Theatre Design & Technology - Fall 1992 - 34

their heads with holes cut.
We never knew, right up to opening
night, whether or not there'd be some
major change. I know Apollo's costume,
the first one that was made for him, was
so heavy, and he was way up there. He
didn't complain, but he JUSt looked,
"Oh, help me." So the man who was
making that costume took it apart and
remade it of almost gossamer. It was so
nice, but it looked heavy. Every costume, every single one was hand-painted. Peter Zeisler said, ,,],d no idea every
costume was going to be a Jackson
Pollock painting," because he thought
once we gOt the fabric and had it dyed
the colors we wanted, that was going to
be it. We had a marvelous painter, she
was an artist, a real one, who thought it
was fun to do.

be. There must be lots of doors because
it's a farce, and they have to keep coming in and out like that. Everybody who
dresses up as somebody else, anorher
character, a character within a character,
they must do it on stage to be seen by
rhe audience, but not by the people who
are going to be surprised."
I rhought, I don't think I can do this,
I don'r know how to begin. Well, I
couldn't begin because I was told to
wait. Afrer a bit, rhe carpenters gOt a bit
edgy and said, "When are we going to
see the designs? \'(fe haven't gar long,
only rwo weeks left." I said, "Ir's going

You delegate a great deal to the craftspeople who are working for you. How
much influence and interaction do you
like to have while you're seeing the
design actually taking shape?
You have to be fairly tactful not to crush
somebody's imagination. But it mustn't
get out of bounds, otherwise the finished thing won't at all resemble what
the director is expecting to see, and
there might be a big ugly scene. Can't
have that get away. So we kept in constant touch. I thought the people there
[in Minneapolis], as here, were awfully
well-trained, not especially in theatre,
but they were well-trained as craftspeople and artists. They did some marvelous things which exceeded what I was
expecting, so actually I went along with
it. We didn't, I think, stray from the
original idea. With Guthrie there, we
could always callan him, and he was
always keen to see work in progress.
"How's that coming along' Is that big
enough, is rhar big enough?" Everything
had to be bigger than bigger. His height
helped him to think bigger, but the
imagination was way ahead of all of us.
He was three jumps ahead. You had to
run to catch up.
I remember early on thinking, I'll
never make the grade. The very first
producrion we did together was in
Liverpool, and ir was The Alchemist. He
said," ow rhis is a one-set show, and
we don't need to have ir built elaborately, we can give the carpenters a holiday,
they can have a rest. Just let me have a
week's rehearsal without the set being
solidified, as ir were, on paper, or the
model. Jusr leave it. And we'll have the
doors where it works out for the actors,
and we'll have a window where it should
32

1992 FAll

TD&T

Rosalil1( ill Lou's Labour's Lou, 196/.

I TEI{ ('OSTl':\I I'::S I'~\-OKJ'::])
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\rl'TJ'~]) P.\U·~T'TE .. \~])
I )1c:~SI'~ TI'~XTl' H. J'~.
to be very simple, nothing really, ir's like
a skeleton set, with lots of doors and
windows. \'(fell, actually, I don't know
very much about it."
ow all the actors had been putti ng
in their rwo cents' worth, let's do it like
this, let's do it like rhat. Suddenly
Guthrie said," ow rhis is ir, we've got
to Stop." So it was decided, and in ten
minutes the set was designed, and in
very Iitrle time it was built.
Then, at the very last minute,
Gurhrie said, "I think it'd be awfully
amusing, if the alchemist himself had a
roll top desk, and that one way rou nd
it's a desk for writing on, and on the
other, the alchemisr will have all his
botrles. So it will have to have rwo sides
to it and swivel, and then it's like a
chemist shop." "Oh," I said, "who's
going to make that'" But one of the

carpenters gOt so excited by it, he said,
"I can't wait to do it." And in twO days
ir was done, and it made the show, in a
way. It gave an idea of rhe ingenuity,
not of us, bur of rhe actors who were
always turning into something else and
dressing up all the time and running
around like mad.
What do you consider the essentials of
good design?
Thar's a searching one, isn't it. This may
sound a bit pompous: it should serve the
play and not detract from the play. The
accenrs and rhe focus should be where
they're most wanted. It should be harmonious, unless, of course, rhe play is a strident or aggressive sort of play, in which
case harmony would be right out of the
window. I guess it should serve the play,
which in turn is shaped by the director,
and with luck, everybody is pulling all in
the same direction. I haven't formulated a
stock answer, as it were.
I've been very fortunate in the directors I have worked for and with, because
ninety-nine percent of rhem had whar I
call a visual sense. So there wasn't a lot
of translating to do. If someone comes
up with an idea and expresses it in a way
that I can understand, we're on the road.
But when I'm told, "You come up with
the first idea; go away and think about
and tell me how it should be done," I
can't do that. I believe quite a lor of people can, and it must be lovely for them.
But I just can't do it. I've had to once or
t\vice, and it's not rhe happiest thing.
What qualities other than visual imagination do you want in your director?
Oh, well, a sense of humor, please,
especially if you're doing a comedy, perhaps even more if you're nor! I think a
certain amount of thoughtfulness that
goes in appreciation of what everybody
is trying to do. But that's also trusting
that they'll do what's expected of them
without tOO much overseeing. Delegarion. I think a sense of fun, which I
learned from Guthrie. Guthrie said,
"It's not called a play for nothing. Ir's a
play, it's not real life, ir's not realism. "
His treatment of things was often very
surprising. Quite often, he was working
on three, twO certainly, three sometimes, different projects at the same
time, with three different sets of people.
I learned to rake my place in the queue,
as it were, and every now and then, you
had to say, "Hey, my turn, please;
please, I need to know this or else
there's going to be a problem."



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
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
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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
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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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
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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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