1975 » USA » Stage and costume design

SPOJENÉ STÁTY AMERICKÉ

Scenarist of the exhibition: Charles B. Froom The national exhibition of the United States is the first exhibition of stage design to be made wholly of works by designers in the far-flung American theatre, including resident, regional, university, professional, and commercial theatre from New York to Hawaii. The show v/as organized by the International Theatre Institute of the United States, Inc., after an exhaustive review of designs submitted to a Selection Committee composed of designers, critics, choreographers, and directors. The exposition reveals much about the theatre in America in recent years - the variety of plays produced, the uses of stage space, the exploration of the relationships between audience and performers. The majority of American stage designers are "free lance" artists; in other words, they are not permanently affiliated with one particular theatre. As a result, the American designer must be equipped to meet the varied demands of many spaces and situations in the practice of his craft. It is, above all, this versatility and flexibility that is reflected in this exhibition. Financial support for this exhibition was generously given by the following: the Peter C. Cornell Trust, the Ford Foundation, the JDR 3rd Fund, the Andrew W. Mellon Foundation, the National Endowment for the Arts, the New York State Council on the Arts, the Rockefeller Brothers Fund, and the Shubert Foundation, Inc. Steering Committee of the exhibition: Howard Bay, Martha Coigney, Eldon Elder, Rosamond Gilder, Ming Cho Lee, Donald Oenslager*, Joel Rubin, Brenda Zanger. * Until his untimely death in June of 1975, our colleague, Donald Oenslager, dean of American theatre design, was central to the creation of this exhibition.

Exhibiting artists / ateliers

• Ming Cho Lee

Specialization: set designer
Additional information: Born in Shanghai, China; studied at Occidental College and U.C.L.A. Schoolof Applied Arts; apprentice and assistant designer to Jo Mielziner and Boris Aronson; member United Scenic Artists, Local 829; member American Theatre Planning Board, Theatre Projects Committee of N.Y.C. Planning Commission, Advisory Council of International Theatre Institute and the Board of Directors of Technical Assistance Group Foundation; taught scene design at New York University /1968-70/, has taught at Yale School of Drama since 1969; as principal set designer, New York Shakespeare Festival /1962-73/, productions include Ergo, Hair, Two Gentlemen of Verona, Much Ado About Nothing, and Sophocles Electra; designed ten productions for New York City Opera including Faust, Anna Bolena, Julius Caesar, and the American premiere of Don Roderigo; other opera designs include La favorita /San Francisco Opera/, Madame Butterfly /Opera Company of Boston/, Ariodant /Kennedy Center/, Madame Butterfly /Metropolitan Opera National Company/, Bomarzo /world premiere, Opera Society of Washington/, Lucia di Lammermoor /Teatro Colón, Buenos Aires/ and Julius Caesar / Hamburgische Staatsoper/; as principal designer, Juilliard Opera Theatre American Opera Center /1964 - 70/; designed Fidelio, La Boheme, The Rake's Progress and others; for Broadway designed Mother Courage and Her Children, Billy, Slapstick Tragedy, Two Gentlemen of Verona, Much Ado About Nothing and others; designs for regional theatres include Henry IV, Part 1 /Mark Taper Forum/, Inherit the Wind and Our Town /Aréna Stage Cultural Exchange Tour of U.S.S.R. in 1973/; designs for dance include Myth of a Voyage /Martha Graham/, Missa Brevis /José Limon/, Don Juan /San Francisco Ballet/ and productions for Alvin Ailey, and for Gerald Arpino of the City Center Joffrey Ballet; won Maharam Award for Electra and Ergo; his designs have been exhibited in New York, Connecticut, Ohio and California; recent designs include Boris Godunov /Metropolitan Opera/, Whispers of Darkness /National Ballet of Canada/, and The Seagull for Andre Gregory.

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• Carrie F. ROBBINS (Carrie Robbins)

* 07.02.1943, Baltimore, MD
Education: MFA Yale University School of Drama, BS, BA Pennsylvania State University
Collaboration with theatres: Broadway,Off-Broadway theatres
Additional information: Born in Baltimore, Maryland; studied at Pennsylvania State University and Yale University; hes designed costumes on Broadway for Over Here!, Grease, The Secret Affairs of Mildred Wild, Molly and others; for the Lincoln Center Repertory Theatre designed costumes for The Good Woman of Setzuan, An Enemy of the People, The Crucible at the Beaumont, and The Justice Box, The Inner Journey, The Year Boston Won the Pennant at the Forum; designed Sunset and The Beggar's Opera for Chelsea Theatre Center; has designed for City Center Acting Company, NET-TV, CS Productions Cable Television, Guthrie Theatre, Shaw Festival, Inner City Repertory Theatre, Studio Arena Theatre, Buffalo Philharmonie, New York Shakespeare Festival in Central Park, and Circle in the Square; recipient of Drama Desk Awards, in costume design for Over Here! and Grease; recent work oncludes clothes for Lee Grant in NET-TV "Theatre in America", production of The Seagull, and costumes for City Center Acting Company production of The Taming of the Shrew; faculty member, Design Department, New York University.

Exhibiting works

• : (Over Here!), Shubert Theatre 1974
• : (The Merry Wives of Windsor), Delacorte Theatre 1974
• : (Julius Caesar), Guthrie Theatre 1969
• James E. MARONEK (James Maronek)

Specialization: scenographer, Professor Emeritus, The Theatre School, DePaul University
Additional information: Born in Milwaukee, Wisconsin; studied at the Art Institute of Chicago; resident designer at Goodman Theatre for 13 years; has designed sets for productions at Edgewater Beach Playhouse, Ravina Drama Festival, University of Chicago, Hull House, Lithuanian Opera Company, Cincinnati Opera Company, Tenthouse Musical Theatre, Academy Playhouse and University of South Florida; industrial presentation designer for Admiral, General Electric, Zenith and others; author of Designer's Notebook based on his European and Russian travels; currently resident designer at the First Chicago Center for which he designed a new musical, Sheba; contributing editor and critic for Chicago Guide; associate professor in scene design and history of theatre, Goodman School of Drama; president Local 350, United Scenic Artists.
• Boris ARONSON

Additional information: Born in Kiev, USSR; has been designing for theatre in the United States since 1925; bn Broadway designed settings and costumes for numerous productions including Three Men on a Horse, Awake and Sing, Paradise Lost, Cabin in the Sky, Café Crown, The Rose Tattoo, I Am a Camera, The Crucible, A View From the Bridge, The Diary of Anne Frank, J.B., Do Re Mi, Fiddler on the Roof, Cabaret, A Little Night Music and The Creation of the World and Other Business; designs for dance include Ballet Theatre production of The Great American Goof, New York City Ballet production of Ballade, and Tzaddik for the Eliot Feld Ballet; has designed for the Metropolitan Opera, the Phoenix Theatre and the Royal Shakespeare Company; won Tony Awards for Cabaret /1966/, Zorba /1968/, Company /1970/ and Follies /1972/, the Maharam Award for Set Design, for Cabaret and the American Theatre Wing Award for Stage Desipn /1950-51/; awarded Guggenheim Fellowship /1950/; has had more than ten one-man shows and been included in many group shows: authored Marc Chagall /1923/ and Modern Graphic Art /1924/, both written in Russian and published in Berlin; member United Scenic Artists, Local 829; recently designed sets for Dreyfus in Rehearsal; currently working on his memoirs, painting and sculpture in addition to his designs for theatre.

