Theatre Design & Technology - Winter 2009 - 43
© rosaria sinisi, from the oliver smith collection
Ballroom Portal elevations (blueprint, Plate 14) for My Fair Lady (1956). Scenic design by Oliver Smith.
collaboration with Alan Jay Lerner and Frederick Loewe, the
lyricist and composer team with whom he had what he described as a "loving" relationship working on Brigadoon in
1947 and Paint Your Wagon in 1951. Ironically, Smith had been
on the west coast designing for film when he received the offer to
design My Fair Lady. Having been offered a job as an associate
producer at MGM, Smith was at first undecided whether to return to New York and resume his stage career (Mikotowicz 1993,
59). He eventually decided, however, to return to Broadway and
accepted the offer to design My Fair Lady, which ended up being
his second favorite design of his career (Pecktal 1975, 154).
The musical, My Fair Lady, based on the George Bernard
Shaw play, Pygmalion, is set in London in 1912. Multiple scene
designs were required, ranging from the Covent Garden Opera
House, to Professor Higgins' study, to an alley pub, to the Ascot Racecourse, to Higgins' mother's house and various street
scenes. Smith's experience working on the musical was exhilarating, though difficult. For a designer such as Smith, the book
of the musical is the outline, and the score gives the designer
his cues. With the book of My Fair Lady being written and rewritten, Smith did not have his usual outline to work from. He
was told to read the original Shaw play and design the sets for
the various locales; he would later be given a running order for
the scenes. Once that order was determined, the challenge was
how to enable eleven different, elaborate, full-stage sets representing Edwardian London to shift on and off stage rapidly so as
not to interrupt the flow of the musical.
From previous work with director Abbott, Smith had
learned that "scenery has to move and move rapidly" (Rich
1990). He gleefully tackled these kinds of challenges, making
the complicated seem simple (Baird 2006). Perhaps Smith's
greatest gift, and one which made him the sought-after designer for large, multi-set musicals, was his ability to work out
complicated ground plans in his head before they were drafted
on paper. Amazingly, he was able to foresee where each piece
of scenery, furniture, or prop would be flown in, pushed into
place, revolved on a turntable, or brought on stage as if by magic through a hook and post device in the stage floor known as a
"dog and fin." Incredibly, he was able to visualize the technical
underpinnings all at once without a lot of laborious trial and
error. One former assistant comments on how clean the original drafting is and on the dearth of any notes or sketches that give
W I N T E R
2009
theatre
design
&
technology
41
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
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Theatre Design & Technology - Winter 2009 - 18
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