Theatre Design & Technology - Spring 1988 - 60

OLAF SOOT ASSOCIATES Pc.
9 Tomaha\\ k Lane, Greenwich, CT 06830

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Theaters and auditoriums
Multipurpose spaces
Theater machinery
Safety and efficiency

203-661--1522

Concept development
Design and engineering
Procurement assistance
Consultations

Olaf S66t executed the designs for the stages at the John f Kennedy
Center in Washington, DC and was involved in major projects at the
Lincoln Center for the Performing Arts in New York City, Empire State
Theater in Albany. NY. Indiana University Musical Arts Center in Bloom·
ington, IN. Centro Civico Coquivacoa in Venezuela and many others. His
early designs of the lifting system for the chandeliers at the Metropol·
itan Opera House and of the movable acoustical ceiling at the Juilliard
School of Music in New 'rork City employed single failure proof principles
because audience safety was deemed paramount. Twenty years later
these designs are still functioning smoothly.

leading the attack on that separation. Perhaps it comes
from the same impulse. The communal atmosphere of
women involved with the "settlement house theatres" (i.e.
Hull House and The Neighborhood Playhouse) encouraged a democratization of the basic theatre organization.
They moved to elevate the lowly seamstress and lighting
technician to the more equal status of costume designer
and lighting designer to create a fuller collaboration. To
move the scene shop into the theatre building, as the
Neighborhood Playhouse did, connected it both symbolically and literally to the theatre building, as the Neighborhood Playhouse did, connected it both symbolically
and literally to the theatre process. ow they move to
attack the barriers between these jobs.
Where are the women scene designers? A precious few
are overcoming the roadblocks placed before them and
making inroads in the established sectors of the profession. Heidi Landsman recently became the first woman to
win a Tony Award in scene design for her 1985 production
of Big River. Marjorie Bradley Kellogg did make it into the
book American Set Design, Some, like Aline Bernstein,
are waiting to be discovered by historians with a more
contemporary point of view concerning the contributions
women have made to theatre art. Other women are setting
about redesigning the scenic design art, and by extension,
the form of theatre itself.*

Raynette Halvorsen Smith is a member of USA Local 829
and teaches scene design at the University of CaliforniaRiverside.
NOTES

NEW TEMPLATES

I. Helen Krich Crunoy and Linda Walsh Jenkins, eds., Women in
American Theatre: Careers, Images, Movements (New York:
Crown Publishers, Inc., 198 Jl, p, 191.
2. Howard Bay, Scene Design ( ew York: Drama Book SpecialistslPublishers, 1974), p, 5.
3. Marjorie Bradley Kellogg, ''Betting on a Dark Horse," American Theatre I, No. 2 (May 1984), p. 28,
4. Chinoy and Jenkins, p. 216.
5. In 1974 Franne Lee received a Tony Award in scene design
with her husband Eugene Lee.
6. Heidi Landesman in ''Women in Design: A Discussion," Theatre Design eJ Technology (Summer, 19851, p. 9.
7. Shirley Ardener, ed., Women and Space: Ground Rules Q1]d
Social Maps ( ew York: St. Martin's Press, 19811, p. 50.
8. Marjorie Bradley Kellogg in ''Women in Design," p. 9.
9. Chinoy and Jenkins, p. 191.
10. Arnold Aronson, American Set Design ( ew York: Theatre
Communications Group, 1985), p, ix.

II. Ibid.
12. Carole Klein, Aline (New York: Harper & Row, 1979). p. 65.

13. Ibid.

Lighting Symbol Templates of major theatrical lighting
instru ments and ALL EW Fu rnitu re Template, Television
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58

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SPRING' B88

14. Elizabeth Langland and Walter Gove, eds., A FemiJJist Perspective in the Academy: The Difference It Makes (Chicago:
University of Chicago Press, 1981), p. 151.
15. Carol Heilbrun, Reinventing Womanhood (New York: W W
orton & Co., 1979), pp. 134-5.
16. Arnold Aronson in ''Women in Design," p. 9.
I
Aronson, American Set Design, p. 58.
18. Ibid" pp. 58-9.
19, Rob Baker quoting Meredith Monk in" ew Worlds for Old:
The Visionary Art of Meredith Monk," American Theatre I,
No, 6 (October 1984), p. 6.
20. A foundation grant application, New York State Council on
the Arts, 1970-71. Also cited by Crunoy and Jenkins, p. 282.



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1988

Contents
Theatre Design & Technology - Spring 1988 - 1
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