Theatre Design & Technology - Fall 2011 - 62

For the charrette, the students would each choose from
one of three productions-Sidney Howard and Will Irwin's
musical Lute Song, Stravinsky's opera/ballet Le Rossignol, or
Stravinsky's ballet The Firebird-around which they would
build a design concept and model for sets and costumes. Kim
had a personal connection to all three works and could bring
invaluable experience to the process. She also brought with her
Leanne Mahoney, a treasure trove of know-how in the execution
of costume design. For over twenty years, Mahoney ran the costume shop at the Santa Fe Opera, and since 1964 she has been
Kim's right-hand woman. Together the two conveyed a clear dynamic and symbiosis. Mahoney proudly admitted that she was
"the designer's slave," to which Kim added, "I hold the whip."
Mahoney often finished Kim's sentences and rephrased to the
students the most practical take-away from the designer's ideas.
Having worked with numerous designers, Mahoney lauded Kim's
efficacy: "Some designers come up with a brilliant concept but no
road map to get there. Willa never leads you astray."

The Preparation

The students were ready to seize their moments with Willa
Kim. They spent weeks immersing themselves in the world of
Diaghilev and the Ballets Russes. Le Rossignol and Lute Song,
both descendants of Chinese folklore, were explored through
their music and Chinese culture. The students bedecked the
room in the fruits of their research: sketches, fabrics, paintings, and costumes. Friedman contributed an authentic Chinese gong that would live in the corner of the room, not only
setting the mood but also setting the starts and stops of the
worker bees with resounding triumph, or fatalism, depending
on the direction of their projects.

Kim brought with her Le Rossignol: Stravinsky Remembered (1971), a video of the production that she designed for
public television to commemorate the death of Igor Stravinsky
that same year. The costumes and sets were reconfigured for
television after premiering at the Santa Fe Opera. Kim narrated
the specific design coups and challenges as the aged VHS tape
played for the students. She pointed out the "austere mechanical nightingale costume, just crisp enough [to signify the rigid
Chinese class system], but able to dance." The Emperor's sun
headdress was a Kim innovation in molded fiberglass. Mahoney
added that the punches of chartreuse green against the severe
white background are examples of Kim's identifiable affinity for a
color that, over time, came to be called "Willa Kim Green." By the
end of Stravinsky's opera, the nightingale's song restores the dying Emperor. Kim's insights throughout the tape of Le Rossignol
were similarly empowering. The students now had two and a half
days to create some of their own magic.

The Process

Professor Ezell likens the charrette to a dance marathon of the
1930s. It might not suggest the overriding financial and emotional
despair of Depression-era marathons, but it does test the will and
endurance of each aspiring designer. At the end of day three, each
student must be ready to present a physical manifestation of his or
her artistic concept. And though it will still be a "work in progress,"
to be added to their portfolios when ready, these students have only
one shot at making an impression on Willa Kim. They worked until
the wee hours each night, to return the next morning and resume
the pace of production. Meals were catered in to keep the artists on
track. Rounds by Ezell and Friedman reminded them of time constraints and necessary adherence to the goals of the charrette.

Leanne Mahoney leads a discussion of some picture research
for Le Rossignol.
Studying a presentation of photos with Willa Kim are (l. to r.) John
Ezell, Eric Voecks, the author, and Gene Friedman.
60

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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2011

Contents
Theatre Design & Technology - Fall 2011 - 1
Theatre Design & Technology - Fall 2011 - 2
Theatre Design & Technology - Fall 2011 - 3
Theatre Design & Technology - Fall 2011 - Contents
Theatre Design & Technology - Fall 2011 - 5
Theatre Design & Technology - Fall 2011 - 6
Theatre Design & Technology - Fall 2011 - 7
Theatre Design & Technology - Fall 2011 - 8
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