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• Howard BAY

Additional information: Born in Centralia, Washington; studied at Carnegie Institute of Technology; has designed 150 Broadway productions, received two Tony Awards, two Donaldson Awards, a Maharam Award, and won a Variety New York Drama Critics Poll; his credits include Man of La Mancha, Toys in the Attic, The Music Man, The Little Foxes /oiiginal production and Mike Nichols' revival/, The Desperate Hours, Carmen Jones, Up in Central Park, Little Sheba, The Children's Hour; directed Bobby Clark in As the Girls Go, as well as the American premieres of Mario Fratti's The Cage, John Arden's Wotkhouse Donkey and Strindberg's There Are Crimes and Crimes; production designer on several films including Balanchine's Midsummer Night's Dream; television art director for the Pueblo and many TV series as Hallmark, Omnibus and Maugham Theatre; served as president of United Scenic Artists, Local 829; board member National Society of Interior Designers; Advisory Council Member of International Theatre Institute; recipient of Guggenheim Fellowship; has taught at Yale, Carnegie-Mellon, Ohio, Furdue and Oregon Universities; wrote the book Stage Design published in 1974; his work was exhibited in a one-man show at Lincoln Center Astor Gallery and in a touring exhibit under the auspices of the American Theatre Association; currently holds the Alan King Chair in Theatre Arts at Brandeis University; recent work includes designs for new musical Odyssey.

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Exhibiting works

• : (Mann of La Mancha), ANTA Washington Square Th. 1965
• : (Halloween), Florida State Univ. Theatre 1972
• John Lee Beatty

Palo Alto, California
Specialization: set designer
Additional information: Information from catalogue 1975: Born in Palo Alto, California; studied at Brown University /graduated 1970/ and Yale School of Drama /1973, MFA/; created and toured with his puppet theatre for three years; assistant to Douglas W.Schmidt /1973-74/; designed Off Broadway productions Some People, Some Other People... and The Wager; designed Off Off Broadway productions Marouf for Manhattan Theatre Club and Diary of a Scoundrel for Gene Frankel's Workshop; designed sets and costumes for Brecht's Baal at the Yale Repertory Theatre; currently resident designer at the Queens Playhouse where he designed Room Service, Come Back, Little Sheba, The Amorous Flea and An Inspector Calls; member United Scenic Artists. Information from catalogue 1999: Currently co-operates with Lincoln Center Theatre, New York and others as scenery designer. Formerly, he tought at North Carolina School of Arts, Brooklyn College and Tisch School of the Arts, New York. He participated in the PQ 1987. He has received these prizes and awards: Tony, Obie, Outer Critics Circles, Drama Desk, Jefferson, LA Drama Critics.

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• Zack L. BROWN

Additional information: Born in Honolulu, Hawaii; studied at the University of Notre Dame /currently enrolled in postgraduate studies at Yale University/; designed costumes for Enrico IV, Candida, The Servant of Two Masters, The Little Foxes and sets and costumes for The Duchess of Malfi and Die Zauberflöte at Notre Dame; designed sets for The Royal Pardon and The Balcony and costumes for Major Barbara at Yale, designed sets for Yale repertory Theatre's Watergate Classics /1973/ and for Enrico IV at Loeb Drama Center, Harvard/1972/; designed sets for the Threepenny Opera and Misalliance for the Harvard Summer School Repertory Theatre /1974/; his costume designs for The Duchess of Malfi /1972/ were awarded first prize in National Intercollegiate Scenic Design Competition sponsored by Southern Illinois University.

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• Jeanne BUTTON

Additional information: Born in Columbus, Ohio; studied at the Carnegie Institute of Technology and Yale University; has designed costumes for numerous Off Broadway productions; her designs for MacBird earned her a Maharam Award; designed People Are Living There and Suggs for Lincoln Center Repertory, and the American Shakespeare Festival and Broadway productions of Henry V; costume designs for opera include the Amsterdam State Opera production of Satiricon and Washington Opera Society's Rise and Fall of the City of Mahagonny; has designed for Juilliard School Repertory Theatre, Negro Ensemble Company, Yale Repertory Theatre, New York Pro Musica; Broadway productions include The Freaking Out of Stephanie Blake and The Watering Place; has designed costumes for many stock companies including the Tanglewood Music Theatre, Williamstown Summer Theatre, Antioch Summer Theatre, Penn State Festival Theatre; has taught at Sarah Lawrence College and Hofstra University; lectured for the Connecticut Commission on the Arts; currently assistant professor of costume design at Yale; is publishing a History of Costumes in slide form.

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• Patton CAMPBELL

Additional information: Born 1926 in Omaha (Nebraska). Associate Professor at Columbia University. As costume designer he cooperates with various theatres in the USA. He exhibited at the Prague Quadrennial in 1987, in the exposition awarded by the Golden Triga - the main prize.

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Exhibiting works

• : (The Makropulos Affair), New York City Opera 1970
• John Conklin

Specialization: set designer
Additional information: Born in Hartford (Connecticut). Stage and costume designer. Professor and Head of Design Program at New York University. He exhibited at the Prague Quadrennial in 1975 and in 1987 (commissioner general of the exposition awarded by the Golden Triga - the main prize).

