Theatre Design & Technology - Winter 2008 - 65

book

reviews
drawing, composite photo manipulation, and digitally painting
light into a scenic sketch are included.
Although useful, these educational exercises make assumptions that the reader has a basic knowledge of several specific principles of CAD and Photoshop. A potential improvement
in a future edition would be to address those few basics in the
book as well.
Drawing & Rendering for Theatre: A Practical Course
for Scenic, Costume, and Lighting Designers is very much
worth an examination. The exercises improve practical skills,
and the range of information is not available in any other single
volume.
Ellen Jones is a lighting and scene designer and scenic
artist who designed and painted professionally in Chicago
and worked for Syracuse Scenery and Stage Lighting, Inc.
and Limelight Productions, Inc. A member of USA Local
#829 and a Lighting Commissioner for USITT from 1998
to 2002, she currently teaches at Allegheny College.

Theaters
By Craig Morrison; New York: W.W. Norton, Washington, DC, Library of Congress, 2006. 398 pp. Illustrations, plans, CD-ROM.
Cloth, $75.00.
Reviewed by Bradford Clark
Several books profiling American motion
picture palaces and historic theatres have appeared over the years. Most have focused on
the most spectacular examples our rich history has to offer. This volume by Craig Morrison, an architect specializing in historic
preservation and restoration, is part of the
Norton/Library of Congress Visual Sourcebook
architectural series. It organizes and presents
the LC's extensive collection of photographs,
drawings, posters, and other images related to
performance venues.
Far from limiting itself to the more visually impressive
and well-known examples of performance space architecture, Theaters strives to be as inclusive as possible. The book
uses the term "theatre" in its most liberal sense. Profiling a
wide range of venues, it includes legitimate theatres, movie
palaces, amusement parks, circus tents, sideshow booths,
theatres built by the military, showboats, burlesque houses,
drive-in movie theatres, and sports arenas. Many of these
performance spaces have been examined in greater detail in
other volumes, but as far as I know, they have not been placed
together before. The images include architectural renderings,

64

THEATRE

DESIGN

&

TECHNOLOGY

W I N T E R

2008

commercial photographs, publicity cards, and posters.
Brief, informative essays introduce each section. These are
concise, historic overviews of the development of the American
playhouse and underscore the links, both cultural and social,
between the various performing arts and other entertainments
in America. A very good bibliography is provided as well. Morrison discusses how seating arrangements reflected the class
structure of the United States, one which strove to strike an
uneasy balance between the principals of democracy and the
realities of social stratification and ethnic separation. Informative captions briefly discuss the origins and later manifestations
of the theatres, often listing the alternate names associated
with the spaces over time. Within each section, the theatres
are presented chronologically (as well as can be determined),
showing how design approaches shift over time. When more
than one image is offered, a few photographs suffice to illustrate each building. While this may not give us comprehensive
views of many venues, the pictures are appropriately chosen.
We see how classic opera houses evolved into vaudeville venues, followed by the romantic exoticism of the earlier silent
picture palaces. These, in turn, would eventually give way to
the streamlined modernism of the still-magnificent theatres of
the sound era. Many small town theatres, often built as "opera
houses" for touring entertainments, or influenced by the great
palaces, were later converted to movie theatres or retail spaces.
The most fortunate venues now serve as spectacularly restored
performing arts centers (bringing architectural development
full circle). Others, sadly, did not survive. One of the last photographs in the book is that of Brooklyn's Fox Theatre being
demolished.
Fascinating images show historic performance spaces
where one wouldn't think to look-former Nevada and California boomtowns, Arlington Cemetery and, of course, Provincetown's precarious-looking Wharf Theatre. Others provide a
record of barely remembered venues, such as McGurk's Suicide
Hall in New York, so nicked-named because of an odd craze in
1899 in which six teenage prostitutes killed themselves. Coney
Island's Luna Park (1903-1944), an otherworldly fantasy of
light and dreams, might have been reflected in Winsor McCay's
comic strips "Little Nemo in Slumberland" in the New York
Herald and the New York American, 1905-1913. Wandering
through this book, I discovered many historic photographs
and new information about places I had visited or even worked
for, including Monterey's 1847 Union Theatre, a.k.a. "The First
Theatre in California," where I attended melodramas (revivals!)
as a child.
Two sections, called Interludes, offer subjective interpretations of the book's subject. The first reproduces detailed architectural renderings of theatre facades drawn and interpreted
by Anthony F. Dumas, the mysterious and prolific artist of many



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

Contents
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