Theatre Design & Technology - Spring 2004 - 67
Book
reviews
Elizabeth Lewandowski
editor
The Broadway
Design Roster
Designers and Their Credits
By Bobbi Owen.
Westport, CT: Greenwood Press, 2003. ISBN:
0313319154, 693 pages, $78.00, hardcover.
At first glance, this is an ordinary-looking
book with a red cloth cover, 700 pages of 10point text, and a dozen black-and-white illustrations. A closer look reveals page after page
of what appear to be short stories or obituaries: names and brief bios for nearly 2,400 theatrical scenic, costume and lighting designers,
cross-listed in an alphabetical index of 10,000
plays produced on Broadway in the twentieth
century. The preponderance of designers seem
to be either Yale graduates or British, the rest
are relatively obscure names credited with
only one or two shows. Four appendices list
the major theatre design awards and there is a
selected bibliography of books about design.
For most readers, spending time with this
book could be about as mesmerizing as reading a telephone directory.
Unless, of course, the people in that book
are your teachers, or their teachers, or the artists who caused you to get into this business in
the first place. While this is definitely not your
coffee-table, full-color design book, if you
read between the lines of fine print and see the
underlying patterns, you will find a mosaic of
the development of the theatrical design profession over the last century. While the book
66
S P R I N G
2 0 0 4
TD & T
will most likely find a home in a school or
public library rather than in a personal one, it
is certainly not because the subject matter is
inherently dull reading.
One particular strength of the book is its
sense of connection, which is accomplished
with a frequent recitation of the "begats," i.e.,
listings of professional mentors and teachers
who shaped careers. These can be anyone
from a high school teacher to university professors such as Douglas Russell, Paul
Reinhardt and Zelma Weisfeld to the most celebrated and award-bestowed designers on
Broadway. There is a feel for the progression
of the profession, whether by technical innovation or through sheer persistence in demanding respect, union scale compensation and
contracts, program credit, and acknowledgment of artistry. Recalled are the days when
designers, if acknowledged at all, were listed
in the back of the program next to piano tuners, water purifiers, and concessionaires.
Reading the credits of lighting designers,
one can follow the evolution in lighting from
gaslight to electric, limelight to carbon, footlights to overheads, lekos to lasers and holographs. One also witnesses the development of
computerized control systems, and the change
from electricians concerned with the presence
of light to artists focused on the quality of light.
The progression of scenic design is also
revealed, moving through minstrel shows,
melodramas, and vaudeville, from painted
backdrops and stock scenery to realistic settings, from simple revolving stages to movable
automated scenery to projections and mirrors.
The author points out in her introduction that
this books is not a history of theatrical design
on Broadway, but she takes obvious delight in
revealing myriad historical details about the
people and the plays. For instance, she says
she was fascinated to discover in the playbill
for The Man in the Moon that no less than
four designers were given credit for the scenery, each for different parts of the play's three
acts. Owen also can't resist telling us in Richard Marston's listing, that in addition to his
twentieth-century credits he also designed the
lavish sets for The Black Crook, the grandfather of the American musical which ran for
over 500 performances in 1866.
Costume design begins the century with
performers selecting their own wardrobes
from renowned couturiers and local drygoods merchants and moves through designers with a unified and objective view of
the play and on to the movement for the
conservation of costumes. Along the way are
mourning clothes, corsets, hobble skirts,
scarves for Isadora Duncan, zippered
gowns, and the New Look. There are stories
of a costume rental business begun with surplus WWI uniforms, a scenic studio managing to stay open during the Depression, and
related creative work ranging from silent
films to Omnimax.
The most prolific designer, Jo Mielziner,
stands apart with three pages of credits from
1924 through 1974. The most frequently produced play turns out to be Hamlet, with
twenty-seven separate productions, including
one in 1936 designed by Mielziner. Also found
are some surprising mentions of performer/
designers including John Barrymore, Fanny
Brice, Marie Dressler, John Malkovich, Ed
Sullivan, Gloria Swanson, Clifton Webb, and
Orson Welles. The flexibility and versatility inherent in theatrical design reveals itself in the
staggering list of other jobs held by designers
ranging from architects, illustrators, and
dressmakers to flying instructors, camouflage
designers, and tombstone makers.
A comparable electronic reference source
such as the Internet Broadway Database (IBDB),
which is still under construction, uses a "just
the facts, ma'am" approach, giving basic birth,
death, and marriage information along with
production credits. Because the IBDB is being
compiled in reverse chronological order, it
has as yet no listings for many of the singleshow designers from the early to middle years
of the century, nor the biographical details
such as designers' street addresses which
are so useful in doing research. This book
Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2004
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