Theatre Design & Technology - May 1969 - 19

(Anonymous). "A New Triumph in the Art of the
Theatre," Arts and Decoration II, June, 1919,
80-1. Review of Jones; contributions to the Hopkins,
Jones production of Sem Benelli's The Jest with
John and Lionel Barrymore. Jones' settings, which
are described in detail, called the artistic triumph
of the decade. "By the utilization of all means of
gaining his effect
_ .by lights, vibrating colors,
structural elements, by subtle organization and synthesis
.our young American artist of the theatre
has admirably succeeded in creating the mil ieu out of
which springs this unique tragedy of 'blood, lust, and
death." Sketches of settings reproduced.
Macgowan, Kenneth, "Peace Comes to Broadway,"
Theatre Arts Magazine III, July, 1919, 151-9_ Section of Macgowan's review of Broadway devoted to
The Jest. Macgowan hails Jones' settings: "In settings, lights, and costumes, there has been no such
beautiful, effective, expressive, and heightened spectacle on our dramatic stage." Jones' designs reproduced.

Corbin, John, "Hamlet Without the Play: A Tragedy,"
New York Times November 26, 1922, VII, 1. An
expansion of his original review ("A New Hamlet,"
New York Times, November 17th). in which Corbin
continues his criticisms of the Hopkins, Jones production of Hamlet with John Barrymore as the Dane.
Corbin objected strenuously to Jones' permanent architectural setting and the obvious break with the
traditional staging methods. "The drama was thrown
out of focus by the colossal interpretation of a scenic
symbol," said Corbin as he called for a return to the
traditional methods of staging, citing how the various
scenes had been staged at Shakespeare's Globe.
Corbin's position was vigorously assailed with letters to
the Times Mail Bag, and he defended his position in
his column, "Tradition and Hamlet," December 10th,
end again on the fOllowing Sunday, December 17th.
Jones' setting, Corbin complained, restricted the
playing space for the actors. "Mr. Jones 'expressionism' has imposed upon John Barrymore a thoroughly
unshakespearean repression."

Macgowan, Kenneth, "Drama Mailbag: The Staging
of Hamlet," New York Times, Decembet 10,1922,
VIII, 1. Macgowan answers Corbin's criticism of the
staging of the Barrymore Hamlet in a lengthly letter
defending Jones' setting and the staging. "Jones,"
said Macgowan, "places on the modern stage, a permanent architectural platform to replace the old Shakesperian theatre and to bridge the gap between it and
the proscenium." Jones, Macgowan declares, was
trying "to turn away from scenery and illusion, trying
to turn the stage into a platform in a playhouse of
fixed beauty."

Wollcott, Alexander, "Barrymore as Gloucester," New
York Times, March 8, 1920, 7. Review of the Hopkins, Jones production of Richard III, with John
Barrymore as the hunchback king. Wollcott praises
Barrymore and of the production he says, "Richard
was fortified by backgrounds and trappings of great
beauty." Of Jones' settings Wolcott wrote, "Of the
investitures, one may speak as heartily. Some of the
scenes are of incomparable loveliness. All of them
are right, the work of an unerring artist of the theatre,
Mr. Robert Edmond Jones. We are always haunted
that Mr. Jones is about to overstep himself, to impart, for instance, a fantastic quality and an enervating prettiness into a Plantagenet play but Mr.
Jones' precision as an artist is as sure as his imagination is boundless. It is always right."

Henry VIII: Detail of Framed Drop
rCampeius")

'l,
\

Robert Edmond Jones' designs for Macbeth
(1921). and Hamlet (1922), produced with
Arthur Hopkins, aroused more controversy and
critical comments than any others during his
entire career. In each case he vvas bitterl\'
reviled by critics who had hailed him previously. No other American designer suffered
such abuse at the hands of critics who failed
to understand what he was trying to do.

~
('

I
Wollcott, Alexander, "A Rebellion Against the EmĀ·
peror Jones," New York Times, February 2 7, 1921,
VI. 1. In this expansion of his original review of the
Hopkins, Jones production of Macbeth, with Lionel
Barrymore as Macbeth ("Mr. Jones in Macbeth,"
New York Times, February 18th). WOIiCOll, who a
year earlier had praised Jones for his unerring sense
of what was right in his review of Richard III. blasts
Jones unmercifully for his symbolistic staging. He accuses Jones' of "impish antics of design." Wollcott
failed completely to understand Jones' attempted use
of significant form, which had little to do with reality.
Lionel Barrymore's concept of Macbeth, however, was
so out of key with the rest of the production concept
that the performance failed to communicate to the
audience. According to Wollcott, Jones was responsible for this failure of communication. His setting for
Inverness, said Wollcott. "resembled a giant molar
tooth pitched rakishly in space," while the sleepwalking scene suggested "a forest of giant snow~
shoes battered by storm."
Macgowan, Kenneth, "Macbeth," Theatre Arts Magazine V, April, 1921,92-6_ Macgowan's review was
the most favorable of all the criticism the Hopkins,
Jones Macbeth received. Macgowan understood fully
what Jones was trying to accomplish and placed the
blame for the failure of the production squarely on
Barrymore's strange characterization of Macbeth.
Meltzer, Charles H. "Murdered Macbeth: A Challenge
to Common Sense and Long Accepted Views," Arts
and Decoration 14, April, 1921, 541 ft. The most
savage and uncon1prehensive revievĀ·,I that Jones reo
ceived during his entire career. Jones' attempts at a
symbolistic production completely misunderstood by a
critic who tried to be clever rather than critical. Jones
was accused of deliberately designing Macbeth as he
did so that he would be "discussed, reviled, and
even pilloried." Significantly, Jones never attempted
to design in such abstract terms again.

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Henry VIII: Curtain with Commentators, An
Antechamber in the Palace (11-2)



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1969

Contents
Theatre Design & Technology - May 1969 - 1
Theatre Design & Technology - May 1969 - 2
Theatre Design & Technology - May 1969 - 3
Theatre Design & Technology - May 1969 - Contents
Theatre Design & Technology - May 1969 - 5
Theatre Design & Technology - May 1969 - 6
Theatre Design & Technology - May 1969 - 7
Theatre Design & Technology - May 1969 - 8
Theatre Design & Technology - May 1969 - 9
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Theatre Design & Technology - May 1969 - 16
Theatre Design & Technology - May 1969 - 17
Theatre Design & Technology - May 1969 - 18
Theatre Design & Technology - May 1969 - 19
Theatre Design & Technology - May 1969 - 20
Theatre Design & Technology - May 1969 - 21
Theatre Design & Technology - May 1969 - 22
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Theatre Design & Technology - May 1969 - 24
Theatre Design & Technology - May 1969 - 25
Theatre Design & Technology - May 1969 - 26
Theatre Design & Technology - May 1969 - 27
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Theatre Design & Technology - May 1969 - 32
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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