Theatre Design & Technology - Fall 2012 - 65

a DRess foR lillian gish n by tony Walton

then, with a tear
prettily stealing
down her cheek, she
began a discourse,
directed largely at
the astonished Ray.
. . . as Ray began
to protest, she firmly
stared him down
before making her
decisive departure.

So many memories of the magnificent Ray flood my mind, but rising above the never-to-be-forgotten ones will
always be that of our adventure with the iconic enchantress, Lillian Gish, during rehearsals for Mike Nichols'
1973 all-star production of Uncle Vanya.
In 1930, Gish had famously starred in Jed Harris's triumphant Broadway revival of Vanya playing Helena-a role Nichols had now lured Julie Christie into playing, with Gish as the nurse, Marina. Ray (and his remarkable team, including the "touched-by-the-angels" Sally Ann Parsons) was, like me, aquiver with excitement
as we prepared for the great Lillian's first fitting. He, of course, greeted her grandly-royalty to royalty-and
suggested that I show her my design sketches for the beetle-like old nurse. As I prepared to do so, she suddenly
announced that this "all felt very strange to" her as she "always designed my own costumes. Wait! No, I tell a lie.
Not for Birth of a Nation-my mother designed those." Then, with a tear prettily stealing down her cheek, she began a discourse, directed largely at the astonished Ray, on how, in the Russia of Chekhov's time, servants were considered to be part of the family and were dressed in fine, and even delicate clothing, often in pale pastel colors.
As Ray began to protest, she firmly stared him down before making her decisive departure.
Ray, Sally Ann, and I huddled together and ultimately hatched a plan involving the imported, and relativelynew-to-us Thai slub-weave silks that were as weightless as paper and yet had a deceptively textural appearance.
I chose some beautiful pale lavender variations of this material, and we were delighted and relieved when
Miss Gish buoyantly donned the costume that Ray and Sally Ann had created from my still determinedly dark
sketches. She twirled around Ray's studio demonstrating to his seamstresses just how pretty and privileged Russian servants once had been.
The color was, of course, out of the question, so I alerted Mike Nichols what would be turning up on Lillian
and told him that our plan was to bring the costume back to Ray's each day, on the pretext of adding some trim,
or making some small adjustment. Although, in fact, we would very gradually be dipping it down a tone or two
until it reached its originally intended dark aubergine color.
When the production photographer told Miss Gish how beautiful she thought her costume was, Lillian
replied, "Yes, I know, dear, but the strangest thing is happening to it in the dressing room overnight. I think it

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2012

theatre design

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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2012

Contents
Theatre Design & Technology - Fall 2012 - 1
Theatre Design & Technology - Fall 2012 - 2
Theatre Design & Technology - Fall 2012 - 3
Theatre Design & Technology - Fall 2012 - Contents
Theatre Design & Technology - Fall 2012 - 5
Theatre Design & Technology - Fall 2012 - 6
Theatre Design & Technology - Fall 2012 - 7
Theatre Design & Technology - Fall 2012 - 8
Theatre Design & Technology - Fall 2012 - 9
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Theatre Design & Technology - Fall 2012 - 11
Theatre Design & Technology - Fall 2012 - 12
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com