Theatre Design & Technology - Spring 2008 - 74

MacKaye to increase the scale of his stage pictures. Morgan's
cyclorama included the progression of a dozen huge panoramic
images from the Civil War accompanied by music and a narrative explaining and connecting the events written and delivered
by MacKaye. "The Drama of Civilization" likewise sought to tell
a story from history through stage pictures, but this time the
stage pictures were very much alive.
Originally contrived as a means by which Cody could
extend his performance schedule, this lively Wild West Show,
previously performed outdoors, now moved to Madison Square
Garden where it became a hybrid of arena acts (many of which
included live equestrian and other animal action) and traditional theatre, all enacted largely by men playing themselves
and not by trained or professional actors. Sokalski describes
the playing space for this production as both a stage and arena
on a single level before enormous painted backgrounds and
moving panoramas. The production "not only bridged the gap
between amusement and education, but also achieved the most
complete realization thus far of pictorial illusionism."

out and includes over seventy illustrations that made me wish
even more images of MacKaye's work remained in existence.
This book is an excellent resource and an interesting read, as
well as a useful addition to any theatre library. In it, MacKaye is
revealed as a comprehensive theatre artist who envisioned and
realized innovative theatrical concepts that helped shape a theatre where audiences could sit back in comfort and lose themselves in the dramatic worlds that unfolded before their eyes.
Kimberly Poppiti is on sabbatical from Dowling
College, where she is assistant professor of dramatic art
and dance, conducting research on equestrian theatrical
performance. Her article "Galloping Horses: Treadmills
and Other Theatre Appliances In Hippodramas" in the Fall
2005 TD&T won the 2007 Greggs Merit Award.

The Great Discovery
Finally, Sokalski explores MacKaye's grandest (and last) theatrical concept, the Spectatorium. This mammoth
and complex building was envisioned by MacKaye
for the production of his last project, "The Great
Discovery," a full-scale drama about Columbus for
the 1893 Chicago World's Fair, which was to be
known as the Columbian Exposition. The Panic of
1893, however, the nation's worst economic crisis
to that point, forced the project into bankruptcy.
"The Great Discovery" and the Spectatorium were
abandoned in favor of a revised and smaller-scale
version entitled "The World Finder" produced in
a venue MacKaye termed the Scenatorium. Less
than a month later, MacKaye died.
Steele MacKaye's commitment to maximizing the theatre audience's ease of viewing, as well
as to the perfection of what Sokalski calls pictorial illusionism had enduring effects on theatre
production. MacKaye was a practical visionary
with the means to realize his theatrical dreams in
production. In doing so, he told grand stories onstage utilizing large-scale artistic representations
of picturesque, accurate, believable images accompanied, when appropriate, by special effects,
music and narration.
In Pictorial Illusionism, Sokalski does a
thorough job of telling MacKaye's professional
life story. He relies on primary sources through-

S P R I N G

2008

theatre

design

&

technology

73



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

Contents
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Theatre Design & Technology - Spring 2008 - Contents
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