doing costumes he uses two more assistants, especially on
period shows like Floating Ughtbulb in which much of the
costuming involved shopping thrift shops and boutiques then
dying, aging, altering, and so forth. He is careful to point out that
he is "not interested in assistants to hold my hand or get
coffee-it's people out on the streets working, shopping, and
looking for stuff."

The Role of Designer
Perhaps the most telling aspect of Loquasto's view of design
is the repeated references to control. He is, as suggested,
deferential to the concepts of the director or choreographer, and
lists many directors he has enjoyed working with including Ulu
Grossbard, Andrei Serban, Liviu Ciulei, Ed Berkeley, and Jeff
Bleckner, as well as those already mentioned. But he states that
directing never appealed to him because it "seemed a vast
USITI/Fall, 1981



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1981

Contents
Theatre Design & Technology - Fall 1981 - 1
Theatre Design & Technology - Fall 1981 - 2
Theatre Design & Technology - Fall 1981 - 3
Theatre Design & Technology - Fall 1981 - Contents
Theatre Design & Technology - Fall 1981 - 5
Theatre Design & Technology - Fall 1981 - 6
Theatre Design & Technology - Fall 1981 - 7
Theatre Design & Technology - Fall 1981 - 8
Theatre Design & Technology - Fall 1981 - 9
Theatre Design & Technology - Fall 1981 - 10
Theatre Design & Technology - Fall 1981 - 11
Theatre Design & Technology - Fall 1981 - 12
Theatre Design & Technology - Fall 1981 - 13
Theatre Design & Technology - Fall 1981 - 14
Theatre Design & Technology - Fall 1981 - 15
Theatre Design & Technology - Fall 1981 - 16
Theatre Design & Technology - Fall 1981 - 17
Theatre Design & Technology - Fall 1981 - 18
Theatre Design & Technology - Fall 1981 - 19
Theatre Design & Technology - Fall 1981 - 20
Theatre Design & Technology - Fall 1981 - 21
Theatre Design & Technology - Fall 1981 - 22
Theatre Design & Technology - Fall 1981 - 23
Theatre Design & Technology - Fall 1981 - 24
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Theatre Design & Technology - Fall 1981 - 26
Theatre Design & Technology - Fall 1981 - 27
Theatre Design & Technology - Fall 1981 - 28
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