Theatre Design & Technology - Winter 2008 - 34

like lenses." Century Lighting was credited with providing all of
the lighting equipment for the Centennial Fiesta, so the first assumption was that Winckler was incorporating the new Lekolite
innovations for the production. The inventory lists of all of the
Centennial Fiesta's electrical equipment stored at the end of the
season noted only "8 - 500 watt Lekolites." The inventory does,
however, list "150 - 16˝ Projector Floods, 1500 watts." After
consulting early Century catalogues, it was clear that these fixtures were not the popular ellipsoidal reflector spotlights used
today, but were Century's 16˝ 1000- to 2000-watt Beam Lights
(beam projectors). The catalogue notes "In large pageants,
style shows, and gala functions, where distances are in excess
of 100´, it can be used in one or more rows as a most practical long distance floodlight" (Century Lighting 1952). A quick
phone conversation with Willard Bellman, professor emeritus
and USITT Fellow, confirmed that some fixtures of the day indeed had glass reflectors, and that these beam projectors were
the brightest incandescent fixtures of their time. Eight switchboards of resistance-plate dimmers totaling 300,000 watts capacity controlled the Casa Mañana system. Winkler called the

Figure 11.
Photo of Raoul Pène
du Bois. Courtesy Fort
Worth Star-Telegram
Collection, Special
Collections, The
University of Texas
at Arlington Library,
Arlington, Texas.

Figure 12.
Photo of Casa Mañana
showgirl Fay Cotton.
Courtesy Fort Worth
Star-Telegram Collection,
Special Collections,
The University of Texas
at Arlington Library,
Arlington, Texas

cues by telephone to the stage hands backstage who never saw
the show. A year later, the 1937 Casa Mañana program proudly
stated, "But whatever else the Frontier Fiesta has left the American stage, it has made one definite and valuable contribution-
a stage light with four times the carrying power of the ordinary
lamp. And like most inventions, it was born of necessity."
Costume designer, Raoul Pène du Bois, accompanied director John Murray Anderson for the train trip to Fort Worth
where he was met by the Fireman's Band, a retinue of local
dignitaries, and Rose in full Western regalia. Imagine their response when du Bois emerged dressed in "...a full alpine suit
complete with leather knee pants, rolled stockings and a tunic
with the simple legend "Prosit" embroidered across the front

and a green cloth Tyrolean hat with a shaving brush behind,
medals all 'round and the longest and tallest cock pheasant
feather outside the Bronx Zoo" (Beebe 1939, 1).
Du Bois (fig. 11) joined the Anderson team in 1934 at the
age of twenty for his Broadway debut as one of the five costume
designers for the Ziegfield Follies of 1934. He was the nephew
of painter Guy Pène du Bois and began his career at the ripe old
age of twelve as an assistant to scenic designer Cleon Throckmorton during his summer vacation from school. Reflecting
on his attraction to designing for the stage, Raoul stated in a
1940 interview, "I was torn between wanting to be an architect,
a portrait painter, or a regular painter...and stage designing
seemed to take in all of those, so I chose that" (Arnold 1940).

W I N T E R

2008

THEATRE

DESIGN

&

TECHNOLOGY

33



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

Contents
Theatre Design & Technology - Winter 2008 - 1
Theatre Design & Technology - Winter 2008 - 2
Theatre Design & Technology - Winter 2008 - 3
Theatre Design & Technology - Winter 2008 - Contents
Theatre Design & Technology - Winter 2008 - 5
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com