Theatre Design & Technology - Summer 1998 - 22
Shakespeare Festival, and the GoodJnml TIl{~alre. While maintaining an exceptionally busy design em'eel; she still n-u'Ulages to offer her talents and e\pelience to future designers Olrough her teaching at Yale UniversiW School of Drama.
TIle lmilelial for Olis mtide was assembled from a selies of interviews \\iOl
Ms. TIpton over Ole winter monOlS of 1997-98. TIle largest pOition of Ole inforrnation CaJ1le tllrough an inter\iew \\"e had while TIpton was taking a rare break to rela.x for a few days in Maine during Thanksgi\ing week follo\\ing Ole opening of ilie
Metropolitan Opera's ne\\" production of 71Je Rake's Progress. TIle first pru1 of iliis
aItide focuses on TIpton's lighting design em-eer mId her perceptions of Ole profession. TIle second pru1 is about her design work at Ole Met and specifically Ole ne\v
production of 71Je Rake's Progress.
A Multi-faceted Career
Tipton's lighting career began seven years after completing her undergraduate degree in English at Camell University. Her initial love of dance was fostered early on through her involvement wiili a dance company called Ole
Mel1)'-Go-Rounders. Tipton actually studied dance under Ole legendaIy
Martha Grahanl before becoming a lighting designer. The Merry-Go-Rounders, who were based in New York, consisted of a touring troupe of dancers
that perfOimed prinlarily for children. After becoming a rehearsal director
for ilie group in ilie mid-'60s, Tipton discovered her knack for lighting and
even took a class taught by ilie late Tom Skelton. It is inlPOI1aJl.t to note iliat
lighting design at Olis tinle was just stal1ing to emerge as a full-fledged design
discipline \\~Olin Ole pelfOiming aI15. Oilier OlaIl Skelton aIld a few oiliers
like JeaIl Rosenilial, TIlaI'on Musser, aIld NanaIllle Porcher, there were few
specialists in ilie aI'ea of lighting. Skelton recognized Tipton's potential for
lighting and, after she completed ilie class, offered her opportunities to assist
him. It was Ou'ough Skelton iliat Tipton made Ole transition to beconling a
lighting designer in her own right. killis schedules becanle more demanding
Tipton took on more responsibilities and eventually took over the lighting design responsibilities for several dmlce companies. Some of her earliest design
assignments were \\~ili choreographers Paul Taylor and T\\~'la Tharp, mId she
has continued to work \ViOl iliem on many occasions over Ole years.
p to the nlid-19 as Tipton was lighting plimaIily dmlce productions.
In 19 4 she made her move into lighting for traditional drama through her
work \\~th tlle New York Shakespeare Festival. Productions that she lit for tlle
festival tllat year included: Tbe Tempest, Macbetb, andAMidsummer Vigbt's
Dream at tlle Mitzi Newhouse Theatre at Lincoln CenteI: Her successful design of tllese productions led to many more tlleatre design assignments. A
smnpling of her New York (Broadway and Off-Broadway) design credits in-
c1udefor coloredgirls wbo bave considered suicide/ wben tbe rainboll' is
enuj, Musenm, Sopbisticated1tldies, Tbe IW/ke ofjmne)' Fostet; Ba~)' lfIitb
tbe Batbwatel; Tbe Rimers ofEldritcb, In tbe Snmmerbouse, Tbe Pirates
of Penzance, mId revivals of Singin' in tbe Rain, and jerome Robbins'
Broad/cay. Additionally, she has lit numerous productions in botll \ew York
aIld regional tlleatres including Tbe Front Page, As }'tJII Like It, Peer G,''IIt,
Scboolfor Scaudal, Uncle Vm~)'a, Tbe Cbe1'1,J' Orcbard, Measure for Measure, Endgame, Titus Andronicus, Six Cbaracters in Searcb ofan AutbOJ;
Tbe Master Buildet; ml(1 Tbe Hail]1 Ape. By 1977 she had eaIlled her first
Tony AWaI'd for her lighting design for Andrei SerbaIl's production of Tbe
Cbe1'1,J' Orcbard. Her second Tony AWaI'd was in 1989 forjerome Robbins'
Broadlca)' (for wllich she also received tlle Drama Desk Lighting Award).
Throughout this time she continued to be a major figure in tlle world of
dance lighting mId eaIlled two different Bessie Awm'ds for her aItistic contlibutions to dance. The first, in 1984, was for Sustained Excellence in Lighting
Dllllce wltile tlle second, in 1987, was shaI'ed witll pelfollllaIlCe aItist DaIla
Reitz for tlleir combined work on Circumstantial Evidence. Her work was
20
5"
.\1
)1
E R
I
9 9 8
T D& T
also represented in ilie aWaI'd-winning .S. exllibit in tlle 198 Prague
Quadliennial Exllibition.
Long-stmlding relationsllips aIld collaborations chaI
Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1998
Contents
Theatre Design & Technology - Summer 1998 - 1
Theatre Design & Technology - Summer 1998 - 2
Theatre Design & Technology - Summer 1998 - 3
Theatre Design & Technology - Summer 1998 - Contents
Theatre Design & Technology - Summer 1998 - 5
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