1979 » Great Britain » Stage and costume design

VELKÁ BRITÁNIE

This year Great Britain is presenting the work of 18 designers - designers who are of all age groups and work in many theatres, large and small, throughout the country. The exhibits which you see here were selected from a larger exhibition of Contemporary Theatre Design which was held in London earlier this year. The purpose of this selection was not to present an anthology of the various styles and techniques used in the British Theatre, but rather to focus on the most clearly defined tendency of our current work, a tendency both in the design of settings and costume, towards a clarity of vision, a creative economy and a cutting back of inessentials. Comment is inherent rather than explicit. The actor takes the centre of our stage - his presence is necessary to complete the design. We try to bring you work which is at once serious and beautiful - work from new drama in our country and work from the classics of world theatre. We hope that through our work you will understand more about our theatre. British designers greet their colleagues in Prague at the PQ 79. We are happy to be here - thank you!

Exhibiting artists / ateliers

• William Dudley

Additional information: Trained at St. Martin's School of Art and the Slade School of Fine Art. His first production was designs for Hamlet at Nottingham Playhouse in 1970. He has been especially associated with the Royal Court Theatre, designing there Man is Man, Rooted, and Magnificence. He has worked closely with the director Peter Gill, for whom he designed The Duchess of Malfi, The Merry-Go- -Round, The Fool and Small Change /all at the Royal Court/, Twelfth Night for the R.S.C., As You Like It at Nottingham Playhouse and The Cherry Orchard at Riverside Studios. At the Na - tional Theatre he designed Adrian Mitchell's Tyger in association with Jocelyn Herbert, and The Good Natured Man. He has recently worked on a series of plays for the National Theatre's Cottesloe Theatre, including Lark Rise, The Passion, Has Washington Legs, The World Turned Upside Down. He has worked in Berlin, New York, and is currently working on The Ring of the Nibelungen for the Sydney Opera House, and a production of The Undiscovered Country for the Olivier Theatre.

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• Alison Chitty

London
Additional information: Information from catalogue 1979: Trained at St. Martin's College of Art and the Central School of Art and Design. In 1970 she went as Arts Council Assitent Designer to the Victoria Theatre, Stoke-on-Trent, where she has been working ever since, first as Associate Designer and since 1974 as Head of Design. She has been responsible for over thirty productions which range from classics such as The White Devil to new plays like Kelly's Winder and documentaries like The Fight for Shelton Bar, which was subsequently broadcast on BBC television in 1974. She has also designed The York Mystery Plays for the York Festival in 1973 and Old King Cole for the Theatre Royal, Stratford East. She has recently designed King Lear for the Victoria Theatre, and a reconstruction of a Victorian pottery factory for the Gladstone Pottery Museum. Information from catalogue 1999: Born in 1948 in London. Scenographer. She graduated from Central School of Art and Design in London, currently teaches at Motley Theatre Design Course in London. She collaborates with theatres in Berlin, Glyndebourne, Munich, Santa Fe and Geneva with the director Francesca Zambello. She has received the following prizes: 1984 - British Drama Award, 1995 and 1996 - Olivier Award, 1996 - Meilleure Spectacles Critique Award, 1997 - Palme ďOr. She exhibited at the PQ 1979 and 1987.

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• Ralph Koltai

* 1924, Hungary
Specialization: set designer, costume designer
Additional information: He graduated from Central School of Art and Design in London, works as freelance set designer He has designed some 200 productions of opera, drama, dance and musicals around the world. This includes 30 productions as Associate Designer for the Royal Shakespeare Company; also for the National Theatre, London's West End and Broadway. Opera and dance includes productions for Royal Opera, Royal Ballet, English National Opera, Orange, St Petersburg and Venice. He was Head of the Theatre Design Department, Central School of Art and Design (1965-72) and teached at Central Saint Matins College of Art and Design, London too. At the PQ 1975 he participated in the exposition awarded the Gold Medal for stage design (collective) and at the PQ 1979 in the exposition awarded the Golden Triga — the main prize. At the PO 1999, we could see the Ralph Koltai Retrospective in Prague. PQ 1975 - Gold Medal ( Groat Britain) PQ 1979 - Golden Tiiga ( Great Britain) PQ 1987 - Silver Medal for stage design 1991 - Golden Triga (Great Britain) 1967, 1981 Drama Critics Award 1984 - Elected to The Royal Society of Arts 1993 - Distinguished Service to the Theatre, USITT Society of West End Thoatro: Designer of the Year 1978 and 1984

