Theatre Design & Technology - May 1971 - 9

he is still best known. The complex
presently includes a variable picture
fram e theatre wi th side stag es (1 94041), and a small thrust stage which
has been added in the past decade.
Baker's original theatre has a main
stage with a 28-foot proscenium, but
with two side stages at right angles to
the proscenium-each 24 feet wide.
Opposite the main stage is a fourth
opening eight feet wide and thirteen
feet deep--in the area where customarilya foyer would be located. Over
this, another balcony area is located,
with some limited playing possibiliti es. The seati ng, ord inary office
swivel chairs, can be moved onto the
four ground level raised stages to form
an arena theatre. This facility, once
teeming with activity under Baker, had
only been used once duri ng the academic year of my visit. The current
regime, headed by Bill Cook, had
chosen to concentrate its efforts on
the newer thrust stage which is appended to one side of Baker's original
building. I found the old hall perhaps
smaller than I had envisioned it-and
in need of renovation. If USITT ever
gets around to designating landmark
theatres, then this one should certainly be nominated.
Across town, the Waco Civic Theatre is an early example of James Hull
Miller's consultations. The 50' by 80'
room, seating 150, appears to afford
interesting possibilities for minimalscenery productions. Curiously, the
narrow gallery around the audience
space, which could serve for actors
or as a lighting position, had been
curtained off and was being used for
storage. The stage area was full of
box set, which it did not bear to the
room's credit. Dance instructor Mary
Stuart Ambler was an obliging guide
at the Waco Civic in the absence of
Director Harry Snyder.
There is reading on the Waco Civic
Theatre in Players Magazine (March
1958); and in Riba Journal (London).
(May 1963).

SAN ANTONIO
If Dallas's Kalita Humphreys is already the grand dame of Texas theatres by virtue of her architect's stature, then San Antonio's Ruth Taylor

~

THEATER DESIGN AND TECHNOlOGY

--'-~L-'---~====

BAYLOR
TIiEATER

Photo: Ned A. Bowman

Waco's Baylor University theatre, showing thrust-stage theatre addition to the original
building, seen in background.

(of Trinity University) is a very promising debutante with equally unique
charms. Both ladies immediately stand
out from the crowd, neither's charm
is lessened by familiarity, and both are
Paul Baker's to use, for better or for
worse.
The progression of thinking about
theatre space from Baylor's three-sided
experimental theatre to Trinity's is unmistakable. Trinity's side stages are
opened up to 120 0 from the 90 0
right angle at Baylor. The swivel seats
are specially designed and the lateral
encircling stages are wide and allow
for more dynamic entrances and exits
than before. The published plans do
not indicate two 5' by 12' traps, at
the junction of each side stage with
the central stage (on and off); andtwo
additional side stage traps 22' long by
15' deep. The latter two were designed for hydraulic elevators which
have not been installed.
There is information on the Ruth
Taylor Theatre in The Drama Review
(Spring 1968).
Fixed seating at the rear of the
Trinity house rises steeply away from
the arena of swivel chairs. A wide
girdle has been provided between
fixed and swivel seating (a total of

MAY,1971

412 chairs) so chase scenes or other
action may be sandwiched between the
two audience segments.
One definitely experiences the play
differently from each of the two seating block locations. In a real sense,
Trinity's theatre provides a departure
from the "People's Theatre" movement of 85-90 years ago which held
as an ideal that everyone should see
a stage from the same "democratic"
viewing angle. The historian may remind us that a tiered opera house provided the same variety 200 years
ago, but somehow the rediscovered
truth is comforting-and perhaps Trinity's sleek swivel chairs are the Twentieth Century's analog to an Elizabethan standing pit.
Seating and aisles are logical,
and emergency exiting is exemplary:
the potentially troublesome pivot seat
area empties through an actor's crossover under the fixed seating and without steps. I n short, the theatre's circulation works.
The smaller Theatre Two is a sensitively conceived example of variable
asymmetry, seating about 100. In
both theatres minimal balconies ap(Continued on page 29)

9



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
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