Theatre Design & Technology - Winter 2018 - 14

choreographers on musical design, particularly Agnes de Mille and Jerome Robbins, who "affected stage design since
it demanded large uncluttered stage areas" (Larson 1961, 190).
There is one attempt at a biography: Oliver Smith: A Bio-Bibliography
by Thomas J. Mikotowicz. Neither this
nor Larsen's book contains any images
of designs by Smith or anyone else.
Mikotowicz seemed to have cobbled
together interviews with Smith, who
was his professor at NYU, and created
lists with annotated bibliographic references. On page one of the first chapter
he says, "There is no designer who has
created more shows than Oliver Smith.
With credits for nearly 400 productions, including many revivals, Smith
has put himself at the center of a large
segment of twentieth-century American
theater history" (Mikotowicz 1993, 1).
Counting the shows listed in the book's
appendix reveals a total of 205, a figure
cross-checked with the Encyclopedia
Britannica. Perhaps Mikotowicz had
read MacKay's interview where Smith
states hyperbolically, "Once you've done

14 |

THEATRE DESIGN & TECHNOLOGY

|

WINTER 2018

over 400 productions, you've almost said
what you have to say" (MacKay 1982,
67).
There are a few black and white reproductions of Smith's artwork in Dance
News Annual, a 1953 book edited by
Winthrop Palmer and Anatole Chujoy
that features Smith's essay titled "Ballet Design" (Palmer 1953, 92). In his
explicit critiques of designs by Eugene
Berman and Salvador Dali (whom he refers to as "easel painters") and commentaries on his own ballet settings, Smith
is candid, saying, "My random remarks
hold no special significance. They will
probably make me a pariah among my
colleagues, where the rule is to be polite
in print, if not in private" (92). The essay
is illustrated with four black and white
prints: Eugene Berman's sketch-model
for the décor of Act I of Ballet Theatre's
Giselle; a detail of Salvador Dali's décor
for Ballet International's 1944 New York
Mad Tristan; Oliver Messel's décor and
costumes in the prologue of the Sadler
Wells Ballet's The Sleeping Beauty; and
Oliver Smith's sketch for décor of Ballet
Theatre's Fall River Legend.

Smith "helped elevate Ballet Theatre (now American Ballet Theatre) to
international renown while serving as
its co-director (1945-80 and 1990-92)"
(Miller 2011) and his essay expresses his
ideas about the design process for ballet,
musicals, and film. Smith proclaimed,
"Designing for the ballet is more alluring to the artist than designing for the
legitimate stage. It demands more imagination, more skill, more lyrical ability; by
imposing more difficulties, it challenges
the tenacity and inventiveness of the theater designer" (92).
Smith was candid in explaining his
method of approaching the design process:
If it is a musical piece, first I
listen to the score. If it is a musical
comedy, I listen to the score and the
lyrics. Never on a cassette. I cannot
hear it that way. It has to be performed. I find listening to the score
performed by the composer and lyricist, even if they play badly and sing
off key - very few of them are particularly good - gives you an enormous
emotional feeling. That generates


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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2018

Contents
Theatre Design & Technology - Winter 2018 - Cover1
Theatre Design & Technology - Winter 2018 - Cover2
Theatre Design & Technology - Winter 2018 - 1
Theatre Design & Technology - Winter 2018 - Contents
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