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• David Hare








• John BURY

Additional information: Born in Aberystwyth in 1925, John Bury was educated at Hereford Cathedral School and University College, London, where he read chemistry. He joined the Royal Navy 1942-1946. Joined Joan Littlewooď s Theatre Workshop Company, touring then at Stratford, East London until 1962. Responsible there for designing A Taste of Honey, The Quare Fellow, Oh What a Lovely War ! In 1962 he joined Peter Hall at Royal Shakespeare Theatre, and was Head of Design at Stratford from 1962-1968. Responsible there for The Wars of the Roses, The Quatrocentennial History Cycle, Hamlet with David Warner, and the Scofield Macbeth. Since 1973 Head of Design at National Theatre, London; designs three or four productions there a year; most recently: Volpone, Strife, Betrayal, Fruits of Enlightenment. Is Chairman of the Society of British Theatre Designers, and British Delegate to the OISTT. In 1975 he won Gold Medal for best individual stage design to - gether with others at the PQ 75. Has designed all over the world - Japan, USA, Canada, etc.

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• Maria BJORNSON

Additional information: Trained at Central School of Art and Design; then spent one and half years at the Citizen's Theatre, Glasgow, where she did much to help create that company's particular visual style with productions such as Titus Andronicus and Danton's Death. She has worked extensively with Scottish Opera and the Welsh National Opera. Her work in London includes In the Jungle of Cities at The Place, Hedda Gabler at the Duke of York's, The Way of the World for the R.S.C. Aldwych, Toussaint L' Ouverture at the Coliseum. Her work abroad includes Jenufa in Houston, The Gambler in Amsterdam, Die Meistersinger at the Wexford Festival. Most recently she has designed the costumes for Vieux Carre at the Piccadilly Theatre and The Makropoulos File for the Welsh National Opera.

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• Pippy BRADSHAW

Additional information: Trained at the Central School of Art and Design, London. She worked as assistant to John Napier on Richard III at the R.S.C. and to John Gunter on The White Devil at the Old Vic and Stevie at the Vaudeville Theatre. She has worked extensively at Nottingham Playhouse, designing costumes for Trumpets and Drums, Hobson's Choice, The Cherry Orchard, Touched. She has also worked at Oxford Playhouse, where she designed costumes for a musical version of All' s Well That Ends Well. In London her work includes sets and costumes for England Expects for Belt and Brace Company and The Bear at the Royal Court Theatre. Her most recent work has been the sets, costumes and lighting for Charles Wooďs Cockade for CV1 Theatre Company and The Shepherď s Play for the Royal Shakespeare Company at The Other Place.

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• Jennifer CAREY

Additional information: Trained as a painter at the Slade School of Art, London, and started work in the theatre in 1972; puppets and masks are her main interest. She has run workshops at the Royal Court The - atre and the Central School of Art, and contributed designs to The Tempest at the National Theatre, and Doctor Faustus at the R. S. C. She designed Bow Down at the Cottesloe Theatre, Britten's Curlew River for the Cambridge Festival and Tom Paine for the Young People's Theatre Scheme and Playpen for the Theatre Upstairs. She has also designed several children´ s plays, and has recently been working with Ariane Gastambide on a series of projects which include Ravel' s L´Enfant et les Sortileges in Rotterdam. She teaches painting and drawing at Kingston Poly - technic.

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• Deirdre CLANCY

Additional information: From 1963 to 1970 Deirdre Clancy was guest designer at the Royal Court Theatre, and among productions she designed there were the plays of Edward Bond, and the D. H. Lawrence triology. She has also designed costumes for a wide range of productions in major theatres throughout the U. K., Europe and North America, including Broadway. For the National Theatre she has designed the costumes for Spring Awakening, Grand Manoeuvres, The Playboy of the Western World, Watch it Come Down, II Campiello, Volpone, The Madras House, The Plough and the Stars, Plenty. She designed a production of II Seraglio for Kent Opera, and the costurmes for the films The Virgin and the Gypsy, and The Girl from Petrovka. 1 Ben

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• Liz DA COSTA

Additional information: Trained at the Central School of Art and Design, where she gra- duated in 1977. She was awarded an Arts Council of Great Britain Trainee Designer's bursary, and spent a season working at the Royal Exchange Theatre, Manchester, where she designed Last Resort by Peter Flannery. In London she designed the set for Peter Gill' s Riverside production of the Changeling and has recently finished work on Solo Ride, choreographed by Micha Bergese for London Contemporary Dance Theatre.

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• Robin DON

Scotland
Additional information: Born in Fife, Scotland. As a stage designer he has worked for many theatres in Britain and abroad. At the PQ in 1979 his work was included in the exposition which received the main award — The Golden Triga.

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• Christopher DYER

Additional information: Stage designer. He has been collaborating with the Royal Shakespeare Theatre. He participated in the PQ in 1979, where the Great Britain won the main prize — Golden Triga.

