Theatre Design & Technology - Fall 1999 - 71

designed to make sure the designer is prepared for that
day \\'hen the truck doors open at the theatre door. :\
\rell-planned production schedule gues hanu-in-hand
\rith his checklist ohrhat designers should insure is done
before ther \ralk on stage.
Part III brings the uesigner face to face \rith the
technicians \rho \rill load-in. mount. focus. and run the
shorr. I feel a lot of this information mar nerer hare been
discussed in a te\tbook. but in anr erent. certainlr not so
clearlr as Steren Sheller \\Tites and illustrates. There are
onlr four chapters in this rery important section. But ther
should be read orer and orer again until the reader reaLir
understands the relY special gift Sheller is giring them.
The interaction bel\reen the lighting cre\r. set construction department. the producer. and director should be a
required course all b\' itself. Who among us has nOI felt
sometimes ill prepared for the focus. cueing session.
and/or the technical rehearsal'
Steren Sheller has used the creation of a mock 111l1sical "Hoker"' to e\perth guide the reader through his
rersion of the paper chase. And did I say hO\r much I
liked the "icons"? Ther are ... \rell just read the book.
YOldl feel as I do that Sheller has made a definite cOl1trilJUtion to lighting. I can't \mit for him to \\Tite the '"rest of
the story."

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Art in Dress (1922). br Clemenl Bro\\"I1. edited by R.L. Shep \rith additionalnotes and illustrations. R.L. Shep Publishers. 1993

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TIle Cottesloe at the National. edited by Ronnie
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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1999
