Theatre Design & Technology - Fall 1992 - 31

them thought, "Oh, dear, here we go
again, must we? Same old thing, day
after day?" Others said, "Of course,
that's the way ro do ir."
How did that permanent set come
abom?
You're asking me ro go back a thousand
years, and memory plays very strange
tricks. I know Alex Srone and I were in
on it from the very beginning, in the
talks with Anthony Quayle, who was in
charge. And very much in the picrure
was Michael Redgrave, because not only
was he playing leading pans bur he was
also one of the direcrors for Helll)' VI,
Part 2. So we sat and listened ro every
word those twO wonderful genrlemen
said and wrote down as many things as
we could, scribbling away like mad. I reread some of the notes recenrly, which I
found. I don't know how we worked
from those notes. They were so scarrery,
JUSt jorri ngs. So some of it must have
sunk in as well as JUSt being notes.
We had ro get some research done for
the period, and Alex Stone came up
with a marvelous book, it was medieval,
it wasn't the Duc de Berry Book of
Hours, but it was of that ilk, and it
showed a rournamenr. For the rournamenc, which you have ro be above ro
watch the horses and the men, there was
a srructure, very bare wood with
uprights. It was SO[( of Elizabethan,
although it was French. Then in some
picrures [the strucrure] was decorated
with hangings and tassels ro perk it up a
bir. So I think that's what staned us off.
We weren't ashamed ro show the book,
and we offered this as the idea for a permanenc set, that it should be bare, an
upstairs, a downstairs, enrrance from the
back, enrrance from the sides, and perhaps not encirely symmetrical, because
then it becomes very ... well, if something happens on that side, you feel that
it's gOt ro happen on the other side.
Whereas this was a litrle more fluid. We
built the model, and we showed it, and
miraculously, it gOt accepted.

research, which there was a society for
it, and reading about, well, reading
everything Granville-Barker wrote.
William Poel was a name that was in
gilded letters over my head all the time,
knowing he was such an influence. I did
see one of his last productions, in poinr
of fact, and I was so impressed by the
acting, that I didn't remember, I don't
remember, what it looked like at all. Bur
it was spoken so beautifully.
How did you and Alex Stone divide
responsibilities?

permanent set?
No, it had started before that, with
Henl)' VIff, again in rratford-uponAvon, which Gurhrie directed. We had a
permanenr set for that, very asymmetrical, very much on the diagonal. That
was it, one set, get on with the play. It
rook on several differenr aspects, with
banners coming on, and the church was
represented in form of a great many
clerics busrling about, it became a differenr atmosphere. On the whole, it was
one set, and you JUSt accepted ir. I did,
and I think the audience did. That was
previous to the histories. I suppose
Anthony Quayle and Guthrie had a lot
of ideas in common, and when Quayle
was in charge, he rook care that we
weren't going ro say that every scene
must look d ifferenc, and every play of
the four must look different; it must
come as a [whole].
How did Guthrie become the prophet
of the permanent set and the open
stage?

Sir john FaiJraflin Til' 10/(")' Wh,,, o[Windsor, /956

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Poel and Granville-Barker and Terence
Gray at the Cambridge Thearre had
been experimenring with unit serrings.
Did you have the sense that they had
influenced you?

I designed the serring and the costumes,
assisted by Alex Srone. But by the time
we finished we should have been codesigners. We divided mutually the
amounr of work between us. When it
came ro the French coun in Helll)' \( I
begged her to take charge of that,
because her eye was so attuned ro that,
both the armor and the heraldry, which
she was an expen in. And the look of it,
I thought should be differenr, so please
do ir. And she did. And of course it was
the high Spot of the production, really,
it was marvelous.

It was all pan of our training as designers ro know what happened before. The
good and the bad. When I say bad, I
mean, perhaps tOO ornate, late Vicrorian, rabbits on the stage, all thar. It
was a case of doing a bit of thearre

You say that it's only in retrospect as
we look back that we see a production
like that as a landmark. But in your
own thinking, after doing it and seeing
that it was so successful, did that confirm your allegiance to the idea of a

[His autobiography, A Life in the
Theatre] does explain a lot, I think. The
search for somewhere ro do The Three
Estates in Scorland, which was before all
this happened, I mean this [the
Stratford Festival], where we're sirring
now. He evolved something there that
turned inro a kind of blueprinr for what
we did here. But as he said, the advantage here was that we started from a hole
in the ground, and the sky's the limit,
not money-wise, but ideas. In the
Assembly Hall, we had ro-we' I wasn't
there.
You weren't associated with that production?
0, not The Three Estates. He said, the
moderaror's throne cannot be moved,
the moderator's throne cannot have
thumbtacks sruck in it, so build over the
rop of it. So the stage was that high.
Then ro get down ro where they ran up
and down the aisles, it had ro have "x"
number of steps. Well, here, he said, we
don't have the moderator's throne to
worry about, so we can have what
height we like and as many or as few
steps as we like. The steps are there really for-well, ro say lesser people is not
right-people of less imponance in that
particular scene would step down.
Therefore the person or persons on the
stage would be much more visible and
the focus would be on them. Of course,
people for enrrances and exits would

TD&T

1992 FAll

29



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
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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