Theatre Design & Technology - Winter 1982 - 10

tively simple Ashes. It consisted of platforms and curtains, but designing such
non-specific, flexible, yet suggestive
scenery, as any designer will agree, "is a
very difficult kind of designing." Comparing the design for Ashes to that for
Talley's Folly, Beatty says that the latter
is "like falling off a log in some ways.
When someone tells you to give them
a ruined Victorian boathouse on the
banks of the Mississippi with moonlight
and stars, that's pretty easy-I mean
you don't spend a long time worrying
about the concept. But when you have
to have ambiguous platforming that
somehow appears appropriate but does
not describe any specific location, it's
hard, real hard." Beatty goes on to describe the evolution of the Ashes set:

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Ground plan for The Curse of an Aching Heart

Ashes
8

Theatre Design & Technology/U5ITT/Winter/1982

photo: Ken Howard

Lynne Meadow direCled ir and she and
[ came up wirh somerhing pre{{y simple. We rhoughr ir needed some sorr of
gimmick ro make rhe many scenes
progress-from beds, ro chairs and
rabies, off and on. [had designed an
oval ser ([ like circles); ir had somerhing 10 do wirh rhe womb, which is
II'har rhe play is very much aboul.
Bur II'hen lI'e lOok rhe idea ro Joe
Papp II'ho was co-producing rhe
Thearre Club ar rhe rime he said he
rhoughr ir should be more like rhe oh
Thearre. [n rhe bed scenes, he sllggesred rhar rhe characrers should be
sranding up againsr a flar rhar represen red rhe bed. Well, [ rhoughr rhar
was srupid bur ar the same time [
thought it was greal. All of a sudden,
when he said thar, [ understood completely what it should be like: Oriental in its simplicity. He didn't really
mean they should stand in front of a
flat, but he cerrainly gave rhe direction
and [ gave up the egotism of the first
design and came up with a ser that lI'as
very simple and very highly srfl/clllred.
[ did, however, cant rhe hard wood
floor slightly so thar it would be a bit
more interesting. When Lynne Meadow saw rhar she said, "[ think you
should give lip thar too." [r was the
last 1i{{le design conceir [ was grabbing onto.

Beatty truly enjoys the collaborative
process and seems content with a contributing role. "I love other people's
ideas. It's always a wonderful feeling
when you finally break through your
own resistance and you realize the other
person's way works. It's exciting." Of
directing he states, "I don't want that
kind of involvement with a show."
While Beatty has definite ideas about



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

Contents
Theatre Design & Technology - Winter 1982 - 1
Theatre Design & Technology - Winter 1982 - 2
Theatre Design & Technology - Winter 1982 - 3
Theatre Design & Technology - Winter 1982 - Contents
Theatre Design & Technology - Winter 1982 - 5
Theatre Design & Technology - Winter 1982 - 6
Theatre Design & Technology - Winter 1982 - 7
Theatre Design & Technology - Winter 1982 - 8
Theatre Design & Technology - Winter 1982 - 9
Theatre Design & Technology - Winter 1982 - 10
Theatre Design & Technology - Winter 1982 - 11
Theatre Design & Technology - Winter 1982 - 12
Theatre Design & Technology - Winter 1982 - 13
Theatre Design & Technology - Winter 1982 - 14
Theatre Design & Technology - Winter 1982 - 15
Theatre Design & Technology - Winter 1982 - 16
Theatre Design & Technology - Winter 1982 - 17
Theatre Design & Technology - Winter 1982 - 18
Theatre Design & Technology - Winter 1982 - 19
Theatre Design & Technology - Winter 1982 - 20
Theatre Design & Technology - Winter 1982 - 21
Theatre Design & Technology - Winter 1982 - 22
Theatre Design & Technology - Winter 1982 - 23
Theatre Design & Technology - Winter 1982 - 24
Theatre Design & Technology - Winter 1982 - 25
Theatre Design & Technology - Winter 1982 - 26
Theatre Design & Technology - Winter 1982 - 27
Theatre Design & Technology - Winter 1982 - 28
Theatre Design & Technology - Winter 1982 - 29
Theatre Design & Technology - Winter 1982 - 30
Theatre Design & Technology - Winter 1982 - 31
Theatre Design & Technology - Winter 1982 - 32
Theatre Design & Technology - Winter 1982 - 33
Theatre Design & Technology - Winter 1982 - 34
Theatre Design & Technology - Winter 1982 - 35
Theatre Design & Technology - Winter 1982 - 36
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