Theatre Design & Technology - Spring 2004 - 30
The Royal Hunt of the Sun by Peter Shaffer,
directed by John Dexter; National Theatre
Company, Chichester Festival Theatre and the
Old Vic, 1964: Set design (opposite page). Inca
mask (top), constructed by John Gunter; gift of
Dodger Stage Holding, New York. Costume
design (bottom) for Robert Stephens as
Atahuallpa.
Although he has grasped the scenic
possibilities of an open stage while
designing Doctor Faustus in Edinburgh
in 1961, Annals appeared stymied by
the expansive montage of scenes called
for in Shaffer's script. There were
months of scenic false starts that
included overly-literal mountains and a
golden Peruvian temple.When Dexter
suggested scrapping scenery altogether
and playing on a bare stage, the idea
finally triggered a moment of
inspiration for Annals while on a train
to Brighton. He began sketching Inca
motifs on a napkin in the dining car,
and when the napkin began unfolding,
he realized how to solve the problem of
moving scenically from Spain to Peru.
Two young designers who would
become important figures in their own
right worked on the production. Stefanos Lazaridis was
Annals's assistant, and John Gunter, who was working for
Ivan Alderman, the head of the National's costume
department, made the Inca mourning masks.
The masks were made of felt soaked in glue, then covered
with copper foil. The Spanish armour was made of fiber glass.
Alderman, who also worked at Tyrone Guthrie's Stratford
Festival in Canada, had seen fiber glass used in the festival's
props-making operation and introduced it into England as a
new material for fabricating stage armour. It replaced felt, a
material Alderman had also introduced into the costume
maker's repertoire while he worked at Stratford-upon-Avon.
The costume department was in an empty hotel that the
Festival had taken over for its offices and workshops.
Alderman and his crew made the clothes in the ballroom,
where they also gave wonderful parties. The nights when Royal
Hunt was playing in the repertory, Alderman would take off
from his labors to watch two moments of the production: the
opening of the sun, which drew gasps from the audience, and
the pulling of what was called the "blood cloth." Symbolizing
the massacre of the Incas, a giant red cloth engulfed the stage
and then was pulled off through an opening in the stage floor.
The effect was of a river of blood draining away, a memorable
image. It probably came about as a practical solution for
getting the scenic piece quickly off the open stage.
Annals was voted best designer for 1964, for Royal Hunt, by
the London theatre critics in their annual poll in Plays and Players.
TD & T
S P R I N G
2 0 0 4
29
Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2004
Contents
Theatre Design & Technology - Spring 2004 - 1
Theatre Design & Technology - Spring 2004 - 2
Theatre Design & Technology - Spring 2004 - 3
Theatre Design & Technology - Spring 2004 - Contents
Theatre Design & Technology - Spring 2004 - 5
Theatre Design & Technology - Spring 2004 - 6
Theatre Design & Technology - Spring 2004 - 7
Theatre Design & Technology - Spring 2004 - 8
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
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
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