King Richard II (1959), Old Vic Theatre, London. Scenic and costume design by Richard Negri; lighting design by Richard Pilbrow. Costume sketches for Trumpeters, Richard (no. 5), and Welsh Captain. Production photo (from Richard Pilbrow's archive). It is likely that the financial pressures of supporting a large family were a major factor in making the move into teaching as well as reported commentary14 that Negri preferred to work with less emotional pressure than was necessary for him in the theatre. He was utterly obsessive when working on a project and one could see the toll it took on him, frantically puffing on a cigarette, lost in a world of private thought and anxiety. Not unusually for teachers in art and design higher education at the time, who were usually appointed for their distinction in professional practice alone, Negri hadn't had any teacher 24 theatre design & technology W I N T E R 2009 training but was becoming an experienced parent by that time with six children already born. Negri's personal research into the possibilities of auditoria forms (that led to his design for the Royal Exchange Theatre in Manchester) was fully integrated into the curriculum by designing and exploring many configurations for productions in the School's theatre. This research was conducted without students being made aware that it was occurring; they simply lived within it to possibly reflect upon it much later as their own careers developed.