Theatre Design & Technology - Winter 2009 - 31

the ground; the grille of an iron gate in a
courtyard, the dappled pattern of sunlight
through the leaves of the forest. Superb
groups could be formed without any
blatant use of 'levels.' And characters could
converse lying flat on their backs-which
(quite apart from its theatrical novelty) is
precisely what one does in a forest glade.
By the end of the evening I was in no doubt
that, from Epping to the Schwarzwald, this
was the knoll where I would pitch my ideal
picnic. And what better definition could
there be of Arden?" (excerpt)
11. Peer Gynt was a play close to Negri's
heart and the Elliott/Negri partnership
developed a second production in 1970
in Manchester with Tom Courtenay as
Peer. The thrust stage of the University
Theatre was covered with huge sheets of
Welsh slate, creating the illusion of a vast
landscape and an atmosphere of chill
mountain top air. The upstage series of
gauzes brilliantly suggested a sense of
infinity beyond. A suspended driftwood
structure containing the village's church
bell at the play's outset, later suggested the
ship during Peer's travels. Another coup
de théâtre was the transition to the Troll
kingdom when a rope hauled a giant slate
plug from the sheer rocky landscape, with
Peer and the Green Clad One carried on
it aloft. The underside of the plug dripped
with slimy detritus and the trolls suddenly
seemed to appear from below in concert
with a sudden change in lighting to
subterranean gloom.
12. Oxford Mail, 29 March 1966. Reviewed
during the National Theatre's spring tour:
"Miss Julie which seems at first sight
no more than the bedding of a highly
strung, unbroken society virgin by an
unusually intelligent and manly valet, then
develops awkwardly into a claustrophobic,
involved study of class, inherited evil and
psychological impulse is exquisitely set by
Richard Negri. A saucepan hisses steam
on the kitchen range and a red fire glows
beneath. As the cook, Jeanne Watts creates
a superb sense of down to earth reality.
Michael Elliot produces his effects naturally
even to the tap which is left drumming into
an enamel bowl after the drunken rabble of
servants have gone." (excerpt)
13. Interview with Lydia O'Ryan, 2 February

2007, for the Oral History of British
Theatre Design Project at the British
Library. Ref. C1173/20/01
14. Plays and Players magazine, November
1962, Volume 10, Number 2, page 26.
15. For example, in 1968, second-year
theatre design students at Wimbledon
were asked to design Shakespeare's As
You Like It as a speculative studio-based
project. Concurrent with the project was
the famous all male production of the
play at London's Old Vic Theatre directed

W I N T E R

2009

by Clifford Williams and designed by
Ralph Koltai. The Old Vic production was
overwhelmingly influential on the student
cohort and, probably to the dismay of
Negri, most of the resulting student
designs were set within a white stage
space and used variations of metal and
plastic shapes in the settings. Individual
discovery of a vision for the play's
staging had largely been thwarted by the
students' blindness to the superficial
stylishness of Koltai's designs.

theatre

design

&

technology

29



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
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