Theatre Design & Technology - Summer 1976 - 5

EDITORIAL & NEWS
EDITORIAL

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One is almost forced, as was Richard III, to look upon
recent months as "The Winter of (our) discontent." In
our Fall, 1975 issue we paid final tribute to Frank Carrington and Donald Oenslager. Now we mourn Jo Mielziner and B. Iden Payne. We are right to do so for each of
these artists left an indelible record of achievement in
the theatre that we shall not see again.
It is mast fitting that administrators and faculty
at the University of Texas, in their collective wisdom,
decided to honor Professor Payne by naming a new
proscenium theatre for him. For Payne, who died on
April 6th in Austin, Texas, this was yet another sign of
recognition of a distinguished career covering eight
decades in the English and American theatre. The news
item below describes the theatre's features and Professor Payne's elevation to the rank of O.B.E. prior to his
passing.
The loss of Jo Mielziner is particularly poignant because of his unmatched artistry as a scenographer and his
close association as a member and friend of USITT. Our
President, Edward F. Kook, pays homage to his achievements below and we are privileged to publish on page 9
one of Jo's last written works on one of his favorite
themes; the blending of artist and craftsman.
In the postlude to his Designing for the Theatre, Jo
Mielziner quoted Robert Sherwood who described the
theatre as "the dwelling place of wonder." He then went
on to state that working in this "place of wonder" had
continued to enthrall him for "more than forty years."
He spoke for all of us in that statement and though he is
gone, as are the others, his, and their, achievement remains. They remain, first, as a reminder of high courage
and artistry, and second, as an incentive for younger
artists; scenographers, actors, directors, technitians
and producers. For just as Carrington, Mielziner, Oenslager and Payne inhabited the "dwelling place of wonder" for a time, so others, now present and in the future,
will do the same, creating beauty and a sense of joy fo'r
all, as they too, come and go.

The publication of our special issue devoted to the
OISTT Congress and The Third Prague Quadrennial has
been postponed until the Fall issue. Special Editor John
Rothgeb reports that a large number of photos and other
graphic material is already in hand. Written material
transcribed from tape is taking more time. Given the
volume of material to be brought together we look forward to a busy summer preparing this special issue.

USITT

JO MIELZINER-ARTIST OF THE THEATRE
MARCH 19, 1901-MARCH 15,1976
Jo Mielziner died on March 15, 1976, four days before
his 75th birthday. Death was sudden and the shock of it is
painfully alive. He collapsed in a taxi on the way back to
his studio after an appointment at his physician's office,
and was rushed to Roosevelt Hospital where he was pronounced dead on arrival from a "massive stroke".
Recently, Mielziner was quoted as saying ... "When
I am to go, I hope it will be with my shoes on." He got
his wish. Mielziner was on his way to the studio to complete a final color rendering for the forthcoming David
Merrick musical A Baker's Wife. His design will be used
and will constitute his 302nd Broadway show, a record
that probably will never be matched.
Mielziner was a born artist who inherited his talent
from both of his parents. His father was the well-known
portrait painter Leo Mielziner. He exposed his son to
periodic visits to the Louvre in Paris, and his suggestions
and teachings heightened Mielziner's appreciation and
taste for the arts. To develop work habits, Jo was advised always to carry a sketchbook.
Impressed upon him was the need to draw what he
saw rather than simply copy it; thus he learned to draw
with his heart and mind, not just with his eye. His mother
Ella, a distinguished writer on the arts for Vogue, was a
descendant of Dan McGuiness and Charlotte Cushman,
both established figures in the 19th Century American
Theatre. Both through his mother and his elder brother,
actor Kenneth McKenna, he met theatre prople and at
the age of 19, Kenneth introduced him to the Bonstelle
Players in Detroit.
Kenneth sensed that Jo's preference was toward the
visual aspects of theatre production and urged him to
gain experience in backstage operations by working
with the artists, craftsmen and stage technicians. Accepting this type of practical advice he took on the duties
of assistant stage manager, minor roles as an actor, and
helper to the scenic artist. He learned about stage spaces
and floor trappings, machinery, rigging devices and lighting equipment and the adjacent dressing rooms, off-stage
areas and their uses.
As a prodigious reader he became familiar with the
writings of two visionaries, Gordon Craig and Adolphe
Appia. Both strongly influenced him with their ideas
and ideals about the new Stagecraft. His passion for the
living theatre grew deeper. It was the eminent designer
Lee Simonson who recognized his potential and opened
the door of the Theatre Guild to him. Under Simonson,
Jo was given the chance to apply his talents. It was his
third assignment, designing the sets for Molnar's play

THEATRE DESIGN AND TECHNOLOGY

SUMMER,1976

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