Theatre Design & Technology - Summer 2009 - 45

Robert E. Jones directing Love for Love at the Greenwich Village Playhouse (1925). The Theatre Guild production of Love for
Love opened in 1925 with scenery designed by Robert Edmond Jones.

The majority of Fitsch's theatre drawings and lithographs
are rehearsal images. One example is Maurice Evans - Hamlet, seen from house left and portraying the director addressing
the actors on stage at the same time work continues onstage,
evidenced by the ladders and stagehands who are constructing
or painting scenery. Among his many images are views of Max
Reinhardt's The Miracle and The Eternal Road. There are images from the audience or backstage for Eugene O'Neill's Beyond
the Horizon. There is an image of the load-in for Mourning Becomes Electra. For the production of Dynamo, Fitsch produced
three lithographs, the first showing a view from backstage of a
rehearsal in progress, and then two images from the auditorium showing rehearsals with the scenery in a more completed
state. O'Neill's unproduced Lazarus Laughed appeared in a
series of six lithographs apparently based on sketches by Norman bel Geddes. Fitsch also drew a rehearsal of the Ziegfeld
Follies from a vantage point never available to paying audiences. Few of his images portray stages devoid of people. In
those that do, the scenery or lighting equipment are shown in
simple compositions. These images sometimes appear in what
Fitsch titled Lighting Rehearsals presumably drawn when the

painters, including Fitsch, were forced off the stage during light
focusing, giving him the opportunity to sit out in the auditorium
and sketch. In addition to providing these unique perspectives of
stage mechanics, he would also draw directors at work-Robert
Milton, Robert Edmond Jones, Walter Hampden, Hamilton McFadden, and Eva le Gallienne. Occasionally, he included himself
in the images. In at least one image, Ziegfeld Follies Rehearsal,
he drew himself in the lower left corner painting a piece of scenery. One can imagine him in any number of those other images in
which the stagehands or painters are included.
To portray the workings of back stage could become
overly technical if he simply illustrated the backs of scenery
and lighting instruments hanging just offstage, but Fitsch was
fascinated with the movement in dance and much of his work
portrayed dancers, actors and directors. In addition to his
images of Martha Graham and Harald Kreutzberg, Fitsch also
drew dancers Yvonne Georgi, Sophia delza, Helen Tamaris and
l'Argentina. He drew actress Gertrude lawrence, monologist
Ruth draper, and designer/director Robert Edmond Jones, who
knew Fitsch and wrote kind words about him in a program for
one of Fitsch's art exhibitions.

S U M M E R

2009

theatre

design

&

technology

43



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2009

Contents
Theatre Design & Technology - Summer 2009 - 1
Theatre Design & Technology - Summer 2009 - 2
Theatre Design & Technology - Summer 2009 - 3
Theatre Design & Technology - Summer 2009 - Contents
Theatre Design & Technology - Summer 2009 - 5
Theatre Design & Technology - Summer 2009 - 6
Theatre Design & Technology - Summer 2009 - 7
Theatre Design & Technology - Summer 2009 - 8
Theatre Design & Technology - Summer 2009 - 9
Theatre Design & Technology - Summer 2009 - 10
Theatre Design & Technology - Summer 2009 - 11
Theatre Design & Technology - Summer 2009 - 12
Theatre Design & Technology - Summer 2009 - 13
Theatre Design & Technology - Summer 2009 - 14
Theatre Design & Technology - Summer 2009 - 15
Theatre Design & Technology - Summer 2009 - 16
Theatre Design & Technology - Summer 2009 - 17
Theatre Design & Technology - Summer 2009 - 18
Theatre Design & Technology - Summer 2009 - 19
Theatre Design & Technology - Summer 2009 - 20
Theatre Design & Technology - Summer 2009 - 21
Theatre Design & Technology - Summer 2009 - 22
Theatre Design & Technology - Summer 2009 - 23
Theatre Design & Technology - Summer 2009 - 24
Theatre Design & Technology - Summer 2009 - 25
Theatre Design & Technology - Summer 2009 - 26
Theatre Design & Technology - Summer 2009 - 27
Theatre Design & Technology - Summer 2009 - 28
Theatre Design & Technology - Summer 2009 - 29
Theatre Design & Technology - Summer 2009 - 30
Theatre Design & Technology - Summer 2009 - 31
Theatre Design & Technology - Summer 2009 - 32
Theatre Design & Technology - Summer 2009 - 33
Theatre Design & Technology - Summer 2009 - 34
Theatre Design & Technology - Summer 2009 - 35
Theatre Design & Technology - Summer 2009 - 36
Theatre Design & Technology - Summer 2009 - 37
Theatre Design & Technology - Summer 2009 - 38
Theatre Design & Technology - Summer 2009 - 39
Theatre Design & Technology - Summer 2009 - 40
Theatre Design & Technology - Summer 2009 - 41
Theatre Design & Technology - Summer 2009 - 42
Theatre Design & Technology - Summer 2009 - 43
Theatre Design & Technology - Summer 2009 - 44
Theatre Design & Technology - Summer 2009 - 45
Theatre Design & Technology - Summer 2009 - 46
Theatre Design & Technology - Summer 2009 - 47
Theatre Design & Technology - Summer 2009 - 48
Theatre Design & Technology - Summer 2009 - 49
Theatre Design & Technology - Summer 2009 - 50
Theatre Design & Technology - Summer 2009 - 51
Theatre Design & Technology - Summer 2009 - 52
Theatre Design & Technology - Summer 2009 - 53
Theatre Design & Technology - Summer 2009 - 54
Theatre Design & Technology - Summer 2009 - 55
Theatre Design & Technology - Summer 2009 - 56
Theatre Design & Technology - Summer 2009 - 57
Theatre Design & Technology - Summer 2009 - 58
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Theatre Design & Technology - Summer 2009 - 60
Theatre Design & Technology - Summer 2009 - 61
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