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• Robert Edward DARLING

Additional information: Born in Oakland, California; studied at State University of California, San Francisco, Yale University and Bayreuth Festspiel Meisterklasse, G.F.R.; formerly design assistant to Will Steven Armstrong and Ming Cho Leejmember United Scenic Artists,Local 829; has designed numerous productions including Lesire Under the Lelms /Theatre of the Living Arts/, Incident at Vichy /Williamstown Theatre/, Black Comedy/White Liers /Long Wharf/, Uncle Vanya /Charles Street Playhouse/,The Visit /Seattle Repertory Theatre/, Long Days Journey into Night /Fred Miller Theatre/ and William Ball's New York production of Six Characters in Search of an Author; has designed more than 30 opera productions including The Visit of an Old Lady /American premiére for the San Francisco Opera/, Un Ballo in Maschera /Lyric Opera of Chicago/, Anna Boleyn /Santa Fe Opera/, Salome /Vancouver Opera/, La Bohéme /Western Opera Theatre/, Médea /world premiére for San Diego Opera/, The Crucible/Anchorage Opera/, Colonel Jonathan /world premiére for Denver Opera/, and the Flying Dutchman /Lyric Theatre of Kaiisas City/; has designed for the San Francisco Ballet and the Royal Winnipeg Ballet; guest lecturer in stage, costume and lighting design at Stanford University /1970-71/; recent work includes designing The Seagull /Williamstown Theatre Festival/, Parsifal /San Francisco Opera/ and directing and designing Faust /Edmonton Opera/ and The Flying Dutchman /Kentucky Opera Association/.

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• John DÖEPP

Additional information: 3orn in Buffalo, New York; studied at Carnegie Institute of Technology /graduated 1963/; member United Scenic Artists, Local 829; as scenic and lighting designer, Virginia Museum Theatre /1963-68/, productions included The King and I, Fanny, The Miracle Worker, The Odd Couple, The Cherry Orchard and The Subject Was Roses; designed scenery and lighting for Another Part of the Forest at Pennsylvania State University; as associate designer to Jo Mielziner /1968-1970/, worked on Broadway productions of 1776, Georgy, Child's Play, Look to the Lilies; assisted John Conklin on Scratch; since 1970 has designed scenery and lighting for more than 15 productions including Fiddler on the Roof /Brunswick Music Theatre/, Peter and the Wolf /Pittsburgh Ballet/, The Justice Box and The Mother of Us All /Off Broadway/, The King and I /North Carolina School of the Arts/, Troilus and Cressida /Shakespeare Summer Festival, Washington, D.C./ and I, Said the Fly /Guthrie Theatre/; designed lighting for the Pleasure of His Company at the Kennedy Center, and lighting and costumes for Treemonisha at Wolf Trap Farm Park for the Performing Arts; has designed numerous industrial shows; was architectural assistant to Jo Mielziner on designs for theatres at University of Southern Illinois, University of Michigan, and Convent of the Sacred Heart.

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• William & Jean ECKART

Additional information: Mr. Eckart - born in New Iberia, Louisiana, studied at Tulane University /graduated 1942/ and Yale University /graduated 1949/. Ms. Eckart - born in Chicago, Illinois; studied at Sophie Newcomb College /graduated in 1943/ and Yale University /graduated 1949/. Together designed more than 45 Broadway productions including The Golden Apple, for which they won the Donaldson Award for Best Scenery for a Musical /1953-54/i and Once Upon a Mattress, Fiorello!, Never Too Late, Flora and Damn Yankees; Off Broadway they designed the scenery for several productions at the Phoenix Theatre including Oh Lad, Poor Dad; designed numerous television programs; designed the costumes for the film version of The Pajama Game; production designers for the film The Night They Raided Minsky's; they have designed for ballet; opera and industry; members United Scenic Artists, Local 829; taught stage design at Circle in the Square Theatre School and a seminar in design for musical theatre at the Polakov Studio and Forum of Stage Design; Mr.Eckart is professor and Head of design curriculum, Meadows School of the Arts, Southern Methodist University; Ms. Eckart is a candidate for Master of Social Work Degree at the University of Texas, Arlington.

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• Karl EIGSTI

Additional information: Born in 1938 in Indiana. He has worked for twenty five years on Broadway, in regional theatres, films and television. He currently heads Brandeis University's design program. He participated in PQ in 1975.

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Exhibiting works

• : (A Family and a Fortune), Seattle Repertory Theatre 1974
• Eldon ELDER

Additional information: Born 1921 in Atchison (Kansas). Stage designer. Visiting Professor at University of lllinois. He exhibited at the Prague Quadrennial in 1975 and in 1987, in the exposition awarded by the Golden Triga - the main prize.

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Exhibiting works

• : (Amazing Grace), University of Michigan Professional Theatre Program 1967
• : (A Family and a Fortune), Seattle Repertory Theatre 1974
• Jeffrey A. FIALA

Additional information: Born in Racine, Wisconsin; studied at University of Wisconsin; technical director and scene designer at various Wisconsin community theatres; journeyman scenic artists, St. Louis Municipal Opera; designed for Summer Repertory Season, Provincetown Playhouse /1973/; since 1970, assistant professor and resident designer, University of Massachusetts; member United Scenic Artists, local 350; recently designed sets for new translation of Woyzeck and a production of the Cradle Will Rock, University of Massachusetts.

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• Peter HARVEY

Additional information: Born in Quirigua, Guatemala; studied at the University of Miami; was design assistant to Rouben Ter-Arutunian, David Hays, Robert O'Hearn, Ed Wittstein, Oliver Messell, William and Jean Eckart, Eldon Elder and Esteban Francés; has designed scenery and costumes for numerous productions during last 15 years including Noye's Fludde, St. George's Episcopal Church, New York /1964/, The Sweet Enemy, Actors Studio Theatre /1965/, the Off Broadway Dames at Sea /1968/, and the New York, London, Copenhagen, Hollywood and Boston productions of The Boys in the Band /1968-69/; designed scenery and projections for Annenberg Center, Philadelphie, production of Gloria and Esperanza /1973/; designed scenery for New York City Ballet; teaches theatre and costumes design at Pratt Institute, Brooklyn.

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Exhibiting works

• : (The Boys in the Band), Theatre Four 1968
• David JENKINS

Additional information: Born in Hampton, Virginia; studied at Earlham College and Yale University; has designed scenery for the Cincinnati Playhouse in the Park, Theatre of the Living Arts, Long Wharf, Trinity Square Repertory, Goodman Theatre, McCarter Theatre and Arena Stage; designed New York productions of Room Service, The Changing Room and The Freedom of the City; designed scenery for Tommy and Trip, Les Grands Ballets Canadiens; art director for KET-TV productions of The Widowing of Mrs. Holroyd and The Seagull; recently designed scenery for the musicals Juno and Boccaccio.

