Theatre Design & Technology - Winter 2013 - 56

Heavy demands were placed on costume designers
during this time, and MacGeachy had multiple
productions in the design, building, or rehearsal
process simultaneously throughout her life.

Costume design by Cora MacGeachy. Courtesy the Theatre Museum, Vienna, Austria.

Costume design by Cora MacGeachy. Courtesy the Theatre Museum, Vienna,
Austria.
the designer in the execution of such work, there is no sense of repetition.
Particularly noticeable in many of these drawings is the thickness with which
some colors were applied, a technique that in many of the drawings creates
the effect of shiny golden buttons and a general impression of preciousness.

cAroline F. siedle
Born in England, Caroline F. Siedle (1867-1907) was one of the earliest
designers to receive credit for her work in theater programs. After she
married Edward Siedle, the properties master at the Metropolitan Opera,
she established an atelier in New York to serve the theatre trade and began to design costumes at the age of twenty-two. In her short career of
eighteen years (she died at age forty) she designed fifty-eight musicals on
Broadway, an average of three per year. Of the fifty-eight designs, she was
the single designer listed for forty-eight of them.

54

theatre design

& technology

If Siedle is remembered at all today, it is probably for three Broadway productions: The Wizard of Oz (1903), with the libretto by L. Frank
Baum, Babes in Toyland (1903), composed by Victor Herbert, both directed by Julian P. Mitchell, and Piff! Paff!!, Pouff!!! (1904), directed by
Gerard Coventry.
Siedle obviously had a comfortable working relationship with Julian
Mitchell, and they worked on thirteen productions together. Of her, Mitchell is quoted as saying, "Without her assistance I should never have been
able to carry out the musical comedy color schemes which have made
beautiful stage pictures" (Greene 2008, 18).
Piff! Paff!! Pouff!!! evidently was a rather flimsy affair. According to
the review titled "Piffle, Paffle & Pouffle" in the New York Times, April 3,
1904, "When a musical play calls itself 'Piff! Paff!!! Pouf!!!!' and subjoins
that it is a musical cocktail, one is prepared for the worst. The new play at
the Casino last night was redeemed from that only by Eddie Foy, who was
amiable, amusing as ever, and the so-called 'original' English Pony Ballet,
which made the hit of the evening and at one point raised a furore." The
"furore" happened at the end of the show and became part of a theatrical
legend and mystery.
According to the unnamed reviewer, "It was [a] dance in the last
act that made the hit of the evening, and, in fact, turned the balances

w i n t e r 2013



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2013

Contents
Theatre Design & Technology - Winter 2013 - 1
Theatre Design & Technology - Winter 2013 - 2
Theatre Design & Technology - Winter 2013 - 3
Theatre Design & Technology - Winter 2013 - Contents
Theatre Design & Technology - Winter 2013 - 5
Theatre Design & Technology - Winter 2013 - 6
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