Theatre Design & Technology - Dec 1974 - 18

accompanying chart (Figure 1.) reveals responses to
the first two questions and the following text includes
answers to the remainder of the questionnaire.
Jo Mielziner's response to the project, besides
having been the first to arrive, set the tone for the
survey when he declined to make a selection for
"Favorite design by other Designers" because, as he
states, he presently sees few productions outside
New York City. That remark, eloquent and cryptic,
graciously confirms that theatre is happening outside
of New York City. Choices by other designers reflect
a geographic range of productions which is not
evident in the Saturday Review article of ten years
ago. Mr. M ielzi ner suggests that the professional
theatre is suffering a shortage of trained scene
painters, and that the universities fail in teaching the
"basic language of design - i.e., drafting, drawing
and painting." He also feels that too many young
people are being trained to "light - but not to light
their own designs."
In 1964 Jo Mielziner chose Winterset as his own
favorite design; a production which he had designed
twenty-nine years earlier. Mr. Mielziner's 1974
choice for his favorite own work is Death at a
Salesman, a production designed twenty-five years
ago, in 1949. He explains this new choice by noting:
"Because lighting as well as scenic design contributed so much to the meaning of this fine play." Mr.
Mielziner made no choice for a favorite American
theatre, but suggested a preference for houses where
no seat is over sixty-five feet distant from the stage.
He adds: "There are no perfect theatres and there
are far too many over-scaled ones."
Donald Oenslager retai ned his 1964 choice of
Major Barbara as his favorite own design and added
Oliver Smith's Camelot to his list of favorites by
other designers.
The Nutcracker Ballet, prod uced
McCormick Place theatre, Chicago,
choice of Samuel Leve for his favorite
Leve chooses the Broadway Theatre,
as his favorite theatre.

in 1968 at the
is the current
design and Mr.
New York City,

Howard Bay retains Carmen Jones as his favored
own work, makes no choice for work by other
designers and chooses The Music Box, New York
City, as a theatre he likes above all others. Mr. Bay
notes that the use of xenon lamps in lighting
technology interests him and adds that the economics
of producing for the theatre are "lousy."
Harry Horner altered his original selections and
chose a Canadian theatre, The Festival Stage,
Stratford, Ontario, as his personal favorite. Mr.
Horner responded to the question soliciting his views
on a decade of change:

18

~

Conventional two-dimensional concepts of design are slowly
disappearing. (Elimination of Proscenium, Drops, Fly-floor)
Dimensional design in space, thrust stages, involvement of
aud iences in spaciai concepts of performers are all new and to
me welcome innovations. The theatre of platforms, ramps, and
vertical construction has become a fashion. Designers, even
good ones, satisfy themselves by designing series of vertical
stilts giving a great simplicity to the stage design,
assimilating the simplicities of the Shakespeare stage. However, like all fashions many designers resort to this constructual simplicity replacing imagination with lack of it. Even good
designers sometimes end up with only a minimal contribution
to the production.

Leo Kerz also revised his 1964 selections and
chose the Arena Stage, Washington, D.C., as his
favorite theatre. (See Front Cover). Writing eloquently about change, Mr. Kerz states:
I am presently working on a Broadway production of the
Brecht-Weill work Happy End. My feeling about the present
day state of technology in the theatre is that it is still medieval.
Just take a look at a present catalogue of hardware for the
stage. Is that to be believed? There will be no improvement
until our designers in this country acquire a new philosophy
about stage designing that conforms with present day social
and political problems, is more virile and less modish in the
chi-chi avant-garde vein. Europe is so far ahead of us. Almost
every designer in this country is playing around with scenery,
scenic materials, substitutes for the real stuff and is proud
when he finds something that looks like a brick but isn't.
Writers and directors need an entirely different approach to
setting the stage if we want them to stay with the theatre.
University theatre departments in most cases, I am afraid,
compound the dilemma by imitating Broadway.

Ralph Alswang chose the Metropolitan Opera
House as his favorite American theatre and remarked
that "The destruction of Naturalism in the theatre end of the box set or real ism" are observable
changes since 1964.
Lester Polakov Iists a recent work, The Bartered
Bride for the Opera Company of Boston, as his
favorite own design, states that his favorite theatre
has not been built yet and philosophically responds
to a decade of American stage design with: Tout la
change, tout c'est Ie m1Jme chose, the more it
changes, the more it is the same.
The New York State Theatre in Lincoln Center is
the favored choice of Oliver Smith. Mr. Smith
changed all of his 1964 choices and has this to say
about the period from 1964 to 1974:
The thrust of contemporary theatre design is architectural
rather than painting; sculptural and plasticity rather than color.
Economics have forced skeletal simplicity - at times tedium.
The use of projections has unfortunately become a cliche and is
no replacement for painted scenery of real skill. Inflation is
destroying visual luxury in the theatre.

Choosing a current production, Ed Wittstein
selected Ulysses in Nighttown as his favorite own
design and makes an interesting choice of favorite
works by other designers ranging from Lute Song by

THEATRE DESIGN AND TECHNOLOGY

DECEMBER. 1974



Table of Contents for the Digital Edition of Theatre Design & Technology - Dec 1974

Contents
Theatre Design & Technology - Dec 1974 - 1
Theatre Design & Technology - Dec 1974 - 2
Theatre Design & Technology - Dec 1974 - 3
Theatre Design & Technology - Dec 1974 - Contents
Theatre Design & Technology - Dec 1974 - 5
Theatre Design & Technology - Dec 1974 - 6
Theatre Design & Technology - Dec 1974 - 7
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Theatre Design & Technology - Dec 1974 - 18
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Theatre Design & Technology - Dec 1974 - 40
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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
http://www.nxtbookMEDIA.com