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Exhibiting works

• : (The Changing Room), Morosco Theatre 1973
• Don  F. JENSEN

Additional information: Born in Emporia, Kansas; studied at the University of Kansas and Columbia University; designed summer stock productions at Pocono Playhouse, Dayton Music Theatre, Toledo Zoo Theatre; designed scenery for Off Broadway productions of Irish Plays, Guitar, Oh Kay!, Anything Goes and Brother Gorski; designed costumes for Off Broadway productions of Cock-a-Doodle Dandy and Winkelberg; designed scenery and costumes on Broadway for The Sunday Man and Off Broadway for I Love Thee Freely and the revival of Jacques Brel; for the Harkness Ballet designed scenery and costumes for Bartók Piano Concerto no. 3 and Shindig; was assistant designer at Metropolitan Opera for Die Frau ohne Schatten, Der Rosenkavalier, Hansel und Gretel and Othello; recently designed Off Broadway musical version of Peg of My Heart.

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• Florence KLOTZ

Additional information: Born in New York City; studied at the Parsons School of Design; assistant to costume designer on original productions of Flower Drum Song, Cat on Hot Tin Roof, The Sound of Music, The Apple Tree, Golden Boy and others; designed costumes for numerous Broadway productions including Take Her, She's Mine, Never Too Late, The Owl end the Pussycat, Superman, Nobody Loves an Albatros, Follies and A Little Night Music; designed costumes for New York City Center revivals of Oklahoma!, South Pacific, Carousel and Annie Get Your Gun; Tony Award-winning costume designer for A Little Night Music and Follies; recent work includes costume designs for Dreyfus in Rehearsal on Broadway.

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• Sandro LA FERLA

Additional information: Born in Turin, Italy; studied at the Academy of Fine Arts, Rome and at University of Oklahoma on a Fulbright; designed productions in Rome for Teatro Stabile dell'Auila, Teatro Quirino and for Teatro Stabile di Trieste; exhibited at Ninth and Tenth National Exhibitions of Scenic Design, Venice /1964 and 1965/; resident scene designer and instructor of scene design, Goodman Theatre, Chicago /1970-73/, where he designed Twelfth Night, Marching Song and The Ruling Class; designed six productions for Virginia Museum Theatre including Arms and the Man, The Knack and Marat-Sade /1969-70/; designed What the Butler Saw, Academy Playhouse, Lake Forest, Illinois /1971/; designed productions for the Arlington Park Theatre, Illinois, including Private Lives, The Prisoner of Second Avenue and You Can Never Tell /1973/; designed sets and costumes for world premiére of Menotti's Tamu, Tamu, Studebaker Theatre, Chicago /1973/ and for XVIIth Festival of Two Worlds, Spoleto /1974/; designed Harkness Ballet production of Sebastian /1973/; designed sets and costumes for Le Coq d'Or, Teatro Verdi, Trieste /1974/, The Consul, Bunka-Kaiken Theatre, Tokyo /1974/ and the Medium, Yubinchokin Hall, Tokyo /1974/.

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Exhibiting works

• : (The Knack), Virginia Museum Theatre 1970
• : (The Ruling Class), Goodman Theatre 1972
• William Ivey Long

* 1947, Williamsport (Pennsylvania)
Specialization: costume designer
Additional information: He teaches at Playwrights Horizon Theatre School, NYU Tisch School of Arts. He exhibited at the PQ in 1987 (Golden Triga for american exhibition) and in 1991 (Gold Medal for american exhibition).

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Exhibiting works

• : (The Tempest), Roanoke Civic Center 1974
• Frank LOPEZ

Additional information: Born in New York City; studied at Columbia University School of Dramatic Arts and Yale University; has designed The Time of the Cuckoo, Two for the Seesaw, The Chalk Garden, Harvey, The Student Prince, Goodbye Charlie, among others for the Saratoga Springs Spa Theatre, Layton Theatre Festival, Cincinnati Star Theatre and Falmouth Playhouse; assistent to the designer on Broadway production of George M! end the Metropolitan Opera Der Freischutz; has designed extensively for television including such programs as The David Frost Show, That Was the Year That Was and Jack Paar Tonight; recently designed for TV The Guinness Book of World Records and the Dana Valery Show.

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• Santo LOQUASTO

Additional information: Born in Wilkes-Barre, Pennsylvania; studied at King's College, Wilkes-Barre and Yale University; has designed for Arena Stage, Hartford State Company, Yale Repertory Theatre, Charles Playhouse, Williamstown Theatre, Long Wharf, San Francisco Spring Opera, Mark Taper Forum, Opera Society of Washington, and Chelsea Theatre Center; designed sets for Eliot Feld's ballet Sephardic Song, The New York Pro Musica la Dafne and the Broadway production of The Secret Affairs of Mildred Wild; as principal designer for the New York Shakespeare Festival, designed sets for Sticks and Bones, That Championship Season, Macbeth, King Leer, Dance of Death, Pericles and The Merry Wives of Windsor; received Drama Desk Award for the Public Theatre and Broadway productions of Sticks and Bones and That Championship Season; his design for What the Wine Sellers Buy earned him a Tony nomination.

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Exhibiting works

• : (Wipe-Out Games), Arena Stage 1971
• Henry MAY

Additional information: Born in Havana, Cuba; studied at the University of Illinois and Yale University; designed sets and costumes for New York productions of Five Queens, Moby Dick and for New England Conservatory of Music's Dido and Aeneas; designed New York Philharmonie Promenedes /1963/; designed sets for Julius Caesar, first production of New York Shakespeare Festival in Central Park; art director for Omnibus TV series /1952-61/; scene designer for television series, Studio One and I Remember Mama, and for TV productions of The Barrets of Wimpole Street, The Beggar's Opera and Riders to the Sea; designs for dance include Agnes de Mille's Rodeo, Three Virgins and the Devil, The Art of Ballet and The Art of the Choreographer, John Butler's Playing Cards and José Limon's The Moor's Pavane; has designed opera productions for television, the University of California end San Franciso Opera; currently professor of scenography, Department of Dramatic Art, University of California, Jerkeley, where he has designed sets and costumes for many productions since 1963; recently designed American Conservatory Theatre /Public Broadcasting System's Cyrano de Bergerac, Inverness Music Festival production of The Consul, and for the University of Californie The Rehearsal, Richard II and The Country Wife.

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• Gordon Jules MICUNIS

Additional information: Born in Lynn, Massachusetts; studied at Tufts College and Yale University; has designed for New York City Opera, Opera Society of Washington, Baltimore Opera, Pittsburgh Civic Light Opere, American Shakespeare Festival, New Orleans Repertory Theatre, Guthrie Theatre, Atlanta Arts Alliance, Charles Playhouse, and the Continental Theatre Company; Off Broadway productions include Jo, The Good Soldier Schweik and Up Eden; was professor of design at C.W, Post College and lecturer at Oberlin College Music Conservatory; interior design consultant to George Nelson Company; recently designed interior and lighting for a new MacDonald's restaurant in New York and a production of Camelot for Brunswick Music Theatre; member United Scenic Artists Executive Board; teaches theatre arts, costume and scenic design at Bernard College.

