Theatre Design & Technology - Spring 1992 - 70

He has also designed at universities in Washington, Kansas,
Utah, Colorado and California. Michael holds an MFA in
lighting design from the University af Washington.
DO

ADJUDICATORS
RO

YANIK

received an MFA in scenery and costume design from
Southern Methodist University where he studied under
William and Jean Eckart and Ming Cho Lee. He is a member
of United Scenic Artists and has worked professionally
throughout the United States and the Seattle area. Credits
include a commissioned work for the John F. Kennedy
Center for the Performing Arts which went an to play at
the Moscow Theatre Directors Festival, Milwaukee
Repertory Theatre, Berkeley Repertory Theatre and other
regional theatres: Honolulu Theatre for Youth, Burt
Reynolds Theatre, Arkansas Repertory Theatre and several
midwestern universities. His Seattle credits include the West
Coast premiere of David Mame!'s Speed the Plow, the world
premiere of Jar the Floor by Cheryl L. West for the Empty
Space Theatre, as well as productions at the Bathhouse
Theatre, Civic Light Opera, Seattle Children's Theatre and
Issaquah Village Theatre. Mr. Yanik is an associale professor at Seattle Pacific University.

ERICKSO

heads the costume design pragram at Cornish College of
the Arts in Seattle, WA. He also designs costumes and
scenery for Seattle area theatres including Intiman Theatre,
the Empty Space, Pacific Northwest Ballet, Tacoma Opera,
Idaho Shakespeare Festival and the Northwest Chamber
Orchestra. Currently he is working on productians of Lend
Me aTenor, A(hristmas (aro/, Orphans and Guys and Dolls
for Tocoma Actors Guild. Ron come to theatre through a
strong art bockground. He studied at the San Froncisco Art
Institute ond received a BFA in sculpture at the University
of Woshington.
L11 DA HARTZELL
is the Artistic Director for Seattle Children's Theotre and its
education programs. She received 0BA in dramo from the
University of Washington and has been 0foculty member
of Lakeside School in Seattle. She serves as a member of
the board for the United States Center for the International
Associatian of Theatre for Children and Young People. She
served as the US representative of professianal children's
theatre at he 19B9 Internatianal Directars Symposium in
East Berlin and at the Showcose in Lyon, France. She
recently served as co-directar for the Japanese-Americon
collaboration on Labor of Love with the Furus010 Theatre in
Japan. She has olso directed for the Seattle Graup Theotre,
Pioneer Square Theotre, the Empty Spoce and Seattle
Repertory Theatre os well os numerous productions at The
Seattle Children's Theatre.
IIICHAEL WELLBOR '

has designed lighting for more thotl 00 productions in theatre, dance, opera, television and far a variety of corporate
events. Recent projects have included productions or tours
for the Seattle Repertory Theatre, Colorado Shakespeare
Festival, Tacoma Actor's Guild, Empty Space Theatre,
Northwest Asian-American Theatre, Ririe-Woodbury Dance
Company, Spectrum Dance Company, KAKM-7
(PBS/Anchorage) and Pacific Northwest Theatre Associates.

MICHAEL WELLBOR

Iwas pleasantly surprised by the wide variety in both style
and ability of the sketches submitted, but less than pleased
by the scarcity and low quality of model making. While
sketching is our preeminent means of communication, models represent an important step in the translation of ideas to
objects. Lighting as a means of enhancing model presentation clearly needs more attentian. Another disappointment
was that few lighting design entries included more than a
plot and production photos. Lighting designers should be
encouraged to find suitable ways to express their ideas in
pre-production, graphically through sketching or photographically through model lighting.
Many beautiful sketches were accompanied, unfortunately, by less than beautiful production photographs.
Equally unfortunately, many wonderful sketches were
accompanied by production photos that indicated that the
production did not live up to the expectations represented
in the sketches. Good production photos-which indicate
that the designer can, in choice of materials and craftsmanship, execule the envisioned design-{]re so important to
young designers trying to find work, that Iwonder if more
can be done in this area to support students.
001

COMivlENTARY
RO

ERICKSO,:

Ihad two definite reactions while jurying the student
entries: one of excitement, the other of dismay. Some of
the work Isaw was excellent and for me extremely encouraging and exciting to see the fine work of future designers.
The down side of this was the majority who seemed to lack
a professional and responsible attitude toward their work.
Icame away from my adjudication experience with the
realization that we as educators must direct, help and
encourage following generations to take pride in their
accomplishments and therefore in the professional presentation of their work.
LI

DA HARTZELL:

One of the most exciting parts of the theatrical process is
coming up with aconcept and then working with all the
other designers and artists in acollaborative situation to
bring that concept to life on slage. So it was really exciting
for me to see artists still in atraining situation who showed
a great amount of imagination mixed with the practical
skills that are needed to bring these ideals to the slage. I
was impressed with the variety of styles in set and costume
design and pleased to see how the institutions are training
and shaping these artists' minds. We're teaching most of
them that they do need to mix the practical with the imaginative. One of the things that Ilook for as an artistic director when interviewing individuals and reviewing their portfolios is that they are very specific with their ideas and are
able to bring those ideas to life. Ilook very closely at the
renderings and also at the production shots, because the
ultimate test is whether the designs look as good in production under the lights as they do on paper. Iwish everybody
well in their future careers and am delighted to have been
included in this process as Ifound it very stimulating and
exhilarating.
10

YAI IK:

Ifound that the work submitted represented a diverse
range of style and skill and in many instances demonstrated imaginative creativity. However, the lack of expressive,
meaningful graphics and renderings-supportive documentation that indicated process from sketch to realized
work-{]nd poor quality photography not only made for
poor communication of the prospective designer's intentions, but also made it difficult for the judges to accept the
entry for inclusion in the exhibition. Quality presentation
requires attention to theses communication details.

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