Theatre Design & Technology - Spring 2008 - 15

in the season. I greatly admired their willingness to do whatever it takes to
pursue their dreams. They were fortunate that there wasn't an elephant in
Distant Fires, not that it would have deterred them in any way.
I would eventually design a number of shows on Broadway with Steppenwolf. The highlight would be The Grapes of Wrath. In so many ways
all the elements-text, actors, director, and design-came together to tell
a beautiful and poignant story. The success of this show depended on the
considerable contributions of everyone involved. The road to Broadway via
Chicago, La Jolla, and London was as challenging as the Joad's journey, and
in the end as hopeful and inspiring. It was the biggest thing that any of us
had ever taken on. It pushed us all beyond what we thought was achievable.
But that is also what pushed us to reach so far, what if we can do this? What if
we can make this work? If we can do this what are the limits? Reach we did.
If we could dream it, we could do it. And as you all know, we did it.
By 1997 I had spent more than half of my life working with Steppenwolf Theatre and I found myself at a cross roads in need of new challenges
both personally and professionally. Two new opportunities presented
themselves here in Houston. The first, a full-time faculty position at the
University of Houston and the second a position as Associate Director of
Design for the Alley Theatre under Artistic Director Gregory Boyd.
I found the idea of teaching to be exciting. At that point in my life
I felt that I had experienced enough to share with the next generation
of theatre artists. I had a couple hundred productions under my belt, a
dozen shows on Broadway, many more Off-Broadway, London, Australia, Israel, and I had played a significant role in the development one of
American's premier theatre companies. Yes, it was time to follow the time

14

theatre

design

&

technology

S P R I N G

2008

honored theatrical practice of giving back to my profession.
The Alley had a resident company of actors and in addition offered a
high level of support to designers. There was a real sense of family at the
Alley between the actors, directors, designers, artisans and staff. Greg's
passion and support of the artists and staff drives this company to excel,
and in turn the company and staff support his vision. I had designed a
number of shows for the Alley over the years, starting with a production of
Our Town directed by José Quintero, who was also at that time a part of
University of Houston faculty. I had found a new home. Two new homes.
Shortly after I joined University of Houston, the great director Sir
Peter Hall joined the faculty. Peter had been behind bringing me to the
Royal National Theatre years ago to light their production of Mamet's
Speed the Plow. He also brought Steppenwolf's The Grapes of Wrath to
the National. When Peter arrived in Houston we renewed our acquaintance and a deep friendship followed. Through this friendship, I had the
opportunity to join the Peter Hall Company as a designer when another
designer withdrew from the Peter Hall season at the Theatre Royal Bath.
My wife, Trish, was already working as Peter's associate director and
associate producer, so this time, in addition to a company it was truly a
family working together.
For the next several years, we produced a repertory season together, with Peter directing two or three out of five plays each season. I
was the scenic designer and Trish and I collaborated on the costumes.
The acting company was comprised of many stalwarts from Peter's years
at the RSC and National, and up-and-coming London actors.
The work together was very rewarding on several levels-the opportunity to work with my partner and spouse-the opportunity to work
with artists I respected and admired, and the opportunity to work on plays
that challenged me as an artist.
I found Peter to be supportive and encouraging. In many ways we
share a common aesthetic and working style. Peter refers to my design
process as distillation, a sauce reduction if you will. You start out with
many ingredients and reduce them down to the most flavorful sauce. You
know that you are done not when there is nothing to add, but when there
is nothing to take away.
We were also excited to have the opportunity to involve a number of
our students in these productions-actors and designers. These students
sat in on rehearsals, served as assistants to stage managers, hunted down
props all over London, built a prop or two, and shared a pint or two with
the company. They were active participants, taking everything in and contributing to the production. We all became their mentors, working side by
side, observing, questioning, exploring.
Peter Hall has often said that luck was a major factor in his success,
being in the right place at the right time. I have often found myself at the
right place at the right time and have been lucky to recognize opportunity
when it knocked. What does the future hold? For me I will continue to
look for those connections that will bring me into contact with my ever
growing circle of colleagues. I will continue to look for new opportunities, I will continue to take those jobs that are interesting and challenging
and might lead me in a new direction. I will continue to be a mentor to my
students and share my life's experiences.
What about you? What new opportunities will present themselves?
Please take this opportunity to look around you. Who is here today that
might hold an opportunity or be a connection for you in the future? The



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2008

Contents
Theatre Design & Technology - Spring 2008 - 1
Theatre Design & Technology - Spring 2008 - 2
Theatre Design & Technology - Spring 2008 - 3
Theatre Design & Technology - Spring 2008 - Contents
Theatre Design & Technology - Spring 2008 - 5
Theatre Design & Technology - Spring 2008 - 6
Theatre Design & Technology - Spring 2008 - 7
Theatre Design & Technology - Spring 2008 - 8
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