Theatre Design & Technology - Summer 1982 - 13

abstractions. Somebody puts out a cigarette-well you have to
have an ashtray."
Lee began with the question of how to stage two people sitting
and talking. He envisioned the set as a large sounding board, a
raked floor sweeping into a back wall. It will be constructed of
dark oak six-inch planking with the spacing between the planks
becoming wider as the set sweeps up. Behind the rear wall will
be some kind of structure and action will be visible through the
planking-a sort of wooden scrim. "It's very simple," he states.
"Every time I try adding to it, it starts getting like a room."
Lee's antipathy toward commercial theatre emerges as he
talks about "Agnes." He wanted to light the show himself but the
producers, according to Lee, said no because they had not seen
his lighting work. "I can do lights for Peter Brook in Paris, but
they won't let me do lights on Broadway because they haven't
seen my work." he exclaims. Because of the rake, the spaces in
the floor, and the surface quality of the wood Lee wanted the
actors to work on the set or at least a raked stage for rehearsals.
This, of course, was not possible. He says he would not be
unhappy if he never worked on Broadway again.

The Future
"You work because you have to eat, and create because
you're an artist and have to do it. But I'm distressed because of
the theatres." Eugene Lee emerged at a time when theatre was

bursting with energy and toppling the barriers of the New
Stagecraft which had dominated the stage for decades. Off-offBroadway was pushing onto Broadway and audiences were at
least willing to watch and listen. But theatre has retreated back
to essentially pictorial sets and well-made plays leaving Lee little
that excites him. He is doing a revival of Candide for the New
York City Opera.
They want it to be like the other but on a proscenium. Well it won't
be like the other-who are we kidding? I guess in my heart I don't
even want to do it. There was a time that I would have stalked out of
the office at the thought of doing a proscenium show. But the trend
is against it, even in Providence. People are clamoring for fixed
seats, sitting in the same place for every show, knowing they're
going to have a seat. Maybe I've lost a liNie bit of my energy. Maybe
I've gotten a little saner or something and I just refuse to go crazy
anymore. The trend is so overwhelmingly against it.

Nonetheless, like most successful designers he remains
busy. Aside from Agnes of God, Candide and 1985, he is
working on The Hothouse, an early Pinter play, and Nothing
Lasts Forever, a film.
He recently remarried and enjoys his life in Rhode Island. In
what little spare time he has he sails and tinkers with old cars.
Despite being so "negative and morose," as he puts it, about the
current state of the theatre he does like it and it is not likely that
he will abandon it. "The best thing about the business is the
people in it. That's what it's all about." 0

Medium

Capacity

Date

Title

Theatre

Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Television
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage
Stage

Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets

March 1, 1972
September 24, 1972
September 27,1972
October 9, 1972
January 10, 1973
April 18, 1973
October 24, 1973
November 1, 1973
December 6, 1973
December 11, 1973
February 21, 1974
March 10, 1974
1974-1980
October 31,1974
December 9,1974
January 7, 1975
March 4, 1975
April 22, 1975
September 9, 1975
October 14, 1975
December 30, 1975
February 14, 1976
February 17, 1976
April 6, 1976
February, 1977
October 25, 1977
November, 1977
April 25, 1978
March 1, 1979

Performing Garage
Trinity Square Playhouse
Manhattan Project
Broadway Theatre
Trinity Square Playhouse
Trinity Square Playhouse
Trinity Square-Lederer
Trinity Square-Lederer
Trinity Square-Lederer
Brooklyn Academy of Music
Trinity Square-Lederer
Broadway Theatre
NBC
Trinity Square-Lederer Downstairs
Studio Arena Theatre
Trinity Square-Lederer
Trinity Square-Lederer
Trinity Square-Lederer Downstairs
Mark Hellinger Theatre
Trinity Square-Lederer
Trinity Square-Lederer
Center Stage
Trinity Square-Lederer
Trinity Square-Lederer Downstairs
Trinity Square
Longacre Theatre
Trinity Square
Trinity Square-Lederer Downstairs
Uris Theatre

