Theatre Design & Technology - Spring 2008 - 12

sculptural.
I learned how to use new
materials, to explore
and discover new

techniques, and most
importantly how to work
in the professional world.
Measure for Measure * Scenic Design * The Peter Hall Company *
Theatre Royal Bath * The Royal Shakespeare Company, 2006
we were constantly stretching beyond a safe reach. I was always a part of
the rehearsal, watching and responding. Our production values were high
and the sets were elaborate for such a young company. As a designer, I
was given a great deal of support to be creative and to experiment.
Along the way, I became enthralled with the magic that came with
turning off the work lights and painting the stage in light. My formal theatre training consisted of a single stagecraft class and an acting and voice
and movement class. My formal education in lighting was even less, I tried
to read A Method of Lighting the Stage by Stanley McCandles but was
bored senseless and a copy of the British edition of Richard Pilbrow's
Stage Lighting had a host of inspiring photos, but how in the hell did you
get light out of a contraption that looked like a pot belly stove? Actually,
Richard's book did have a lasting effect in that it defined the qualities of
light and presented a method that I would further refine for my own approach to lighting.
Perhaps it was the limited inventory available that drove my method
or a fundamental lack of understanding of McCandles, whatever it was,
my approach would become moment by moment driven by the keylight in
any one scene or moment in the play. I would then stitch these moments
together and fill in as needed to complete the picture dramatically-color
had to be chosen carefully and used sparingly again due to the limited
inventory. I usually ran the console myself every night and could respond
to changes in the tempo of the actors. While the cues were set, transitions tended to be more fluid. Back then we were working with a two
scene present with independent masters. A split cross-fade was a big deal.
Through the nightly manipulation of the lighting cues I became more sensitive to the timing and structure. These lessons would play an important
part in my work.
As Steppenwolf continued to grow as a company, so did I as a designer. Each project would push us to increase our understanding of the
material and to stretch our abilities and limits. Much discussion was had
about Pinter, Shaw, Shepard, lots of ideas passed back and forth, debated,
put on their feet-more debate, evolution. But always back to, "yes, but
what does it mean?"

KEYNOTE

Theatre became

For all the reputation for a fast, physical, in-your-face, rock and roll
style of theatre, our real strength was that we knew what the play was
about, what the real underlying meaning of the play was. Truth is that text
analysis was our strong suit, along with kicking in doors, walking on furniture, and on occasion scaring the shit out of our audience. My students
will tell you that first and foremost I believe in supporting the text and that
you are never so good that you can skip that step. They will also tell you
that it is never enough to make a choice about a line, color, texture, level,
or any other element of the design of the production unless you know the
answer to the question why.
Music and sound design began to play a large part of the Steppenwolf theatrical experience. Sound that underscored the action and emotion of the play and in turn sound and lighting working in concert. Pat
Metheny for Orphans, and Bruce Springsteen, Tom Waits, and Rickie Lee
Jones for Balm in Gilead which would become a landmark production
in the history of Steppenwolf and in my development as a designer. This
play was an urban Our Town with the character of Dopey serving as the
Stage Manager.
In the hands of this character we gave the power to stop and start a
scene, to shift focus, to pause for commentary. At the snap of his fingers,
fifteen conversations would suddenly stop to allow one to be heard clearly; another snap to instantly restore to the cacophony of city life. Lights
would jump from full stage to a single shaft piercing the space and restore
just as fast. Focus would shift, cut, restore, and on occasion slowly fade.
The set was simple, clean and elegant-well as clean as an all-night diner
on upper Broadway whose clientele are whores and junkies can be.
My approach to designing scenery is similar to my approach to lighting-choose the key elements necessary to tell the story, choose them
well and eliminate anything not necessary to telling the story. It is in this
state of clarity that the play is allowed the freedom to live and breathe. It
would take me years to fully understand this concept but it was present
early on in my development, in the work we did as a company to understand the texts we were performing.
While in Chicago I would expand my theatrical world. I started work-

S P R I N G

2008

theatre

design

&

technology

11



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2008

Contents
Theatre Design & Technology - Spring 2008 - 1
Theatre Design & Technology - Spring 2008 - 2
Theatre Design & Technology - Spring 2008 - 3
Theatre Design & Technology - Spring 2008 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
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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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