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• Jo MIELZINER

Additional information: Born in Paris; trained in the fine arts in Europe and the United States; over the last 50 years has been associated with 300 productions; served apprenticeship with Lee Simonson and Robert Edmond Jones; his first major production was The Guardsman for the Theatre Guild /1924/; other productions designed are Winterset, The Glass Managerie, Death of a Salesman, Street Scene, Summer and Smoke, Guys and Lolls, A Streetcar Named Desire, The King and I, The Innocents, Gypsy and Can-Can; recent productions include The Prime of Miss Jean Brodie, 1776, Child's Play and Sugar; has designed, or served as collaborating designer or consultant on many new theatres including the Vivian Beaumont and Forum Theatres at Lincoln Center, Mark Taper Forum and the ANTA Washington Square Theatre; a pioneer in stage lighting, he was consultant to GBS-TV during early days of television; designed the setting and lighting for first meeting of United Nations in San Francisco in 1945; member Board of Directors, US Institute of Theatre Technology; chairman, American Theatre Planning Board; author of Designing for the Theatre /1965/ and Shapes of Our Theatre /1970/; won Tony Awards for design and lighting of Child's Play, Maharam Awards for 1776 and Child's Play; holds honorary degrees from Fordham University, University of Michigan, University of Utah, Otterbein College; received the Brandeis University Award /1963/, the New England Theatre Conferenee Award /1957/, The Academy Award for Color Art Lirection of the film Picnic /1955/; his designs have been exhibited in one-man shows at the Lincoln Center Library and Museum of the Performing Arts, Brandeis University, Amherst College, Virginia Museum of Fine Arts, Toneelinuseum in Amsterdam; recent work includes the designs to Miss Moffat and In Praise of Love.

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Exhibiting works

• : (Out Cry), Lyceum Theatre 1973
• : (1776), Forty-sixth Street Theatre 1969
• Jim NEWTON

Additional information: Born in Rockdale, Texas; studied University of Texas and Yale University; has designed for the New Haven Opera Society, Barter Theatre, Corning Summer Theatre, Northland Playhouse, Fresno University, Pacific Conservatory and for various companies in the Los Angeles area; has designed tours for Neil Diamond, Alice Cooper, Elton John and Gregg Allman; assistant art director on many television programs including The Smothers Brothers Comedy Hour, The Flip Watson Show and the Emmy Awards 1971; art director for over 300 TV commercials and programs including Barbra Streisand in Las Vegas; member United Scenic Artists, Local 875; for television recently designed High Rollers, Fred Astaire Salutes the Fox Musicals and Just for Laughs.

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• Donald OENSLAGER

Additional information: Born in Harrisburg, Pennsylvania; studied at Harvard University /graduated in 1923/ with George Pierce Baker in his 47 Workshops; recipient of Sachs Fine Arts Traveling Fellowship from Harvard, studied theatre design and production in Europe /1923-24/, taught at several universities, most prominently at Yale School of Drama where he was professor of scene design /1925-1970/; designed first professional production, the ballet Sooner or Later, for Neighborhood Playhouse /1925/; designed more than 250 New York productions including Jezabel, You Can't Take It With You, My Sister Eileen, Born Yesterday, Sabrina Fair, Janus, A Case of Libel, Good News, Anything Goes and l'd Rather Be Right; designs for opera include Tristan und Isolde /Philadelphia Orchestra Association/, Le Pauvre Matelor /Curtis Institute/, Salome, Othello and The Abduction from the Seraglio /Metropolitan Opera/, The Ballad of Baby Doe, A Masked Ball and Don Pasquale /Central City Opera Association/, The Ballad of Baby Doe, Tosca and Der Rosenkavalier /New York City Opera/, Orfeo ed Euridice /Vancouver International Festival/, and Don Carlos /Hemis Fair '68/; designed sets for Antigona at the American Shakespeare Festival; was consultant on design of several theatres including the Montreal Cultural Center, Philharmonie Hall and New York State Theatre at Lincoln Center, Spingold Theatre of Brandeis University, and the John P, Kennedy Center for the Performing Arts; edited Notes on Scene Painting /1952/, wrote Scenery, Then and Now /1936/, The Theatre of Bali /1941/, "Settings by Robert Edmond Jones" in The Theatre of Robert Edmond Jones /1958/, and the preface to the second edition of Drawings for the Theatre by Robert Edmond Jones /1970/; had more than ten one-man shows of his work; received honorary degrees from Colorado College and Hartwick College; received several State Department grants for travel to Latin America, Yugoslavia, Iceland, Ireland and Finland to lecture and consult on theatre; won Tony Award for set design A Majority of One /1958-59/; was member United Scenic Artists, Local 829; recent work included completion of his book, Stage Design - Four Centuries of Scenic Invention; died suddenly, June 1975.

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• Robert O'HEARN

Additional information: Born in Elkhart, Indiana; studied at Indiana University /graduated 1943/, and Art Students League /1943-1945/; among his Broadway productions are The Relapse, The Apple Car and Child of Fortune; designed ten productions for the Metropolitan Opera including L'Elisir d'Amore, Die Meistersinger, Aida, Samson et Dalila, Die Frau Ohne Schatten, Hänsel und Gretel and Parsifal; for the American Shakespeare Festival designed As You Like It, Macbeth, Troilus and Cressida; designed Kiss Me, Kate for the Los Angeles Civic Light Opera, La sylphide for American Ballet Theatre, Porgy and Bess for Vienna Volksoper, La Traviata for Santa Fe Opera, Tallis Fantasia for New York City Ballet, Falstaff and Gianni Schicchi for Central City Opera; member United Scenic Artists; recent work includes designs for Strasbourg Opera production of Carmen, Central City Opera production of A Midsummer Night's Dream and Metropolitan Opera production of Le Nozze di Figaro.

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• William PITKIN

Additional information: Studied at the Universities of Mexico, Texas and New Mexico, Southwestern University, Bard College, in Paris at Ecole Paul Colin and with Christian Bérard; Broadway productions include the Cave Dwellers, A Moon for the Misbegotten, The Potting Shed, Invitation to a March, Seidman and Son, The Beauty Part, The Chinese and Dr. Fish, Comedy; designed The Threepenny Opera, La Ronde, Dear Oscar Off Broadway; has designed for the American Shakespeare Festival, Theatre Guild American Repertory Theatre, Syracuse Stage Company, National Shakespeare Company /including the portable structural stage used for bus-and-truck touring/; designed The Glass Menagerie for State Department tour of Europe and South America, and Your Own Thing for Festival of Arts, Monaco, by invitation of Prince Rainier and Princess Grace /1973/; has designed for New York City Opera and Opera Society of Washington; designed settings and costumes for American Ballet Theatre's Coppélia, more than ten productions for City Center Joffrey Ballet, and Schubertiade for San Francisco Ballet; other productions include Born Yesterday for Rome Theatre Guild, Hunger and Thirst and Adaptation /Next for Berkshire Theatre Festival; recently has been preparing designs for a new Broadway musical and for San Francisco Mallet's Romeo and Juliet.

