Theatre Design & Technology - May 1971 - 11

George Jenkins' sets are all admirable visual
accompl ishments, but they are most interesting as
examples of the pragmatic process. Jenkins has
never been known for his styl ish pretensions, and
thus very few people (even in the theatre) are
aware of the length and variety of his credits.
His ability to solve the practical problems and
to make his sets work for the total production have
contributed both to his lack of widespread public
recognition and to his continual employment in
almost all areas of theatrical design.
Jenkins was born in 1909. His family lived in
Baltimore, Wilkes-Barre, and finally in Philadelphia
where he studied architecture at the University of
Pennsylvania. Architects at the height of the Depression were in a more precarious position than
most other professionals, and after being employed
in several firms that folded, he tried the insurance
business.
The Philadelphia Art Alliance sponsored competitions for stage sets and in the three years that
Jenkins entered he won one third prize, and two
firsts. The judges were Lee Simonson, Henry
Wagstaff Gribble, and Donald Oenslager. An influential figure in the lives of many designers, Oenslager encouraged Jenkins to come to New York
and work in the theatre.
Jenkins first play on his own was Early to
Bed, which was followed by designs for Mexican
Hayride, I Remember Mama, Strange Fruit, Common Ground, and Dark of the Moon.
Later in Hollywood, Jenkins designed The Best
Years of Our Lives, The Bishop's Wife, Roseanna
McCoy, Enchantment, A Song Is Born, Monsoon,
San Francisco Story, At War with the Army, and
Secret Life of Walter Mitty.
Returning to Broadway, Jenkins did Tonight at
Eight-thirty, Lost in the Stars, Bell, Book, and
Candle, The Bad Seed, The Curious Savage, The
Happiest Millionaire, Two for the Seesaw, The
Miracle Worker, Wait Until Dark, and others.
As movie productions in New York increased
in recent years, Jenkins began to again devote
more time to film design. He has been the art director for The Miracle Worker, Mickey One, Wait
Until Dark, Up the Down Staircase, No Way to
Treat a Lady, Me, Natalie, and The Angel Levine,
etc.
These credits only suggest the experience of
a full career and its influence upon Jenkins' design philosophy and technique.

JENKINS· A
~

THEATER DESIGN AND TECHNOLOGY

J enki ns' tralnl ng as an architect has i nflu enced
all his work. A feeling for proportion, scale, and
realistic construction in his stage design has permitted him to move freely from the stage to film.
Also, an architect is always client-oriented, compelled to create within a limited program, and thus
must be constantly concerned with the practical.
Jenkins says:
The facts of Iife are goi ng to be wi th
you from the moment the set is built
and if you know what they are in
advance you might just as well talk
about them. It may alter the design
visually, but what good is the visual
design if it doesn't work?
Recent architectural journals have reported a
development that must seem threatening to theatrical designers as well as to architects. The new
architecture attempts to suppress personality to
produce an anonymous creation that thus avoids
becoming the type of building that is only an egocentric exercise. But while this new aesthetic looks
like a descent into an architecture of the ordinary,
architects clai m that the new approach can more
surely provide the practical solutions and spaces
for human use than could the old concepts based
on the architect's need to express his personality.
The scenic designer, schooled in the theatrical
cult of personality, may be appalled at the thought
of "anonymous" design, but both the architect
and the designer are searching for a pragmatic result. The age-old confrontation of designer versus
author, director, and actor, has, at least, since the
time of Inigo Jones and Ben Jonson made theatrical production as much a competition as a collaboration. With this in mind, theatrical designers
might consider the efficacy of the new aesthetic.
The cause of the egocentric ideal in both architecture and scene design has been advanced by
the publication of those individualistic works that
are more newsworthy because they can stand apart
from practical considerations. These published examples must necessarily represent a small percentage of the work done in each field. They are
undoubtedly inspirational, but because they are dependent on personality, they have almost no instructional value for those who must make things
work.
This is not to say that the designs of Picasso,
Chagall, Dali, or other artists and designers more
closely related to theatre should not be published.
Through the innovations of genius, art progresses.

PRAGMATIC DESIGNER·

MAY,1971

Beeb Salzer

11



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1971

Contents
Theatre Design & Technology - May 1971 - 1
Theatre Design & Technology - May 1971 - 2
Theatre Design & Technology - May 1971 - 3
Theatre Design & Technology - May 1971 - Contents
Theatre Design & Technology - May 1971 - 5
Theatre Design & Technology - May 1971 - 6
Theatre Design & Technology - May 1971 - 7
Theatre Design & Technology - May 1971 - 8
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Theatre Design & Technology - May 1971 - 11
Theatre Design & Technology - May 1971 - 12
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https://www.nxtbookmedia.com