Theatre Design & Technology - Winter 1978 - 16

shows a year and they could be sure of getting their five
dollars a day.
My productions were always ready well ahead of time. But
if I were suspicious, the trunks did not got out until dress
rehearsal and everyone had learned that I would not turn over
the keys until I had the money. I managed to collect $17,000
from Ziegfeld. Years later his publicity man, Victor Samrock,
told me that no one in the office would ever forget it. Three
men and I had worked ninety-six consecutive hours without
leaving the grid! The men passed out. I went up to collect. I
was a living zombie, but it was clear that I would manage to
swarm across the desk and kill Mr. Ziegfeld with a cut-glass
presentation ashtray, if I did not get a check. That was the
only serious money laid out that year. Until after the opening,
only shoe and stocking people had got driblets against outstanding bills for last year's Follies. You were supposed to
work for Ziegfeld for the kudos.
Through Ben Hecht, I met all the migrants from Chicago.
Among them were three painters and etchers who, to be sure
of a livelihood, were also a scenic artists. One had a car;
another had a wife who made wonderful pastry, as I cannot.
They moved in. I helped make models and when, to get the
sets, they had to take twelve costumes, Daphne Carr and I
made them.
In the autumn Blanding Sloan, Peter Larsen and Michael
Carmichael Carr found a huge double mansion, near the
northeast corner of Fourteenth Street and Fifth Avenue. It had
been the Biograph Studios, where the Gish girls' careers had
begun. On its cold dusty ballroom floor a whole curtain could
be laid flat. T he boys slept on cots between paint pots and
coffee pots, though I retired to a cozy flat on Thirteenth Street.
We did absolutely everything: painting and dyeing, props,
costumes, and scenery, which we painted in the People's
Theatre in the Bowery.
I had never thought myself stupid, but the first year was
Hell. The jobs the newcomers could get had been turned
down by everyone else as impossible. But "Wits and Fingers
Studio" prospered doing everything from Mme. Borgne Hammer playing Ibsen through the Scandinavian Northwest, to
one-half life sized papier-m~che puppets for the prolog of a
play of Mrs. Fiske's, and finally Ziegfeld and Murray Anderson's Follies.
Through these productions we met an enormously talented
eighteen-year old Irish boy, named James Reynolds. He became my best friend and the most successful designer on
both sides of the Atlantic, doing musical spectaculars and
drawing room comedies for the likes of Ina Claire. At the
height of his outstanding career he resigned from the Union;
it would, he maintained, bore him to go on. He traveled the
world over, judging horse shows and staying with the very
rich, while he painted their horses on their dining room walls.
He wrote and illustrated fifteen books on travel, architecture,
and one on "Ghosts in Irish Houses."
He and Bobby Jones, each at the pinnacle of his own
design career, were jealous only of each other, and how
jealous they were! Eventually, to please me, they became
friends of a sort. Bobby even asked Jimmy to design the
Prologue of Don Juan for him.
My other close friend among designers was Lee Simonson,
though I admired his work less than either Bobby's or
Jimmy's. Our friendship was founded on the fact that neither
of us could stand actors. I was somewhat more elastic than
Lee if they were also playwrights, designers, or directors like
Rollo Peters or Alexander Kirkland, but Lee would not have
an actor in the house. I remember how happy it made his wife
14

