Theatre Design & Technology - Fall 1992 - 26

marks of Moiseiwirsch's work.
Arrending rhe Old Vic wirh her parenrs one evening, rhe 18-year-old
loiseiwirsch mer rhe Vic's formidable
manager, Lillian Bayless, who promprly
invired rhe an srudenr ro come "help
wirh rhe hal's." Volunreering in rhe
wardrobe deparrmenr soon rurned inro
a full-fledged apprenriceship in rhe
scene-painring shop. Here i\ loiseiwirsch
spenr rwo years learning rhe mechanics
of producing scenery under rhe financial
and rime consrrainrs of rhe weekly
reperrory sysrem. Among rhe ralenred
arrisrs she encounrered ar rhe Old Vic
was rhe direcror Tyrone Gurhrie, in rhe
early years of a career rhar would ulrimarely shape Moiseiwirsch's own.
Afrer her apprenriceship, Moiseiwirsch served a season as an assisranr ar
rhe \X!esrminsrer Thearre in London,
rhen spenr rhree years designing cosrumes and serrings for some 50 producrions ar rhe Abbey Thearre in Dublin.
AI' rhe beginning of World War II, she
rerurned ro London and designed her
firsr Wesr End producrion, before
becoming residenr designer ar rhe
Oxford Playhouse for rhree years beginning in 1941.
AI' Oxford, she married a young
acror and assisranr srage manager who
was serving as a pilor in rhe Roval Air
Force. He was killed in a plane crash in
1944. Hearing of her personal rragedy,
Tyrone Gurhrie, now a family friend,
invired rhe designer ro join him ar rhe
Old Vic, rhen playing in Liverpool.
Thus began a 27-year parrnership rhar
would help redefine srage serrings and
rhearrical space for rhe second half of
rhe 20rh cenrury and culminare in rhe
crearion of rwo new rhearres in orrh
America.
Over rhe nexr decade, Moiseiwirsch
designed imporranr producrions for rhe
Old Vic in Liverpool, Brisrol, and
London. She worked commercially in
rhe \X!esr End, designed operas for
Covenr Garden and Sadler's \X!ells, and
creared innovarive serrings for rhe
Shakespeare i\lemorial Thearre ar
Srrarford -u po n-Avon.
For rhe Old Vic's classical reperrory,
for opera, and for her work ar Srrarford,
i\loiseiwirsch developed rhe sryle and
merhods rhar would disringuish her
career. Alwa\'s a direcror's designer,
i\ loiseiwirsch looked ro :l clearly defined
direcrorial inrerprerarion ro provide rhe
visual and lirerarv underpinnings of a
producrion. She relished research, :lnd
her designs were firmly roored in,
rhough never slavish ro, an hisrorical
period. Her serrings accenred mood
24

1992 FAll

TD&T

wirh a few bold, carefully selecred scenic
forms, subdued colors, and armospheric
lighring. Her cosrumes evoked characrer
rhrough srrong, simplified silhouerres, a
mured palerre, and a dense usc of rexrure. Working primarily wirh Gurhrie
and orher proponenrs of permanenr sers
and open srages, i\ loiseiwi rsch creared
sers and cosrumes which were empharically sculprural. She inrended rhe focus
ro be on rhe living and speaking presence-Moiseiwirsch mighr even say rhe
magical presence-of rhe acror moving
rhrough and defining space.
In inrerviews, Moiseiwirsch has fre-

sweep of rhe score, [irs] evocarion of rhe
sea, and irs inelucrable influence on rhe
desriny of rhe characrers."
According ro Denis Beh!, rhe mosr
imporranr chronicler of Moiseiwirsch's
work, rhe designer reduced realisric represenrarions of village, church, shops,
and srreer ro a "grear wooden pier
srrerching back inro rhe gloomy haze
wirh a confusion of fishing rackJe in rhe
foreground .... The single ser piece painred and dry-brushed ro appear as rugged
rimbers, provided srairs and various levels for sraging rhe crowd scenes.
Transferri ng rhe acrion from rhe borough ro rhe foreshore freed rhe designer
from depicring each locarion wirhin rhe
(o\vn.

CtlJsius in }uliw

CUSIZT,

J955.

