Theatre Design & Technology - Winter 2009 - 21

accomplished designer the School has produced-Richard
Negri will be a reliable and talented designer in any theatre."
Negri enjoyed an intensive first year in the profession taking a fulltime job as scenic artist for Oldham Repertory Theatre
Club where he designed more than thirty productions working
in the weekly repertory system. This job marked Negri's first
meeting with the actor Bernard Cribbins who was working as
an acting assistant stage manager, and whose home town was
Oldham. Cribbins, an ex-paratrooper, had worked at Oldham
Rep from the age of fourteen. He was an untrained but charismatic actor who had an instinctive sense of comedy earthed in
the English Music Hall. Negri's focus on the "magic of human
presence," which he believed was the fulchrum of any performance, was exemplified by Cribbins.
After Oldham Rep, a short period of freelance work followed assisting both the celebrated designer Oliver Messel3
and director Orson Welles. Assisting experienced practitioners
remains a typical rite of passage for graduating students of theatre design but Negri's time working in this role was unusually
short, albeit invaluable, rubbing shoulders with two such eminent figures. There is nothing yet discovered of Negri's evaluation of those experiences except to note two treasured Christmas
cards of 1953 and 1954 from Welles, the first of which has an

exuberantly hand-painted Christmas tree (by Welles) on its face.
For a working class young man in the 1950s working
closely with the Eton-educated and privileged Messel must also
have been particularly illuminating. In his interview for the
Oral History of British Theatre Design project, Frank Dunlop,
the theatre director and early collaborator with Negri, recalls
the dominance of the English class system in the 1950s that
marked him and Negri apart from the majority of their middle
class contemporaries at the Old Vic School.4 Negri was not a
very sociable person, never adapting to social networking in
the search for freelance work, instead preferring intimate discourse with those with whom he felt secure. He rarely attended
parties. He was a life-long smoker, never managing to stop in
spite of frequent attempts, but he avoided alcohol, hardly ever
drinking due to fearing a predisposition to addiction.
In March 1954, using a small inheritance from his father,
Negri joined forces with director Frank Dunlop to form the Piccolo Theatre Company in an upstairs room of the Conservative
Club at Chorlton Cum Hardy, a suburb of Manchester. Dunlop
and Negri assembled a company of actors principally comprising members of their peer group at the Old Vic School together with Bernard Cribbins, invited by Negri. Negri designed
the conversion of the space, his first project re-configuring a

Maria Marten or Murder in the Red Barn (1954).
Adapted, directed, and designed by Richard Negri for Piccolo Theatre Company;
original music and co-direction by George Hall. Above, rendering of costume for
Gipsy Ishmail Lee; left, press photo of cast members in costume.

W I N T E R

2009

theatre

design

&

technology

19



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

Contents
Theatre Design & Technology - Winter 2009 - 1
Theatre Design & Technology - Winter 2009 - 2
Theatre Design & Technology - Winter 2009 - 3
Theatre Design & Technology - Winter 2009 - Contents
Theatre Design & Technology - Winter 2009 - 5
Theatre Design & Technology - Winter 2009 - 6
Theatre Design & Technology - Winter 2009 - 7
Theatre Design & Technology - Winter 2009 - 8
Theatre Design & Technology - Winter 2009 - 9
Theatre Design & Technology - Winter 2009 - 10
Theatre Design & Technology - Winter 2009 - 11
Theatre Design & Technology - Winter 2009 - 12
Theatre Design & Technology - Winter 2009 - 13
Theatre Design & Technology - Winter 2009 - 14
Theatre Design & Technology - Winter 2009 - 15
Theatre Design & Technology - Winter 2009 - 16
Theatre Design & Technology - Winter 2009 - 17
Theatre Design & Technology - Winter 2009 - 18
Theatre Design & Technology - Winter 2009 - 19
Theatre Design & Technology - Winter 2009 - 20
Theatre Design & Technology - Winter 2009 - 21
Theatre Design & Technology - Winter 2009 - 22
Theatre Design & Technology - Winter 2009 - 23
Theatre Design & Technology - Winter 2009 - 24
Theatre Design & Technology - Winter 2009 - 25
Theatre Design & Technology - Winter 2009 - 26
Theatre Design & Technology - Winter 2009 - 27
Theatre Design & Technology - Winter 2009 - 28
Theatre Design & Technology - Winter 2009 - 29
Theatre Design & Technology - Winter 2009 - 30
Theatre Design & Technology - Winter 2009 - 31
Theatre Design & Technology - Winter 2009 - 32
Theatre Design & Technology - Winter 2009 - 33
Theatre Design & Technology - Winter 2009 - 34
Theatre Design & Technology - Winter 2009 - 35
Theatre Design & Technology - Winter 2009 - 36
Theatre Design & Technology - Winter 2009 - 37
Theatre Design & Technology - Winter 2009 - 38
Theatre Design & Technology - Winter 2009 - 39
Theatre Design & Technology - Winter 2009 - 40
Theatre Design & Technology - Winter 2009 - 41
Theatre Design & Technology - Winter 2009 - 42
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Theatre Design & Technology - Winter 2009 - 46
Theatre Design & Technology - Winter 2009 - 47
Theatre Design & Technology - Winter 2009 - 48
Theatre Design & Technology - Winter 2009 - 49
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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
https://www.nxtbookmedia.com