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• Sally GARDNER

Additional information: Trained at the Central School of Art and Design, and then went as Arts Council Assistant Designer to the University Theatre, Newcastle, where she designed Woyzeck and the costumes for Scribes, as well as a number of shows for the Stagecoach Touring Company including costumes for Close the Coalhouse Door. She has also worked at Derby Playhouse where her designs include Ghosts and The Glass Managerie. In London she has designed The Good Woman of Setzuan at the Royal Court Theatre. Franz into April at the ICA Theatre, and The Lady's Not for Burning at the Old Vic. Recent work includes Frozen Assets by Barrie Keeffe for the R. S. C., Warehouse, Party Blues for MAAS Movers at Riverside Studios. She is currently working as assistant to John Gunter on Peter Grimes in Buenos Aires, and designing The Devil' s Disciple for the Chichester Festival Theatre.

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• Hayden GRIFFIN

Additional information: Trained at the Hayden Sadlers Wells Design School under Margaret Harris. He designed his first production, Shaw' s Caesar and Cleopatra at the Belgrade Theatre, Coventry in 1967, and has subsequently worked in regional theatres at Nottingham, Edinburgh and Exeter, where he was Head of Design 1970-1972. Work in London includes Trixie and Baba, Narrow Road to the Deep North, Runaway and Bingo / all for the Royal Court Theatre /, Duck Song, and Comarades for the R. S. C. and Lenny at the Criterion Theatre. For the National Theatre he has designed Watch It Come Down, Weapons of Happiness, Plenty, The Madras House, The Woman, A Fair Quarrel. He has also worked abroad in New York, Vienna and Aarhus. He is an Associate Lecturer at the E. N. 0. Design School at the Coliseum, and is currently designing Cosi fan Tutte for the Metropolitan Opera, New York.

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• Peter HARTWELL

Additional information: Studied under Margaret Harris at the Sadlers Wells Design School. While still a student he designed Roots for the Young Vic. He then spent a year at the Half Moon Theatre, and has worked as assistant to Hayden Griffin on The Madras House at the National Theatre, and to Jocelyn Herbert on Lulu for the Metropolitan Opera, New York. Other work in London includes Hatchet at the Half Moon Theatre, A Bit of Rough and Epsom Downs. He has recently designed The Glad Hand by Snoo Wilson and Wheelchair Willie, both at the Royal Court, and the Ragged Trousered Philan - tropist for the Joint Stock at the Riverside Studios. He is currently working on the new Joint Stock production of Cloud Nina by Caryl Churchill, opening at the Royal Court.

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• Mary MOORE

Additional information: Born 1945 in Great Britain. Stage designer, has recently worked for the Sydney Theatre Company, the State Theatre Company of South Australia and the Red Shed Company in Adelaide. Teaches at the Central School of Arts and Crafts in London. Participated in the Prague Quadrennial 1979 in the British exhibition that was awarded the main prize - the Gold Triga.

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• John Napier

Specialization: set designer
Additional information: John Napier is an Associate Designer of the Royal Shakespeare Company, and his designs for them include King John, Richard II, Cymbeline, Macbeth, Hedda Gabler, Richard III. He co-designed the permanent staging at the Aldwych Theatre, 1976/77, and during this period designed Much Ado About Nothing, King Lear, Comedy of Errors, Macbeth, Midsummer Night's Dream, and As You Like It. He also designed Terry Hanď s production of Twelfth Night at the Comedie Francaise, The Ruling Class /Nottingham and London/, Fortune and Men's Eyes /London/, Early Morning /in Germany/ ; Cancer, Bonď s Lear, Big Wolf for the Royal Court Theatre, Julius Caesar at the Young Vic, Macbeth for Birming- ham, Equus for the National Theatre, Doctor Who, The Devils of Loudon; Richard II in Vienna.

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• Timothy
  Tazeena O´BRIEN
  FIRTH

Additional information: Timothy O' Brien and Tazeena Firth have been working together since 1961. Their work in London before 1966 includes first productions of plays by Joe Orton, James Saunders and David Halli- well. Between 1966/74 most of their work was for the Royal Shakespeare Company, for whom they designed 25 productions,in- cluding All's Well That Ends Well, The Merry Wives of Windsor, Troilus and Cressida, Pericles, Richard II, and a series of plays by Gorki directed by David Jones - Enemies, Lower Depths, Summerfolk and The Zykovs. Other work in London includes John Gabriel Borkman, The Porce of Habit and Tales frora the Vienna Woods for the National Theatre; The Bassarids for the English National Opera. They ha ve worked extensively abroad. Evita is their most recent work in London, and they are currently de - signing a new production of The Rake' s Progress for the Royal Opera House. They were joint winners of the Individual Gold Medal for Stage Design at PQ 75.

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• David SHORT

Additional information: He cooperates with various British theatres. At the PQ in 1979 his work was in the British exposition awarded the main prize — the Gold Triga.

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• Abdelkader FARRAH