Theatre Design & Technology - Winter 2009 - 46

really big thrill watching these twenty-foot units miss each other
by inches" (Baird 2006). In addition to smoothing out technical
problems, he was also adept at dealing with the tender egos of
temperamental stars. When Rex Harrison complained about negotiating the staircase in the Higgins' study during a technical rehearsal, Smith dashed onstage, climbed the stairs, and proceeded
to demonstrate the proper way to make the entrance. "There,
Rex, do it like that," he said (Burlingame 2005).
Aside from the brilliant mechanics of the changes, the true
artistry and grace comes from the fact that Smith's set changes
were driven by and choreographed to the music (Sinisi 2006),
creating organic scene changes that are extremely complicated, yet look effortless and beautiful and allow the show to flow
smoothly from one scene to the next. His experience with dance
as a producer and designer at Ballet Theatre undoubtedly influenced his conceptualizing of scenery movement, producing
a kind of "scenic ballet" whose graceful transitions became an
integral part of the action (Sinisi 2006). While the book of a musical is the outline, Smith acknowledged that music gave him his
"cues and inspiration... the score and the lyrics... tell me where
to go-or try to go" (Loney 1984, 365). He designed around the
structure and flow of a show and its musical numbers.
In My Fair Lady, the change from Act I, scene 10 to scene
11, the Embassy Ball at which Eliza is to make her public appearance, is the best example of that flow. At first, the audience
saw the Embassy staircase opening onto the stage, flanked by

44

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W I N T E R

2009

colonnades; but then, the scrim inside it faded through and
flew up, revealing couples dancing behind. The turntables rotated, bringing on the ballroom portals, as a flat and four rows
of chandeliers dropped successively from upstage to down, and
the dancing couples swept around the stage. The kaleidoscopic
set change, which took seconds and was "choreographed" to
the music, consistently stopped the show (Time 1965, 86).
In addition to the breathtaking scene changes, no one
could design beautifully painted drops like Oliver Smith (Wagner 2006). If On the Town illustrated Smith's love affair with
New York, the settings for My Fair Lady were his valentines to
London, capturing the vistas of its Edwardian era with a painter's eye for color. As usual, Smith's sets were praised in the reviews, with the physical production being described variously as
"splendorous," "glorious," "lush and lavish," and "glittering."
One critic even noted that the progression to the beautiful set
for the Embassy Ball scene paralleled Eliza's development from
poor flower girl to English lady. Others, of course, commented
on the use of the revolving turntables and praised Smith's fluidly
moving sets which kept pace with the production (Mikotowicz
1993, 61-62). In his review for the New York Herald-Tribune
(16 March 1956), Walter Kerr described the effect: "Smith's
double turntables spun round and round to show off ever more
dazzling pavilions, ballrooms, and gaslit living rooms.
For the last twenty-two years of his life, Smith taught in the
Department of Design for Stage and Film at New York University's



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
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