Theatre Design & Technology - Summer 1978 - 48

The Theatre Crafts Book of Makeup, Masks, and Wigs edited by C.
Ray Smith. Emmaus, Pa.: Rodale Press, Inc., 1974, ISBN 0-87857058-6, 238 pp., i1lus., $6.95.
As C. Ray Smith states in his introduction to The Theatre Crafts
Book of Makeup, Masks and Wigs, this is not a comprehensive text,
but rather an introductory selection of ideas and solutions to a variety
of unique problems which might confront the student of makeup
design and execution. This compilation of selected makeup articles
from "Theatre Crafts" (1967-1973), provides a convenient reference
source of theories, techniques and examples of werk and research
by some of the leading practitioners in the United States.
A cursory look at the table of contents reveals the variety of topics
which are presented therein. The makeup artist might be called upon
to demonstrate his or her skills in any of three formats: theatre,
television or film. An understanding of the subtle nuances between
these media is essential for successful results. Whether it be a commedia production, a children's theatre piece or a Peking opera, this
text provides a good starting point to develop an understanding for
specific makeup conventions. Smith has also included articles which
present viable solutions to the unique demands of particular productions, such as the quick-change makeup of The Apple Tree, or the
severed head for The Baccflae or Macbeth. Articles included explore
and develop makeup possibilities at varying levels of expertise, thus
fulfilling readers' diverse needs.
Although the book is divided into the three categories referred to in
the title, Smith believes that "Each is a component activity of the craft
of makeup whether it is used for disguise or for cosmetic purposes."
Each entry is preceded with a statement of the particular problem or
discussion, brief biographical notes on the artist and writer, and the
original date of publication in "Theatre Crafts." This collection of
articles provides an exemplary blend of sequential illustrations and
~hotographs that demonstrate specific makeup teChniques, making
It useful for the craftsman as well as the designer. Reprinted articles
include "To Make a Paper Mask," by Irene Corey; "Twentieth Century
Peruke Making," an interview with Bob Kelly; "The Face Painting and
Furnishing of Richard Corson," by Jody Brockway; and other insightful discussions of makeup theory and research by various
theatre artists.
The sections dealing with makeup and masks present a useful
treatment of these subjects, however, the brevity of the material
primarily concerned with wigs lessens the scope of the book. The
singular use of black and white photographs limits the visual impact
and reference to detail of many of the makeup designs. Choice of
paper stock for printing seems to be the cause of poor reproduction
of many photographs. This appears to have been a necessary compromise to keep the cost of this paperback book reasonable. However, while the reproduction quality is a distraction, it does not invalidate the total functionalism of the photographic demonstrations.
Given the intended scope of this book, it functions as a useful
supplement to standard makeup texts, several of which are discussed by Smith in his opening remarks. Future editions will hopefully include more recent contributions and developments by
makeup artists and craftsmen.
Jeffrey W. Wo/z

Indiana State University.

Scenes from the Nineteenth Century Stage In Advertising Woodcuts, selected and edited by Stanley Appelbaum. New York: Dover
Publications, Inc., 1977, ISBN 0-486-23434-7, xv, 152pp., iIIus., $5.00.
Stanley Appelbaum frankly admits that the first purpose of this
book is to provide the kind of enjoyment to be found in the general
context of early advertising art. Appelbaum's secondary purpose is to
contribute to theatre history since these pictures along with a miscellany of other information provide a useful panorama of the nineteenth century stage.

Theatre Design & Technology

Perhaps the true value of the book is as a pictorial record of the
era of "the road" in American theatre which came into full swing
dUring the expansion of the railroad in the mid-half of the nineteenth
century. The book is also a record of American poster art (especially
theatrical poster art) as it covers the period before onstage photography which began tentatively in 1883. These poster cuts, for the most
part, are fairly reliable evidence of what the productions looked like,
particularly productions of melodramas which tended to rely heavily
on settings and sensational effects. In this respect, the book is an
excellent record of all the natural and man-made cataclysms which
enterprising managers promised as "sensation" on the stage.
An interesting "sub-plot" to Appelbaum's book is his chronicle of
the frenetic theatrical agent who was now emergent and occasionally
escalated to top flight manager. At a time when the economics of the
theatre and ease of travel made it accessible to all Americans, the
agent became an arbiter of public taste. His very energy could make
a play "catch on" nationally with startling rapidity. Unlike today when
theatre is increasingly becoming a rare and costly treat for urban
dwellers, theatres in the nineteenth century were large and the price
of admission low. The advertising woodcuts were the prime publicity
tool of the agent, and the woodcuts in this book give a good indication of which plays were popular and the relative magnitude of
that popularity.
In his introduction, Applebaum provides a terse description of the
theatrical genres of the period as well as a visual initiation to the
plates. T he first part of the introduction is interspersed with photographs of the leading personalities of the day. It includes the famous
ac!ress/manager Laura Keene, the renowned actor/manager/playWright Lester Wallack, the star of burlesque and Irish plays and high
comedy William G. Florence, the playwright and foremost American
theatrical manager of the century, Augustin Daly, and perhaps the
most prolific of the nineteenth-century dramatists, Dion Bouclcault.
The second part shows exteriors and interiors of famous theatres in
New York which present a physical orientation to the typical stage
and house for a play at that time. The last part of the introduction
presents photographs from actual character performances, perhaps
the most famous of which is of Kate Claxton as the blind girl Louise in
The Two Orphans. The portrait gallery of the backstage personalities,
the physical architecture for the plays and the character vignettes
provide an appropriate prelude to the actual scenes as represented
in the advertising woodcuts which constitute the bulk of the book.
The scenes themselves are organized according to the following
categories: plays from 1820's through 1850's; plays by specific playwrights-Dion Boucicault, Tom Taylor, T. W. Robertson, Watts Phillips, Andrew Halliday, Edmund Falconer, and Augustin Daly; other
American plays of the 1860's and 1870's; ballet extravaganzas,
French o~erettas, clown pantomimes, burlesques, other musical entertainments, variety acts and the circus, the stage types, personalities, and miscellaneous cuts. Each plate is fully identified with full
title, author, act indications and a brief account of the action illustrated.
In an endeavour to relay the temper of the theatre of the times a
section entitled "Additional Comments" is also included which c~n-
sists of further commentary on the numbered plates. This is obviously not the book for biographical bijouteries such as Dion
Boucicault's cavalier manner of disposing of his several wives or his
claim of being the first to put tiles in his New York bathroom. However, the flamboyance and opportunistic vent of his career and the
rampant plagiarism of the times is indicated in this section where the
peculiar instance of his several "adaptions" is treated. The prime
example is his The Streets of New York based on the financial panic
of 1857 which became The Poor of Liverpool or The Streets of
London depending on the geographical locale of the play's next tour
stop.
Scenes from the Nineteenth Century Stage in Advertising Woodcuts may not have the selectivity of an extensively documented scholarly work but the illustrations and their presentation make it a great
browsing book for anyone interested in the American theatre of the
late nineteenth century.
gre~t

Syvalya Eichen

Toronto

USITT/Summer, 1978

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1978