'1'1 I)":. \ T({ J..: IS .\
('OLL.\H(nL\T10:'\ I~I":P'T
I'~I H. \) LY 0:'\ TI{. \(,I~ HY
TI I J..: 1)( ({IoX'TO){'S
"IS10:'\ .
quenrly reirerared her belief rhar rhearre
is a collaborarion kepI' firmly on rrack
by rhe direcror's vision. Direcrors,
acrors, fellow designers, and crafrspersons speak warmly of her racr and considerarion for rheir conrriburion, while
paying rribure ro rhe inregriry wirh
which she upholds rhe overall harmony
of rhe producrion.
everal milesrones mark rhe evolurion
of Moiseiwirsch's-and Gurhrie'sgrowing allegiance ro rhe permanenr ser
and rhe open srage. In 1947, Gurhrie
direcred a revival of Benjamin Brirren's
Peter Grimes ar CovenI' Garden, firsr
produced rwo years earlier ar Sadler's
Wells. Gurhrie abandoned rhe original
realisric serrings and asked Moiseiwirsch
for simpler, more spacious serrings rhar
were "boldly absrracr expressions" of
whar rhe direcror saw as rhe "majesric

)l

The following year Moiseiwirsch and
Gurhrie collaborared on Brirren's reworking of John Gay's The Beggar's
Opera for rhe Aldeburg Fesrival ar rhe
Am Thearre in Cambridge. Composer,
direcror, and designer rook an idea from
Gay's prologue rhar rhe sarirical opera
had originally been performed in rhe
grear laundry room ar Sr. Giles Hospira!, where beggars worked in rerurn
for food and shelrer.
Moiseiwirsch devised rhe laundry as a
permanenr serring, wirh rabies, srools,
clorhes-lines, wash rubs, and wicker
hampers arranged and re-arranged in
full view by rhe beggars who served as
on-srage audience, chorus, and bir players.
Two Srrarford-upon-Avon producrions shordy afrerwards conrinued
Gurhrie's and Moiseiwirsch's experimenrs wirh rhe permanenr ser and rheir
efforr 1'0 break rhe confines of rhe
proscenium.
As early as 1933 ar rhe Old Vic,
Guthrie had arrempred ro pur into pracrice ideas first proposed early in the cenrury by William Poel and Harley
Granville-Barker ro produce Shakespeare on a permanent srrucrural serring
reminiscenr of rhe Elizaberhan srage.
Gurhrie had also been inspired by
Terence Gray's work since 1926 with
absrracr serri ngs and non-tradi tional
sraging ar the Cambridge Fesrival
Thearre.
In rhe summer of 1949, Guthrie and
Moiseiwitsch creared Hem)' VIII for
Anthony Quayle, newly appointed arristic director ar rhe Shakespeare Memorial
Thearre. All rhree wanred ro minimize
rhe bu iId ing's implacable prosceni u m
separaring audience from acror, so
Moiseiwitsch provided a 15-foor
forestage and an asymmerrical arrangement of levels, srairs, alcoves, and galleries suggesring Tudor archirecture.



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

Contents
Theatre Design & Technology - Fall 1992 - 1
Theatre Design & Technology - Fall 1992 - 2
Theatre Design & Technology - Fall 1992 - 3
Theatre Design & Technology - Fall 1992 - Contents
Theatre Design & Technology - Fall 1992 - 5
Theatre Design & Technology - Fall 1992 - 6
Theatre Design & Technology - Fall 1992 - 7
Theatre Design & Technology - Fall 1992 - 8
Theatre Design & Technology - Fall 1992 - 9
Theatre Design & Technology - Fall 1992 - 10
Theatre Design & Technology - Fall 1992 - 11
Theatre Design & Technology - Fall 1992 - 12
Theatre Design & Technology - Fall 1992 - 13
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Theatre Design & Technology - Fall 1992 - 15
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Theatre Design & Technology - Fall 1992 - 18
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Theatre Design & Technology - Fall 1992 - 28
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Theatre Design & Technology - Fall 1992 - 31
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Theatre Design & Technology - Fall 1992 - 37
Theatre Design & Technology - Fall 1992 - 38
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Theatre Design & Technology - Fall 1992 - 40
Theatre Design & Technology - Fall 1992 - 41
Theatre Design & Technology - Fall 1992 - 42
Theatre Design & Technology - Fall 1992 - 43
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Theatre Design & Technology - Fall 1992 - 72
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