Theatre Design & Technology - Fall 1992 - 24

T

he exhibition at the
Gallery/Stratford
opened in June and
runs through October.
All 29 of Moiseiwitsch's
productions at Stratford are represented,
from the 1953 premier season's Richard
Iff and All's Well That Ends Well to her
1985 valedictory, The Government
Inspector, co-designed with Polly
Scranton Bohdanetzky.
The preponderance of works on display are costume drawings, 86 altogether, with half again as many actual costumes, and a smartering of props and
prop sketches. This is in keeping wi th
the aesthetic that Guthrie and Moiseiwitsch pioneered. At the Stratford
Festival the panoply of expressively
apparelled actors moving through a
sculptural stage space became the
drama's primary visual component, varied with a few practical and symbolic
props, moved by the actors themselves
in full view of the audience.
Of the only three set designs shown,
twO are for Moliere, not Shakespeare,
and one of these, for The Imaginal]
Invalid, was for a 1974 foray away from
the company's home stage to Australia.
This and the 1983-84 Ttzrwffe are wittily over-decorated, and one can almost
imagine the gentle apostle of scenic
economy chuckling to herself, ''I'll show
them I can do frou-frou with the best of
them."
But it was to Shakespeare, of course,
that the visionary burghers of this picturesque orth American Stratford
looked when they wanted to revive their
town's sagging economy. They enticed
Tyrone Guthrie, the soon-to-be knighted giant of the English theatre, to pitch
his theatrical tent by the banks of their
Avon river for six weeks in the summer
of 1953.
Guthrie insisted that Moiseiwitsch,
his design partner at the Old Vic and
the English Stratford, take charge of
designing the stage. The quasiElizabethan structure they created for
that first season is, with modifications,
the Platonic ideal for Shakespeare that
remains at the hearr, literally, of the permanent theatre that houses the Stratford
Festival today.
"Designs for Stratford" exhibition
designer Robert Ihrig recalls the
Festival's born-in-a-tent beginnings with
a modest drape of canvas that canopies
the exhibition's entrance; you might
miss the allusion if you don't look up.
But there's no way to miss the significance of Moiseiwi tsch's stage. A nearly
full-scale replica of the thrust stage's
22

1992 FALL

TD&T

famous arrangement of steps, landings,
columns, and balcony dominates the
center of the gallery, dividing the exhibition into several smaller spaces. The
viewer is neatly forced to move off in
dynamic diagonals, JUSt as Moiseiwitsch
and Guthrie wanted actors to move on
their stage.
At the entrance of the first gallery is
Moiseiwitsch's original unpainted wooden model for the stage, protected in one
of the exhibition's only two glass cases.
(A second large glass case displays letters, programs, photographs, manuscripts, and memorabilia in a central

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gallery to itself.) Otherwise, there are no
invisible fourrh walls to separate us from
the costume manikins and drawings
arrayed chronologically on open stations. Although the framing of the stations suggests, slightly incongruously,
little proscenium stages, their openness
and pinspot lighting convey the intimacy, theatricality, and three-dimensionality that are the essence of the GuthrieMoiseiwitsch aesthetic.
The most effective of the displays dispenses with framing altogether and
attempts to evoke a dramatic moment.
Costumes for the 1954 Oedipus Rex are
presented on an unadorned platform in
the center of the first gallery; Jocasta,
Creon, and Chorus members are posed
in defiance and supplication around
Oedipus, just as we can move completely around the grouping.

Elliott Hayes, literary manager of the
Stratford Festival, reminds us in his
essay in the exhibition's slender catalog
that for Moiseiwitsch a costume removed from the context of the moving,
speaking actor has no life of its own. He
also points out that Moiseiwitsch has
never considered her drawings to be finished works of art in their own right.
(Guthrie is said to have remarked that
Moiseiwitsch was one of the worst
draftsmen in the business but the best
designer.) "Designs for Stratford" invites
us to view her renderings for what she
intended them to be: vivid working documents that convey to director and
actor how a costume's silhouette, color,
and form will express character and contribute to a production's overall interpretation. Seeing the costumes in static
close-up, we admire her talent for
sculpting volumes of fabric and her
genius for bringing a garment to life
with texture and detail.
The chief pleasure of the exhibition is
the sheer gorgeousness of the costumes:
the yards and yards of red velvet thar
Guthrie wanted Alec Guinness to wear
to command the stage for Richard Ill's
coronation; the layers of floating greens
and blues shimmering with silver and
blue scales that turned Zoe Caldwell as
Cleopatra into a sea-goddess. either
the renderings displayed near the costumes nor the flatly reproduced plates in
the catalog can capture the impact these
garments must have had in the theatre.
Missing altogether from the catalog is
the centerpiece of the exhibition, an
expansive and moving retrospection of
Moiseiwitsch's career told through photographs and documents. Here, for
example, is a beautiful Moiseiwitsch,
wistful and forceful at the same time, in
the I 930s at her work table at the Abbey
Theatre.
Here she is again in 19G5 at Stratford,
Ontario, in a photograph taken by
Desmond Heeley, even more beautiful,
with a shy, mysterious glamour.
Happily, Heeley's photograph is in the
catalog, where in his affectionate memoir he calls her "a Russian Countess"
with "extraordinary dark eyes."
This section of the exhibition reveals
Moiseiwitsch's attention to detail, her
determination to get everything just
right. We also glimpse, in letters to and
from Moiseiwitsch, the power of personality in a woman famous for her
humility and her consideration for others.
In a letter from London to the props
maker at Stratford, she notes on a sketch
of a clock for Ttzrtuffe: "the clock does



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1992

Contents
Theatre Design & Technology - Fall 1992 - 1
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