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• Lester POLAKOV

Additional information: Born in Chicago, Illinois; studied painting at George Grosz Studio and stagecraft at Columbia University; Broadway productions include The Member of the Wedding, Call Me Mister and Mrs. McThing; designed Purple Dust and The Empire Builders Off Broadway; for the Opera Company of Boston designed the Bartered Bride and the Beggar's Opera; designed Wuthering Heights, The Golem and II Trovatore for New York City Opera; designed Paris Production of The Skin of Our Teeth; has designed many films, industrial shows, expositions and for stock companies and educational theatre; director, Polakov Studio and Forum of Stage Design, New York City.

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• Thomas F. RASMUSSEN

Additional information: Studied at Yale University; during last 15 years has designed scenery and costumes for numerous stage productions and motion pictures; has designed many productions for the American Light Opera Company, Washington, D.C.; instructor and staff designer at American University and University of Connecticut; resident instructor of scenic design and production designer at University of Southern Californie for two years; assistant art director for Rowan and Martin's Laugh-In television program for three years, and for 1970 TV production of Academy Awards Presentations; as production designer at Theatre of the Stars, Atlanta, designed My Fair Lady, The Pajama Game, The Music Man and others; scenic designer for Under Papa's Picture Off Broadway; recently designed scenery for Juliet Prowse Show at the Desert Inn, Las Vegas.

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Exhibiting works

• : (The Waltz of the Toreadors), Univ. of Southern California 1972
• Jerry N. ROJO

Additional information: Born in Alton, Illinois; studied at Lake Forest College and Tulane University, where he graduated in 1960; instructor at University of Omaha /1960- 61/; associate professor, University of Connecticut, since 1961; specializes in scene design, architecture, consulting and directing for environmental theatres; designed the environments for Endgame, Manhattan Project/1973/, A Great Hoss Pistol for Section Ten /1973/ and Tooth of Crime /1972/, Commune /1971/, Macbeth /1970/, Dionysus in 69, all for the Performance Group; has designed more than 50 productions at the University of Connecticut where he also directed Our House, a Work in Progress and Baal Games; designed environmental theatres for Section Ten in New York City, University of Connecticut, Sarah Lawrence College, an open-space theatre for the College of White Plains, and the touring environmental stage for Phoenix Theatre; his studies in architectural design include a modular theatre system for the Brooklyn Academy of Music, an open-space theatre for The Space, a convertible environmental theatre for the Murray Louis Dance Company; he has served as architectural consultant for Cabaret Theatre at Westbath, New York City, and for the Theatre Department University of Delaware.

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• Wolfgang ROTH

Additional information: Born in Berlin, Germany; studied at the State Academy of Arts, Berlin; served apprenticeship in theatre design and painting and later designed at Erwin Piscator's theatre and with Bertolt Brecht designed at state theatres, opera houses and private theatres in Germany until 1933 when he worked as a stage designer and architect in Austria; in Zurich /1934/ created sets for vaudeville and variety shows, designed plays, operas, operettas, and also played part of a musical clown in vaudeville and circus; in London /1938/, designed Piscator's War and Peace; became US citizen in 1945; Broadway productions include Porgy and Bess, Twentieth Century, Yellow Jack, Bernardine, The Tower Beyond Tragedy; Off Broadway productions include Johnny Johnson, The Good Woman of Setzuan, The Typists and The Tiger, Brecht on Brecht; has designed for the American Repertory Theatre, ANTA Experimental Theatre, Margaret Webster Touring Shakespeare Company, Boston Repertory Theatre, Theatre of the Living Arts and Berkshire Theatre Festival; opera designs include Don Pasquale, Boris Godunov, and A Masked Ball /Metropolitan Opera/, The School for Wives, The Threepenny Opera and Danton's Death /New York City Opera/, and more than 20 opera productions throughout the world; creator, designer and producer of the Littlest Circus, a dance pantomime touring the US and Canada since 1957; master teacher of stage design, New York University; recently completed new production of The Threepenny Opera for Residenz Theater in Munich; currently working on several new productions in German Federal Republic and writing his autobiography; his work in US theatre was exhibited by Academy of Arts, West Berlin, in a tour of Western Europe /1974-75/.

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• Beeb SALZER

Additional information: Born in Cincinnati, Ohio; studied at Yale College, and Yale School of Drama; has designed over 25 operas for the Baltimore Opera, Wolf Trap Foundation, Manhattan School of Music, Friends of French Opera; assisted George Jenkins on several Broadway productions, on films, on productions for Jones Beach Marine Theatre and World's Fair pavillons; designed lighting for Promenade concerts Lincoln Center /1964/; designed Take Three Off Broadway, and productions for Cincinnati Summer Playhouse, Barnard-Columbia Summer Theatre, Drew University, Open Space Theatre Company, Teatro de Ensayo, Chile; taught design at Long Island University, University of Panama, Queens College; currently teaches at Lehman College of the City University of New York and designed Twelfth Night for Open Space Theatre.

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• Douglas W. SCHMIDT

Additional information: Born in Cincinnati, Ohio; studied at Boston University under Raymond Covey and Horace Armistead; has designed over 100 productions for Broadway, regional theatres, stock companies, opera and ballet throughout the country; his designs have been mounted at the Guthrie Theatre, Arena Stage, Juilliard School, American Shakespeare Festival and New York Shakespeare Festival; has been principal designer for Cincinnati Playhouse in the Park, the Music Theatre Project at Tanglewood, the Repertory Theatre of Lincoln Center, and currently for the City Center Acting Company; designed Broadway productions of The Country Girl, A Streetcar Named Desire /revival/, Grease and Over Here!; won Maharam Award in scene design for Lincoln Center Repertory's Enemies /1973/, a production which he also designed for NET-TV; recently designed new productions for Broadway, New York City Opera and City Center Acting Company.

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Exhibiting works

• : (The Good Woman of Setzuan), Vivian Beaumont Theatre 1970

Additional information: Born in Lakeview, Oregon; studied at San Francisco State, McKnight Fellow, University of Minnesota; designed costumes for A Light Fantastic, City Center Joffrey Ballet /1963/, for Idomeneo, Caramoor Opera Festival, Katonah, New York /1970/; for Saint Joan of the Stockyards /1971/ and Gloria and Esperanza /1973/ Annenberg Center, Philadelphia; designed Welcome to Andromeda and Variety Obit Off Broadway; designed Horatio for the Repertory Theatre of Loretto-Hilton Center, St. Louis /1971/ and for Arena Stage /1974/.

