Becoming a set designer in the real world

"I don't go to the theatre to see live television; I don't watch television to see live drama".

Such a simple statement would seem self evident, but after a 45 year career in designing for the theatre I would dispute that reaction. This is one of the major themes for this blog.

One of the great things about being able to work in a single field for a long period of time is to observe the changes -- personnel, plays, etc. The obverse side of that statement is that one also sees alarming trends. I am concerned about the state of American Theatre in this modern world; even more I am concerned about the young designers now entering into this world.

In this blog I will share observations, experiences and even recommendations related to my view of live theatre and my fear that we are on the verge of loosing contact with one of our most primal rituals -- live performance.

I am increasingly aware of the lack of "depth training" in young designers. By that I do not mean how to recognize a Ming vase, what is the correct collar in Renaissance fashion, or the focal length for various lighting instruments. What I do mean is the lack of knowledge about the roots of theatre, the "acts of faith" that propel live performance and the function of a designer over and above providing a background for the action.

It appears that much designer training is completely oriented to production -- i.e. getting the setting, costumes or lighting manufactured; consequently many productions suffer from the "department store syndrom" -- the work is in place,
it is substantial enough to not fall down or fall off, and the contract has been executed. It is one thing to provide a room of the proper period, with the required elements for the director/actors. It is another thing entirely to design a production. By that I am not referring to what is commonly called "production values" -- the amount of money, glitz, amount of scenery and tricks.

I would like to illustrate a bit of that point by quoting from a recent review published in the Seattle Times. Village Theatre in Issaquah, WA mounted a new production of "Lost in Yonkers". The show was designed by a prominent and well qualified designer. The review referred to the well appointed set. What I found amazing was the reviewer's quote: "...and in a clever bit of stagecraft one can see the buildings of Yonkers our of the apartment windows." Call me naieve or silly but as a designer I assumed that such a touch would be self evident and even required. That the review thought this to be a "clever bit of stagecraft" alerts me toa great failing in education -- not only of the reviewer but also of the design world. Have we as designers so failed our responsibilities that the reviewer and the audience find this so novel?

(to be continued)