Theatre Design & Technology - Spring 1975 - 37

employs a technique developed for sociological I
historical research and used in contemporary investigative journalism; he combines the best and most
authentic primary references with secondary or
fictional references available from the same period.
This is done in an attempt to give not only the facts
of the event but also the texture, sentiments, and
mood of the situations as reported by personages of
the period. Young employs this technique with
excellent restraint, using few fictional sources but
depending on sources which give the "feel" of the
events and the era as accurately as possible. Due to
this manner of presentation, we have not only the
primary documentation for American playhouses, but
also some idea of their use.

this work strike one for their curiosity rather than as
indicative examples of the most useful designs for
contemporary theatres. Perhaps that is the point
being made: contemporary playhouses are a "mixed
bag," just as our contemporary productions seem to
be.
Briant Hamor Lee
Bowling Green State University

LETTER TO THE EDITOR
Dear Sir:

In later periods, wherein more documentation of
playhouses and their construction is available, the
study relies more heavily on primary sources.
Playhouses in this century were opened many times
with gala festivities recorded in descriptive souvenir
programs, an excellent source for such a study.
Given this wealth of material, Young's task has been
one of selectivity. His choices show the main trends
in playhouse constuction and use, and also some of
the curiosities of American playhouse form.
The second section of the study covers the period
of nineteenth century playhouse development before
the Civil War, both on the East coast and in the
newly developed areas of the West. The third section
deals with post-Civil War developments, again on the
East coast and in regional theatre.
The second volume of the study is divided
somewhat differently. The first part continues the
pattern of Vol. I with a treatment of East coast (New
York) and regional playhouses. There follows two
sections of a different nature, reflecting the development of the era: a section on College and University
playhouses and a section on Summer playhouses.
One realizes both the enormity of the country and
of the task William Young has set for himself in
attempting to gain an overview of his study. In
chronological order he deals with the development of
the "professional" playhouses, college and university playhouses, and summer and community playhouses. The resultant impression is a feeling of
monumentality in numbers and diversity in playhouse construction and use in America. Perhaps
some of the more contemporary playhouses have
received somewhat less notice than they deserve, but
there is a problem of balance in any study of this
scope. When one attempts an overview of contemporary architecture, a degree of subjective bias
enters into the choices included; Young's choices are
comprehensive and varied, and their catholicity is to
be admired, but some of the playhouses discussed in

~

THEATRE DESIGN AND TECHNOLOGY

In your issue of October 1974, an article assigned
by Don Stowell, Jr. on the Unionization of the Stage
Designer, although informative and interesting, it
has some inaccuracies which need correction.
The first meeting of designers who had received
invitations to join Local #829 was att~nded by Robert
Edmond Jones, Raymond Sovey, Donald Oenslager,
Lee Simonson and Sheldon Viele.ยท Although Joseph
Urban and Norman Bel Geddes had been asked, they
were not present. We were advised by Morris L.
Ernst, a distinguished lawyer who had a great deal of
experience with union and labor problems. He
agreed with the consensus of the meeting that we
should have an organization. He offered to get us a
charter - it was to be a sort of guild whose members
and working rules were exclusively for the benefit
and protection of artist-craftsmen who worked on a
fee basis. He warned us that to join a union where
the majority would be hourly wage earners regardless of their craftsmanship skills would prove unsuccessful.
Unfortunately and typical of creative artists, none
of us took the initiative and the responsibility to
become officers and workers in the organization.
Mr. Stowell's article is also incorrect in his dates.
When finally the first group of designers were taken
into Local #829 it was in September 1, 1922. My own
membership union stamp was number 22. Mr.
Stowell is correct in stating that Angus Voltz did
promise that the designers could adopt their own
working rules and regulations.
This failure (which must be shared by designers
as well as other union members) has had unfortunately (sic) repercussions. No designer with prime
interest in doing a good design job whether it is
limited to scenery, costume or lighting could possibly
work on an hourly basis.
I still have hopes that our organization at the
union will recognize the need to complete sets of

SPRING. 1975

37



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1975

Contents
Theatre Design & Technology - Spring 1975 - 1
Theatre Design & Technology - Spring 1975 - 2
Theatre Design & Technology - Spring 1975 - 3
Theatre Design & Technology - Spring 1975 - Contents
Theatre Design & Technology - Spring 1975 - 5
Theatre Design & Technology - Spring 1975 - 6
Theatre Design & Technology - Spring 1975 - 7
Theatre Design & Technology - Spring 1975 - 8
Theatre Design & Technology - Spring 1975 - 9
Theatre Design & Technology - Spring 1975 - 10
Theatre Design & Technology - Spring 1975 - 11
Theatre Design & Technology - Spring 1975 - 12
Theatre Design & Technology - Spring 1975 - 13
Theatre Design & Technology - Spring 1975 - 14
Theatre Design & Technology - Spring 1975 - 15
Theatre Design & Technology - Spring 1975 - 16
Theatre Design & Technology - Spring 1975 - 17
Theatre Design & Technology - Spring 1975 - 18
Theatre Design & Technology - Spring 1975 - 19
Theatre Design & Technology - Spring 1975 - 20
Theatre Design & Technology - Spring 1975 - 21
Theatre Design & Technology - Spring 1975 - 22
Theatre Design & Technology - Spring 1975 - 23
Theatre Design & Technology - Spring 1975 - 24
Theatre Design & Technology - Spring 1975 - 25
Theatre Design & Technology - Spring 1975 - 26
Theatre Design & Technology - Spring 1975 - 27
Theatre Design & Technology - Spring 1975 - 28
Theatre Design & Technology - Spring 1975 - 29
Theatre Design & Technology - Spring 1975 - 30
Theatre Design & Technology - Spring 1975 - 31
Theatre Design & Technology - Spring 1975 - 32
Theatre Design & Technology - Spring 1975 - 33
Theatre Design & Technology - Spring 1975 - 34
Theatre Design & Technology - Spring 1975 - 35
Theatre Design & Technology - Spring 1975 - 36
Theatre Design & Technology - Spring 1975 - 37
Theatre Design & Technology - Spring 1975 - 38
Theatre Design & Technology - Spring 1975 - 39
Theatre Design & Technology - Spring 1975 - 40
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