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• Oliver SMITH

Additional information: Born in Waupawn, Wisconsin; studied at Pennsylvanla State University; codirector of American Ballet Theatre since 1946; on Broadway designed and co-produced On the Town, Billion Dollar Baby, Gentlemen Prefer Blonds, No Exit, In the Summer House, Indians; ballet designs include Rodeo, Fancy Free, Interplay, Fall River Legend, Les Noces, Swan Lake, Giselle; Broadway designs include Brigadoon, High Button Shoes, Paint Your Wagon, My Fair Lady, The Sound of Music, West Side Story, Hello, Dolly!, Auntie Mame, Becket, The Night of the Iguana, A Taste of Honey, Barefoot in the Park, Dylan; for the Metropolitan Opera designed La Traviata and Martha; designed Don Giovanni and Die Fledermaus for the San Francisco Opera, and for the Opera Company of Boston, Falstaff, Carmen and the American premiere of Moses and Aaron; designed the Bernstein Masa for the opening of the Kennedy Center in Washington, D.C.; member of Kennedy Center Bicentennial Planning Committee; currently master teacher of scene design at New York University.

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• Anthony J. STRAIGES

Additional information: Born in Minersville, Pennsylvania; studied at Brooklyn College and Yale University; designed sets and costumes for American Puppet Theatre, Washington, D.C.; for the San Francisco Summer Opera designed sets for La Boheme, Rigoletto and Man on the Moon; at Brooklyn College designed sets for Exit the King, Oh Lad, Poor Dad, Ariadne auf Naxos, and costumes for The Lower Depths and How Music Came to Earth; designed sets for Yale Drama School production of Women Beware Women; for Yale Repertory Theatre designed sets for The Rise and Fall of the City of Mahagonny and costumes for Schlemiel the First; recently designed sets for Yvonna, Princess of Burgundia at Adelphi University.

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Exhibiting works

• : (The Rise and Fall of the City of Mahagonny), Yale Repertory Theatre 1974
• Sherrie SUCHER

Additional information: Born in Jerusalem, Israel; studied at Cooper Union, Parsons School of Design, New York University and the Polakov Studio and Forum of Stage Design; member of United Scenic Artists, Local 829; has designed productions at La Mama and costumes for the films Lucky Luciano, My Brother and Godspell; won Young New York Film Critics Award as best costume designer /1973/ for Godspell; has designed for television and industry; free-lance stylist for several production companies and advertizing agencies since 1968; buyer of fashions for New York boutique.

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Exhibiting works

• : (Ah, Wilderness! (non realized)), 1969
• Robert U. TAYLOR

Additional information: Born in Lexington, Virginie; studied at the University of Pennsylvanie, Pennsylvanie Academy of Fine Arts and Yale University; has designed numerous university and regional theatre productions for Loeb Drama Center at Harvard, Cincinnati Playhouse in the Park, John Drew Theatre, Goodman Theatre, Arena Stage and McCarter Theatre; designed The Bacchae and We Bombed in New Haven for Yale Repertory Theatre; has designed both Broadway and Off Broadway productions including Touch, Unlikely Heros, Lady Day, Sisters of Mercy, Fashion and Raisin; won the Maharam and Drama Desk Awards for his designs for Chelsea Theatre Center's The Beggar's Opera; has worked as a musician, painter, interior designer and architectural consultant for several new theatres; recently designed productions for the McCarter Theatre and Arena Stage.

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Exhibiting works

• : (The Beggar's Opera), Chelsea Theatre Center 1972
• : (Raisin), Forty-sixth Street Theatre 1973
• Rouben TR-ARUTUNIAN

Additional information: Born in Tbilisi, USSR; studied art, art history, theatre, music, philosophy in Berlin,Vienna and Paris; came to the United States in 1951; member United Scenic Artists, Local 829; has designed scenery and costumes for innumerable theatre, opera and ballet/dance productions throughout the United States and Europe; among his theatre designs are New Girl in Town, Redhead, Arturo Ui, The Milk Train Doesn't Stop Here Anymore, Exit the King for Broadway, and Eh! and The Party on Greenwich Avenue Off Broadway; for the American Shakespeare Festival designed scenery and costumes for King John, Measure for measure, Othello, Much Ado About Nothing; designs for opera include Bluebeard's Castle, Hansel and Gretel and others /New York City Opera/, Péléas and Mélisande /Spoleto Festival/, and Madame Butterfly, The Bassarids and The Devils of Loudun /Santa Fe Opera/; has designed dance productions for New York City Ballet /The Seven Deadly Sins, Swan Lake, Ballet Imperial, The Nutcracker, Dybbuk Variations and others/, for Harkness Ballet /Firebird, After Eden, A Season in Hell/, for Ballet Rambert /Ricercare, Pierrot Lunaire/, and for the Joffrey Ballet, San Francisco Ballet, Glen Tetley Company, American Ballet Theatre, Pennsylvania Ballet, Alvin Ailey Dance Company, Royal Ballet, Royal Swedish Ballet, Royal Danish Ballet and others; designed NBC-TV opera productions in 1950's including The Abduction from the Seraglio, The Magic Flute and Maria Golovin, and many other television productions; winner of Emmy Award, best art direction, NBC-TV-Hallmark production of Twelfth Night; winner Tony Award, best costume design, Hedhead; winner of Outer Critics Circle Award, best scenic design, Who Was That Lady I Saw You With?; his designs have been exhibited in one-man shows in New York City and Santa Fe; recent work includes design of scenery and costumes for Anatol /Akademietheater, Vienna/, The Relativity of Icarus /City Center Joffrey Ballet/ and Coppélia /New York City Ballet/.

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Exhibiting works

• : (All Over), Martin Beck Theatre 1971
• John Warren TRAVIS

Additional information: Born in Texas; studied át the University of Texas and Stanford University; designed costumes for Off Broadway productions including This Property Is Condemned and Another Part of the Forest; designed The Milk Train Doesn't Stop Here Anymore for Actor's Workshop, San Francisco; for California Shakespeare Festival designed costumes for Hamlet, The Comedy of Errors, A Midsummer Night's Dream and others; designed sets and costumes for Stanford Repertory Theatre productions of The Chairs, The Marriage Proposal, Cocka-Doodle Dandy; designed costumes for King Lear ar San Francisco's Palace of Fine Arts and First Time Out for San Francisco Ballet; for Berkeley Repertory Theatre designed sets and costumes for Scapin, The Alchemist, Love's Labour's Lost, Heartbreak House; designed costumes for The Blacks, The Dream Play, Cyrano de Bergerac, Narrow Road to the Deep North, Henry IV, Giraudoux's Electra, and sets and costumes for Danton's Death and The Bacchae at the Zellerbach Playhouse, University of California; assistant professor in costume design, University of California, Berkeley; recently designed sets and costumes for Menotti's The Consul at the new Frank Lloyd Wright Theatre in Marin County, California.