Theatre Design & Technology

Carolyn Hancock, technical director of the Theatre Guild,
when Lunt and Fontanne went on the Guild's board. There
was no one except me, with whom they had so much in
common: building, gardening, good cooking, and fine wines.
There was one other important designer of my era, Norman
Bel Geddes. We were not friends-I despised him. Obviously,
one must be able to provide something smashing when that is
called for, but in a production which must amalgamate the
author's intentions with the actors and the directors, the function of a designer is to help them all out. Bel Geddes with
crass and vulgar vanity knocked everything else out as he
overwhelmed with beauty. He was splendid with big pageants
in large spaces, but God help a modest little play sunk by that
show-off.
Feeling as I did about actors it was always easy for me to
give up the theatre. In 1921 I married one of the pioneers of
air-conditioning. His two children had been brought up in the
corridors of the Brevoort Hotel, while their mother, on another
floor, was making up her mind about marrying Arthur Garfield Hays, the lawyer (which she finally did). When the kids
got home from Walden School they could get a snack from
our Chinese houseman on West Eleventh Street, or from the
Hays' superb Austrian cook on East Tenth Street, so I was
absolutely free.
I had never worked at the Provincetown, but I knew everyone there. One day I decided to walk across the Square and
see how myoid friend Kyra Markham was getting along with
costumes. As I walked in she hit a felon on a fi nger and fell in
a dead faint, all six feet of her. Georges Dandin, designed by
Jones, was due to open in four days and absolutely nothing
was ready. I jumped in and eventually Kyra was persuaded to
go back to the stage where her beauty, majestic carriage and
voice really belonged. I stayed on to design alternate shows
with Bobby and construct all.
University theatre departments, when I visit them, are
never satisfied with their funds, space or equipment. To me,
these seem incredibly well-found in comparison with the conditions under which ~ turned out memorable shows. The
Provincetown's original costume shop was in the two rear
rooms on a floor above the theatre. Eleanor Fitzgerald's office
was inthe front, but all traffic had to pass through the door of
our large costume workshop.
Emma Goldman's niece, Stella, was married to Teddy Ballantine, one of our actors. When she came, every other day to
visit Fitzie, she had to bring her son, a tiny fiend. If I were busy
with a fitting in the comparative privacy of the little hallbedroom he would squirt sewing machine oil and unreel as
many spools of thread as possible. I never had time to kill
him, so Ian grew up to head Ballantine Books.
By the time Bobby was to design Patience, we had been
moved to larger quarters on East Third Street, over Cleon
Throckmorton's scenic shop. We had to let the faucets drip
overnight, lest they freeze, and there was often a skim of ice in
the toilet bowl. When I had time to worry about going up in
flames from Throck's scenery, I comforted myself that we had
New York's oldest firehouse practically next door. However,
the fire escapes were too rusty to be trusted and when Bobby
came there to see fittings, he got out fast. By the time that he,
Kenneth MacGowan, and Eugene O'Neill had acquired the
Greenwich Village Theatre, Bobby saw to it that we moved
into huge, clean, and sunny quarters with a sprinkler system.
These were located in the Hallinan Building, off Sheridan
Square, and between our two theatres.
It was during this time that Bobby brought in a boy, just out
of college who wanted to learn all about theatre. He was my
USITT /Winler, 1978



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1978

Contents
Theatre Design & Technology - Winter 1978 - 1
Theatre Design & Technology - Winter 1978 - 2
Theatre Design & Technology - Winter 1978 - 3
Theatre Design & Technology - Winter 1978 - Contents
Theatre Design & Technology - Winter 1978 - 5
Theatre Design & Technology - Winter 1978 - 6
Theatre Design & Technology - Winter 1978 - 7
Theatre Design & Technology - Winter 1978 - 8
Theatre Design & Technology - Winter 1978 - 9
Theatre Design & Technology - Winter 1978 - 10
Theatre Design & Technology - Winter 1978 - 11
Theatre Design & Technology - Winter 1978 - 12
Theatre Design & Technology - Winter 1978 - 13
Theatre Design & Technology - Winter 1978 - 14
Theatre Design & Technology - Winter 1978 - 15
Theatre Design & Technology - Winter 1978 - 16
Theatre Design & Technology - Winter 1978 - 17
Theatre Design & Technology - Winter 1978 - 18
Theatre Design & Technology - Winter 1978 - 19
Theatre Design & Technology - Winter 1978 - 20
Theatre Design & Technology - Winter 1978 - 21
Theatre Design & Technology - Winter 1978 - 22
Theatre Design & Technology - Winter 1978 - 23
Theatre Design & Technology - Winter 1978 - 24
Theatre Design & Technology - Winter 1978 - 25
Theatre Design & Technology - Winter 1978 - 26
Theatre Design & Technology - Winter 1978 - 27
Theatre Design & Technology - Winter 1978 - 28
Theatre Design & Technology - Winter 1978 - 29
Theatre Design & Technology - Winter 1978 - 30
Theatre Design & Technology - Winter 1978 - 31
Theatre Design & Technology - Winter 1978 - 32
Theatre Design & Technology - Winter 1978 - 33
Theatre Design & Technology - Winter 1978 - 34
Theatre Design & Technology - Winter 1978 - 35
Theatre Design & Technology - Winter 1978 - 36
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