Stage
Stage
Stage
Stage
Stage
Concert
Stage
Stage
Stage
Television
Stage
Stage
Stage
Stage
Concert
Stage
Film

Sets
S&L
Sets
Sets
Sets
Sets
Sets
Sets
S&L
Sets
Sets
Sets
Sets
Sets
Sets
Sets
Sets

August 2, 1979
1980
April 13, 1981
May 9, 1981
May 24, 1981
September 19, 1981
September, 1981
September, 1981
October 31, 1981
November, 1981
November 16,1981
January 20, 1982
February, 1982
April, 1982
May 7, 1982
May 9, 1982
1982

Alice in Wonderland
Old Times
Endgame
Dude
Royal Hunt of the Sun
Feasting With Panthers
Brother to Dragons
Ghost Dance
Aimee
Candide
A Man for All Seasons
Candide
Saturday Night Live
Well Hung
Gabrielle
Peer Gynt
Tom Jones
Seven Keys to Baldpate
Skin of Our Teeth
Cathedral of Ice
Two Gentlemen of Verona
Dream on Monkey Mountain
Bastard Son
Eustace Chisholm and the Works
King Lear
Some of My Best Friends
Rosmersholm
Seduced
Sweeney Todd, The Demon Barber
of Fleet Street
Gilda Radner, Live From New York
Kaspar
It's Me, Sylvia
Willie Stark
Inherit the Wind
Simon and Garfunkel
Of Mice and Men (tour)
Buried Child (tour)
Uncle Tom's Cabin: A History
Steve Martin Special
Merrily We Roll Along
The Little Prince and the Aviator
The Hothouse
Agnes of God
Simon and Garfunkel
The Hothouse
Hammett

Winter Garden
International Center for Theatre Research
Playhouse Theatre
Kennedy Center Opera House
Trinity Square
Central Park
Trinity Square
Trinity Square
Trinity Square-Upstairs
NBC
Alvin Theatre
Alvin Theatre
Trinity Square
Music Box Theatre
Tokyo
Playhouse Theatre
Zoetrope Studios



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1982

Contents
Theatre Design & Technology - Summer 1982 - 1
Theatre Design & Technology - Summer 1982 - 2
Theatre Design & Technology - Summer 1982 - 3
Theatre Design & Technology - Summer 1982 - Contents
Theatre Design & Technology - Summer 1982 - 5
Theatre Design & Technology - Summer 1982 - 6
Theatre Design & Technology - Summer 1982 - 7
Theatre Design & Technology - Summer 1982 - 8
Theatre Design & Technology - Summer 1982 - 9
Theatre Design & Technology - Summer 1982 - 10
Theatre Design & Technology - Summer 1982 - 11
Theatre Design & Technology - Summer 1982 - 12
Theatre Design & Technology - Summer 1982 - 13
Theatre Design & Technology - Summer 1982 - 14
Theatre Design & Technology - Summer 1982 - 15
Theatre Design & Technology - Summer 1982 - 16
Theatre Design & Technology - Summer 1982 - 17
Theatre Design & Technology - Summer 1982 - 18
Theatre Design & Technology - Summer 1982 - 19
Theatre Design & Technology - Summer 1982 - 20
Theatre Design & Technology - Summer 1982 - 21
Theatre Design & Technology - Summer 1982 - 22
Theatre Design & Technology - Summer 1982 - 23
Theatre Design & Technology - Summer 1982 - 24
Theatre Design & Technology - Summer 1982 - 25
Theatre Design & Technology - Summer 1982 - 26
Theatre Design & Technology - Summer 1982 - 27
Theatre Design & Technology - Summer 1982 - 28
Theatre Design & Technology - Summer 1982 - 29
Theatre Design & Technology - Summer 1982 - 30
Theatre Design & Technology - Summer 1982 - 31
Theatre Design & Technology - Summer 1982 - 32
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