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• José VARONA

Additional information: Born in Mendoza, Argentina; designed sets and costumes for opera, ballet, theatre, TV and films in Buenos Aires; for the Teatro Colon, Buenos Aires, designed sets and costumes for The Rake's Progress, II Trovatore, Macbeth, Un Ballo in Maschera, among others; since his arrival in New York /early '60's/, he has designed for the New York Shakespeare Festival Mobile Theatre, New York City Opera, American Opera Center, Washington Opera Society, Kennedy Center, Baltimore Opera, Caramoor Festival, Pennsylvania Ballet, American Shakespeare Festival and San Francisco Opera; designed costumes for more than ten New York City Opera productions including Julius Caesar, Der Rosenkavalier, Faust, Roberto Devereux, Maria Stuarda, The Tales of Hoffmann, and sets and costumes for Carmen; designed sets and costumes for Lucrezia Borgia, Vancouver Opera, and Australian Opera Company's Tales of Hoffmann; in Europe has designed for the Hamburgische Staatsoper, Deutsche Oper Berlin, Paris Opera and the Holland Festival; recent work includes set and costume designs for full-length ballet The Sleeping Beauty at Paris Opera and set and costume designs for Gluck's Orfeo, Holland Festival /1975/.

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• Tony Walton

* 1934, Walton-on-Thames, Surrey (Great Britain)
Specialization: set designer
Additional information: He exhibited at the PQ in 1975 and in 1987 (Golden Triga for american exhibition) and in 1995.

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• Elmon WEBB

Additional information: Mr. Webb - born in Shreveport, Louisiana; studied at Tulane University. Ms. Dancy - born in New York City (common exhibit); studied at Vassar College and Yale University. Both have designed and painted scenery for summer and winter stock and for opera productions; responsible for complete scenic production of Borodin's Prince Igor, Cincinnati Conservatory / New York City Opera; designed several productions in New York including 1971 revival Long Day's Journey Into Night; during last seven seasons they have designed eight American premieres at the Long Wharf Theatre, including Yegor Bulichov, A Whistle in the Dark, The Contractor, Forget-Me-Not Lane, The National Health; designed Forget-Me-Not Lane for Mark Taper Forum /1974/; art directors for film Cold Sweat; Ms. Dancy has taught and designed at Vassar College and Marymount College; Mr. Webb has been a designer / consultant for NBC-TV News and Paramount Pictures television productions; they have both worked as production designers for CBS-TV.

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• Virginia DANCY

Additional information: Mr. Webb - born in Shreveport, Louisiana; studied at Tulane University. Ms. Dancy - born in New York City (common exhibit); studied at Vassar College and Yale University. Both have designed and painted scenery for summer and winter stock and for opera productions; responsible for complete scenic production of Borodin's Prince Igor, Cincinnati Conservatory / New York City Opera; designed several productions in New York including 1971 revival Long Day's Journey Into Night; during last seven seasons they have designed eight American premieres at the Long Wharf Theatre, including Yegor Bulichov, A Whistle in the Dark, The Contractor, Forget-Me-Not Lane, The National Health; designed Forget-Me-Not Lane for Mark Taper Forum /1974/; art directors for film Cold Sweat; Ms. Dancy has taught and designed at Vassar College and Marymount College; Mr. Webb has been a designer / consultant for NBC-TV News and Paramount Pictures television productions; they have both worked as production designers for CBS-TV.

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• Ed WITTSTEIN

Additional information: Born in Mount Vernon, New York; studied at New York University, Parsons School of Design, Cooper Union and Piscator's Dramatic Workshop, New York; Off Broadway productions include The Fantasticks, Serjeant Musgrave's Dance, The Knack, The Last Sweet Days of Isaac, Happy Birthday, Wanda June, A Scent of Flowers and several Pinter plays; designed Kean, The Yearling, Enter Laughing, You Know I Can't Hear You When the Water's Running, Ulysses in Nighttown and others on Broadway; has designed several productions for the American Shakespeare Festival including Falstaff, As You Like It, Richard II and Much Ado About Nothing; designed The Marriage of Figaro for New York City Opera; designed La Bohéme, Cosi fan tutte, Cavalleria Rusticana for NBC-TV Opera and A Memory of Two Mondays, A Touch of the Poet, Home and other plays for NET-TV; production designer on several films; won Obie Award for Serjeant Musgrave's Dance and Tony nomination for Ulysses in Nighttown; has recently been concentrating on his paintings and drawings for exhibition in New York.

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• Robert YODICE

Additional information: Born in New York City; studied painting with Robert Rabinowitz; assisted designers Ming Cho Lee and Wolfgang Roth /1969-70/; assistant professor and resicent designer, University of California /1971-72/; has designed for the Joffrey Ballet, City Center Acting Company, New York Shakespeare Festival; as staff designer for the Juilliard School, designed Ariadne auf Naxos, The Glass Menagerie, Bloch's Macbeth; recent work includes set and costume designs for New York Shakespeare Festival Public Theatre production of Where Do We Go From Here?, and designs for Juilliard School opera productions of Tosca and Barber's Antony and Cleopatra.

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• Patricia ZIPPRODT

Additional information: Born in Evanston, Illinois; studied at Wellesley College and Fashion Institute of Technology; has designed costumes for numerous Broadway musicals and plays including She Loves Me, The Rope Dancers, Fiddler on the Roof, Cabaret, A Visit to a Small Planet, The Little Foxes, Scratch, Zorba, 1776 and Pippin; Off Broadway productions include The Balcony, The Blacks, The Crucible and Oh Lad, Poor Dad; for the Opera Company of Boston designed costumes for La Bohéme, Madame Butterfly and others; has designed for the New York City Opera and the Guthrie Theatre; designed costumes for Jerome Robbins' ballets Les Noces, Watermill, Dumbarton Oaks and Dybbuk Variations; film work includes costume designs for The Graduate, 1776 and The Glass Menagerie; recent productions designed are Mack and Mabel and Chicago.

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Exhibiting works

• : (Pippin), Imperial Theatre 1972
• : (Waiting for Godot), Guthrie Theatre 1973