Theatre Design & Technology - Fall 2012 - 69
Mears, in 1979 when he was invited to run the shop for the
Metropolitan Opera. "After three years, they fired me because
I was too extravagant," said Diffen. A few years later the Met
asked Diffen back, under somewhat closer budgetary control
but with full artistic freedom. He was there for ten years as resident designer before retiring home to Eastbourne.
In the heyday of RDSC, the shop made the costumes for
Katharine Hepburn in Coco, designed by Cecil Beaton and directed by Michael Benthall. Diffen wrote, "There was one original Chanel suit in the show, [but] we made all the soft clothes
for Hepburn, pants suits in silk crepe, a negligee of black, dotted organza, a dressing gown of taupe wool, and a couple of
other outfits." After the opening, Hepburn wrote to Diffen, "A
word of real appreciation for the excellent job you did. I cannot
imagine how it ever got on; had I been you and yours, I would
have given up in despair. Many thanks and may I warn you that
I am rapidly wearing out the black negligee!"
That vignette is typical of the book, a present-at-thecreation narrative, told with the warm honesty and candid authoritativeness of a man who loves what he does and most of
the people around him. For Diffen his one true love was Harry
Good. It is in his memoir's details of the high life, and also
every day life, with Good and with good friends that Diffen's
enduring joie de vivre shines through.
Over Christopher Wren's tomb in St. Paul's Cathedral in
London, the inscription reads, "Si Monumentum Requiris Circumspice." [If you require a monument, look around.] The
same is true of Diffen. Ray Diffen Stage Clothes is not just the
title of the memoir, or the name of a shop, but indeed the way
the entire business has been run for more than half a century.
All that is lacking is an inscription, but that is easily done: the
Irene Sharaff Artisan Award could be graciously renamed the
Ray Diffen Award.
Gregory DL Morris is a business journalist and
historian. His wife, Triffin, is a draper at Tricorne, who
has also worked at many of the other shops in New York
and in regional theatre around the country. They are
writing a history of the theatre costume business and
summarized the history of the Broadway shops in an
article in the Winter 2010 issue of TD&T. In 2011 Triffin
was granted a fellowship by USITT to support the research.
The TD&T article was honored with the Greggs Award.
Editor's note: If readers have memories or photographs of Ray
Diffen, or any of the commercial costume shops, and would like
to contribute to the Morris's research, please contact them at
inquires@enteprriseandindustry.com.
f
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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2012
Contents
Theatre Design & Technology - Fall 2012 - 1
Theatre Design & Technology - Fall 2012 - 2
Theatre Design & Technology - Fall 2012 - 3
Theatre Design & Technology - Fall 2012 - Contents
Theatre Design & Technology - Fall 2012 - 5
Theatre Design & Technology - Fall 2012 - 6
Theatre Design & Technology - Fall 2012 - 7
Theatre Design & Technology - Fall 2012 - 8
Theatre Design & Technology - Fall 2012 - 9
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
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