Theatre Design & Technology - Fall 1991 - 38
Photographs are the mosr easily discarded
record of a design and rhe fate of such
photos, tossed into rhe garbage, is to be
earen by scavenging dogs. Lowery's thearrical design was exciting; irs presentation
was both consistent with the exhibition's
theme and sufficiently vital to have
stopped me in my tracks when I first
entered Great Britain's exhibition area.
Ralph Koltai's model for MetropoLis,
produced in London at the Piccadilly
Thearre in March 1989, represented a setting composed of twin gleaming silver
and brass gargantuan machines joined by
carwalks, bisected by tubing and valves.
During the action of the play, the set
opened up on to a grassy background and
the predominantly metallic consrruct of
the indusrrial age gave way to the pastoral
environment of the natural world. The
model was displayed as a freestanding
piece of sculpture, not inside of a model
box, and I was able to view it from all
angels. It rested on the top of aT-shaped
stand composed entirely of crushed
chromium and brass car parts which had
been compacted into two rectangular
blocks forming the vertical and horizontal
bars of the T-shaped industrial stand. As
with the other designs in this exhibition,
the context for viewing simultaneously
extended the materials and "feel" of the
design and subscribed to the governing
theme. In this case, the metallic car parts
seemed a part of the world of MetropoLis as
much as they were at one with the wotld
of discarded rubbish which expressed the
exhibition's theme.
Dancing at LllghnflSa was designed in
1990 by Joe Vanek for the Abbey Thearre
in Dublin. The production is currently
playing in London and will open on
Broadway in October 1991. Its commercial success must result, in no small part,
from this exciting design. Vanek's model
suggests a set that is an interior and exterior simultaneously-a raked wheat field
with poppies, the edge of which defines
the wall of the downstage left room which
is filled with rough-hewn oak tables,
chairs and a cupboard and has a strawstrewn floor. The perimeters of the set are
defined by high stucco-textured white
walls ombred with ocher. The design is
presented in a model box which appears
to perch magically on the tops of tall,
slender shafts of real wheat with red poppies interspersed. This vertical column of
vegetation grows out of the center of a
stack of three used and dirty rruck tires.
This poetical presentation vibrates with
the same poetical style that informs Brian
Friel's Irish scripr. Friel writes of an Ireland torn apart by war. Vanek's design
shows agrarian Hope (the wheat and pop-
Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1991
Contents
Theatre Design & Technology - Fall 1991 - 1
Theatre Design & Technology - Fall 1991 - 2
Theatre Design & Technology - Fall 1991 - 3
Theatre Design & Technology - Fall 1991 - Contents
Theatre Design & Technology - Fall 1991 - 5
Theatre Design & Technology - Fall 1991 - 6
Theatre Design & Technology - Fall 1991 - 7
Theatre Design & Technology - Fall 1991 - 8
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