Theatre Design & Technology - Fall 1981 - 16

CONTEMPORARY
AMERICAN
DESIGNERS:

Santo Loquasto
by Arnold Aronson

Since his New York debut in 1970-a double bill of Sam
Shepard plays at the Astor Place Theatre-Santo Loquasto has
designed more than 125 shows including Sticks and Bones,
That Championship Season, Kennedy's Children, American
Buffalo, Bent, The Suicide, and most recently, Woody Allen's
The Floating Lightbulb, as well as many productions for the New
York Shakespeare Festival and the Arena Stage. He is equally
well known in the dance world, although more as a costume
designer, having designed for Twyla Tharp, Glen Tetley, Mikhail
Baryshnikov, and Jerome Robbins-Robbins was unaware that
he even designed stage sets. And in the last year or two,
Loquasto has begun to design costumes and sets for films
including Simon, Stardust Memories, and The Fan. He is one of
the theatre's most versatile and busiest designers.
Loquasto's studio is a cramped room in his Riverside Drive
apartment, filled with three drafting tables and bookshelves.
Photos, renderings, and miscellaneous images are haphazardly
hung on the walls. Loquasto works at the table nearest the
single window that overlooks Riverside Park and the mostly
obscured Hudson River. His assistants-he regularly employs
from two to four, depending on whether he is doing sets and
costumes-use the other tables. If he is painting, aging, or dying
costumes, this work spills out into the dining room and kitchenhardly a glamorous arrangement for one of America's most
distinguished designers.
The number of shows he has worked on means, of course,
that frequently several projects are under way simultaneously, a
situation on which Loquasto thrives. He claims that he does not
like the long hours, and the occasional all-nighters-the entrance to his apartment looking "as if I had just loaded out three
shows"-but the animation with which he discusses this lifestyle
belies the statements. His excitement mounts as he describes
his new career in film: the pressure, he notes, is "exhausting,"
the pace "hectic," and the process, he concludes, "is quite
marvelous." He has no intention, however, of abandoning
theatre and dance for the movies.
~

Success overtook Loquasto quite rapidly and it seems that ten
years later he is still trying to catch up. While he is certainly not
self-deprecating or overly modest-he discusses his talents
frankly and objectively, yet in the most unpretentious mannerhe is genuinely amazed at the degree and rapidity of his
success. His Broadway premiere is a case in point. Inside, he
proclaims, all theatres are alike whether in Hartford, Spoleto, or
New York: "Another basement and another stopped up slop
sink." Thus, it was not until standing outside the theatre on the
opening nig ht of Sticks and Bones that he realized he had made
it, and much sooner than he had ever expected. Now, as he is
working on his fifth film, a new Woody Allen project, the reality of
being a film designer is just hitting home. "I found that as I was
working on this movie," he explains, "it was almost like a
dream." While Loquasto has never made a list of his goals or
aspirations, he has never kept track of accomplishments either.
When asked for a list of his work, he had to contact the Union of
Scenic Artists and a number of regional theatres-he has no
complete record.
On a more fundamental level, Loquasto does not take time to
look back on what he has done. Certainly he does not approach
design from any theoretical basis. While he talks articulately
about space, and places himself in the "sculptural tradition" of
theatre design, he is unable or unwilling to discuss stylistic
elements, claims not to be a colorist despite his skillful manipulation of mood through color, and seems surprised to discover a
consistent use of line, angularity, and verticality in his sets.
"There are things I like," he admits, "so I know those are
probably there [in the designs], and there are probably ways I go
about things which are predictably the same." But when pressed
for specifics, the only example he can offer of such a stylistic
element is the method he has of finishing the fascia of a
staircase. He notes that Tony Walton also has a distinctive
staircase style.
Loquasto discusses his work distantly, almost as if he were
talking about a stranger. "In Floating Lightbulb and Bent," he

1981. Arnold Aronson

14

Theatre Design & Technology

US ITT Fall, 1981



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1981

Contents
Theatre Design & Technology - Fall 1981 - 1
Theatre Design & Technology - Fall 1981 - 2
Theatre Design & Technology - Fall 1981 - 3
Theatre Design & Technology - Fall 1981 - Contents
Theatre Design & Technology - Fall 1981 - 5
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