Theatre Design & Technology - Winter 1982 - 6

CONTEMPORARY
AMERICAN DESIGNERS
........................................................................

John Lee Beatty

by Arnold Aronson
© 1982, Arnold Aronson

John Lee Beatly is a paradoxical artis!. Over and over he expresses his love
for the phoniness, tackiness, and trickery of visual theatre, yet he achieved his
fame as a designer of kitchen-sink
realism for plays like Crimes of the
Heart, and poetic realism for such plays
as Talley's Folly and The 5th of july.
He loves musical comedy, some opera,
and theatrical plays yet remains associated with the Circle Repertory Company
and Manhattan Theatre Club which
tend to produce small-scale, realistic
plays. He despairs over the current state
of theatre, yet he has designed over forty
productions since 1980. "1 don't think
of myself as a realistic designer," he
states. "1 think my strength is that I am
not a realistic designer but 1 do realistic
scenery. So, it always has a theatrical
quality."
Looking at Beatty's repertoire it is
apparent that his most successful designs
have been for the poetic plays of Lanford Wilson, David 1amet (he has done
nearly all of 1amet's plays), and Beth
Henley-the descendants of Tennessee
Williams. The plays themselves are
often set in the past or away from
the harshness of present-day reality.
Becau e these dramas unfold on front
porches, dock, or the room of houses,
Beatty's sketches tend to evoke a softedged, sentimental mood. The most
persistent scenic element is the rough
board planking that he uses again and
again to represent a porch, a provincial
stage, a dock, a platform, or a floor. It
appears in such diver e productions as

Knock Knock, The 5th of july, Talley's
Folly, The Contrast, and The Amorous
Flea. While the boards are sometimes
smooth and symmetrical, they are more
4

Theatre Design & Technology USITT \\'inler 198:!

often rough, uneven, and radiate out
toward the audience at a variety of
angles. This basic scenic element and
approach is usually used in conjunction
with wooden posts, gables, foliage, and
trellises as in his recent design for Monday After the Miracle. Although Beatty
does not design lights, his sketches often show sets bathed in light. They are
evocative. mood-setting renderings in
which light is frequently the dominant
quality. The 5th of july shows the
warm rays of sunlight; blue moonlight
suffuses Talley's Folly.
Beatty's use of materials shows the
influence of Ming Cho Lee-who was
his teacher at Yale-and, perhaps, Santo Loquasto. His use of color is reminiscent of Boris Aronson, and Douglas
Schmidt's influence is obvious in a Beatty interior such as A Tale Told-he
assisted Schmidt in the early 1970's. In
addition to his contemporaries, Beatty
readily acknowledges fairly classical influences: "I don't go a week without
looking through my Robert Edmond
Jones and 1 look at Ir. Mielziner very
often. I find Mielziner's sense of scale is
brilliant, absolutely brilliant. 1 emulate
Jones not so much for scale as for a
sense of purity. As for painters, I'm
fond of Vuillard, John Singer Sargent,
and Whistler ... a li ttle Botlicelli here
and there. I love secondary arts: architecture, furniture and great clothing."
It is when he talks about Boris Aronson, however, that Beatty's approach
starts to come into focus. "I like Ir.
Aronson for his theatricality and inconsistency that makes for a certain rhythm
in his work. Cabaret, for instance, had
very realistic scenery in one scene and
painted effects in the next. It keeps



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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