Theatre Design & Technology - Winter 2017 - Public - 63
Costume design for Richard III, Act IV, scene 2, in
Richard III 1967. Ink and watercolor on paper
14 x 8 1/2in (35.6 x 21.6cm). Collection of the
McNay Art Museum, Gift of The Tobin Endowment
TL2002.97.2.
had lost their love for the work.
As theatre artists, we often find ourselves reaching for the latest high-tech gadget, method, or system. We hope technology will make our lives easier,
make production faster, perhaps give us a competitive
edge over how others are working. We tend to think
in databases, spreadsheets, cost analyses, and resource
management. All of this careful study and labor tells
us exactly what we can and cannot do in this or that
play, opera, or ballet. Now consider the plastic spoon.
What do you see? It might be white or black. We take
it on picnics. We find it in bags of fast food. We see a
spoon as something to eat with, to be used and thrown
away, or pitched in a recycle bin. That's the best hope
we have for that little spoon. When Desmond Heeley
saw a plastic spoon, he saw a chandelier or an ornate
picture frame or a bit of trim on something. He saw a
wall, a piece of furniture, perhaps even a costume. The
same goes for wadded-up paper, clear packing tape,
doilies, and sawdust. Fewer and fewer people seem to
see this way, and theatre production "machines" often
do not allow for the spontaneity such an imagination
requires.
Heeley loved to say he turned "dross into gold."
Armed with a glue pot or a glue gun, he could transform mundane discarded objects into crown jewels,
magical forests, or Victorian interiors. Like an impres-
Costume design for Caliban in The Tempest 1962. Watercolor, gouache and
graphite on paper 14 3/4 x 10in (37.5 x 25.4cm). Collection of the McNay Art
Museum, Gift of The Tobin Endowment TL2002.99.4.
sionist painter, he drew and painted what he thought
the audience should see from a distance, always keeping in mind the audiences' perspectives.
Heeley would ask us to see like the audience, consider the plastic spoon, and find the love.
Margaret Mitchell is a professor of theatre
at the University of the Incarnate Word
and a freelance costume designer. She is the
co-author of Making the Scene, which
received the Golden Pen Award in 2011
and she has been the recipient of two Herbert Greggs
Awards.
Devon Painter is a freelance costume
designer who has worked on Broadway, off
Broadway, and in opera and television.
She has worked at many notable regional
theatres such as The Guthrie, The Old
Globe, Williamstown Theatre Festival, and The Long
Wharf. She was Desmond Heeley's friend and assistant
for many years.
W i n t e r 2 0 1 7
theatre design
& technology
63
Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2017 - Public
Contents
Theatre Design & Technology - Winter 2017 - Public - Cover1
Theatre Design & Technology - Winter 2017 - Public - Cover2
Theatre Design & Technology - Winter 2017 - Public - 1
Theatre Design & Technology - Winter 2017 - Public - 2
Theatre Design & Technology - Winter 2017 - Public - Contents
Theatre Design & Technology - Winter 2017 - Public - 4
Theatre Design & Technology - Winter 2017 - Public - 5
Theatre Design & Technology - Winter 2017 - Public - 6
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Theatre Design & Technology - Winter 2017 - Public - 8
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Theatre Design & Technology - Winter 2017 - Public - Cover3
Theatre Design & Technology - Winter 2017 - Public - Cover4
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