Theatre Design & Technology - Fall 1995 - 63

Remembering
Don Stowell's passion for theatre, his "calling," found expression in costume design,
costume history, and a devotion to inspiring
students of all ages. Never one to work in a
vacuum or with a narrow focus, Don transcended the confines implied by job parameters. He mi.'ed. He delighted in leading
individuals of parallel or even diverse intel~
ests to new understandings.
There are several qualities that I always associate with Don Stowell. I considered him to be an instigator, a
mentor, and a delegator. I wasn't a member of the Institute in the early
70s when Don headed a small delegation that began suggesting that a
Costume Commission would be a good idea. But I can imagine his
steady, low-key insistence hanlmering at the idea. The group gathered in
Analleim, California in 19 5 to establish the commission with Don as
the first Commissioner.
In a conversation with me a few months ago Don recalled the first
sessions for costume at the Annual Conference in New Orleans. Apanel
on costume design included Patricia Zipprodt talking about her designs
for Pippin, the new rage on Broadway. Another session featured Fred
Nidha demonstrating how the flexible armor for Pippin was developed
and constructed, and Irene Corey showed techniques developed for
Prospero in Tbe Tempest. These first session attracted over 100 participants; huge, by the norms of sessions in those days.
The force of his passionate belief in the value of his calling
strengthened the Costume Commission, creating a strong coalition of
costume designers, historians, and craftspeople. nder Don's leadership, the Costume Commission thrived and grew remarkably quickly. He
established traditions such as the Costume S}1uposium (the eighteenth
Symposium session was held in New York this past summer), only one
example of Don, the instigator.
Don, the mentor, initiated the Helitage Section of what we now
know as Design Expo. These significant displays exhibited the work of
past influential designers such as Joseph rban, Norman Bel Geddes,
Robert Edmond Jones, Lee Simonson, and Milia Davenport. I think the
first one I saw featured Aileen Burnstein, the amazing designer whose
career included designs for the Neighborhood Playhouse and the Theatre Guild. I was not fanliliar with her career and would probably have
missed the incredible sensory experience of her work if Don hadn't
been so energetiC, forceful, insightful, and articulate about her contributions. His commitment to introducing and amplifying the work of
these trailblazers in theatrical design was an unparalleled contribution
to the Institute.
Don instigated the joint meetings with the Costume Society of
America as post-conference events for ┬ĚSIIT. For these meetings he
brought renowned costume scholars, museum professionals, and theatrical practitioners together to share resources and knowledge. On one
memorable occasion, the demure, definitely British, Stella Mary Newton
and not so demure, vehemently Anlerican, Milia Davenport ended up as
roommates. That was possibly testing "shared resources" at bit too
far ... Pre- and post-conference events are now a regular feature of our

Annual Conference & Stage Expo, thanks to Don's instigation.
Don, the delegator, was a marvel to behold. Don had this gift: he'd
say a few words, propose an idea or respond to a question and suddenly there you were, haVing volunteered to be in the middle of a major
project. I suspect that many of us in USlIT have just such memories that
spring to mind. Aprime example for me was a casual conversation
which resulted in a Heritage session at the Lincoln Center for the Performing Arts Library honoring Lucinda Ballard, Peggy Clark, Charles
Elson, Irene Sharaff, and Miles White. But, even as a delegator, Don was
always generous with helpful suggestions, ideas, and insights.
Don leaves a legacy. His work on the history of theatrical design
and designers has set a precedent for future work. His passion for inspiring and sharing has enlightened a whole generation of "students."
His recent work on the costumes of the Scottish Rite Masonic degrees is
breaking through old boundaries. Don's remarkable courage and grace
as he battled AIDS is a model for us all. His passion remains; the legacy
continues. 'I e will not forget.
Joy Emery is the USITT Vice-President for Commllnications,
Costume Designer at the University of Rhode Island, and a
USITT Fellow of the Institute.

THE SECOND

KMFABRICS, INC.
TECHNICAL PRODUCTION
AWARD
United States Institute for Theatre Technology, Inc.
is accepting nominations for the second KM Fabrics, lnc.
Technical Production Award. The award will recognize
an individual who has demonstrated excellence \-vhile
pursuing a graduate degree in the field ofTechnical Direction
or Technical Production. To be eligible a nominee
must be completing or have completed an advanced
degree within the last two years from an accredited
college or university in orth America.
Nominations from current members ofUSITI will be
accepted until December 15,1995.
The award is made possible by a generous gift to

THE NEW CENTURY FUND
by Mr. Richard K. Heusel, Founder and CEO ofKM
Fabrics, Inc., a long-time Contributing memberofUSITT.
Contact the USITT ational Office for details about the
nomination process.
800-93USITT or212-924-9088
Fax 212-924-9343

TD&T

F

ALL

I

9

9

61



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1995

Contents
Theatre Design & Technology - Fall 1995 - 1
Theatre Design & Technology - Fall 1995 - 2
Theatre Design & Technology - Fall 1995 - 3
Theatre Design & Technology - Fall 1995 - Contents
Theatre Design & Technology - Fall 1995 - 5
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