STAGE DESIGN Much Inventive Fantasy Among Some Rewarding Stage Pictures DAVID FINGLETON

STAGE DESIGN Much inventive fantasy among some rewarding stage pictures DAVID FINGLETON Far and away the most exciting theatrical ation marks a most satisfying blend of were the false gas footlights . Unfortunately event in the latter part of 1983 was the re modem technology and traditional theatri Deirdre Clancy 's stridently-coloured, shiny opening of the splendidly restored Old Vic. cal taste, and Mr Mirvish deserves our costumes, all too obviously made from Thanks to the benevolent enthusiasm of its profound gratitude for the wholly admirable artificial fabrics , were more redolent of a Canadian purchaser, Ed Mirvish, and to way in which his £2 million pounds have Palladium show or television spectacular skill and flair of architects, The Renton been spent. than a traditional pantomime and, along Howard Wood Levin Partnership, and The Old Vic's opening venture, the feebly with the blank concrete facelessness of the interior designer Clare Ferraby, the plotted and anaemically composed musical theatre itself, did much to diminish any 165-year-old Vic has fully regained its Blonde!, by Tim Rice and Stephen Oliver, authenticity of atmosphere. former glory and must now rank as one of was hardly worthy of the occasion; but it Director Sir Peter Hall and designer John the most attractive theatres in London. The was at least handsomely staged in Tim Bury faced a somewhat different problem in architects have taken the Old Vic's facade as Goodchild's colourful, modem-medieval staging Jean Seberg at the National 's closely as possible back to its 1818 original, designs, strikingly lit by Andrew Bridge. Olivier Theatre. For this musical by with pillared portico, but for the auditorium Goodchild' s basic setting of lightweight Christopher Adler, Julian Barry and Marvin the design team have used plans from the galleries and staircases sat very comfortably Harnlisch had originally been written for 1880's as the basis of their inspiration. Thus on the Vic's enlarged stage and permitted Broadway and, as such, clearly cried out for there is once more a proscenium arch and almost instantaneous scene changes which a large traditional theatre, such as Drury twinned stage boxes, which provide a the helped give the show some much-needed Lane or The Palace, if the appropriate atrical atmosphere very different from the pace. I now look forward to seeing David punch and bazazz were to be delivered. The thrust stage and lowering, battleship grey Pownall's intriguing play Master Class , and Olivier, on the other hand, with its vast open walls of the old National Theatre. To en to enjoying some real theatre in this highly stage, Greek amphitheatre fan, and lack of hance the effect the ceiling dome, with theatrical atmosphere. an orchestra pit can all too easily dissipate gorgeous crystal chandelier, has been re Both of the new shows at the National detail and thus theatrical impact. As Richard instated, and there is a beautiful new house Theatre at Christmas time demonstrated the Eyre and John Gunter demonstrated with curtain, embroidered with glittering inherent difficulties in staging plays effec Guys and Dolls, musicals can be success 'diamonds', as well as charming tasselled tively in either of the two main South Bank fully staged there, but Gunter actually pelmets suspended from the galleries and auditoria. Both director Bill Bryden and created an authentically detailed New York boxes. The auditorium has been comfort designer William Dudley had done all they sidewalk on stage to do so. John Bury in ably reseated, offering admirable legroom could to impart a truly Victorian atmosphere Jean Seberg relied instead on stylisation and and sight-lines in the stalls, and most care to their traditionalist staging of Cinderella offered a large grey gauze triptych which fully redecorated so as to remain wholly in in the Lyttelton. A traditional 'French' had to serve initially, and with some period. painted curtain had been hung, and the success, as a Parisian street, then, The architects have also tackled the front cavernous stage opening had been masked altogether less happily, for Marshalltown, of house, again with marked success. The by a very pretty false proscenium and stage Iowa, a film studio, and even the French cramped rat-trap foyer and rabbit warren of boxes, all of which helped give the Lyttelton Riviera. The orchestra was perched, semi stairs and corridors leading to awkward, a far greater sense of intimacy and atmos visibly, behind the two outer screens with claustrophobic bars have all disappeared. phere than is customary. Moreover consequent distraction and dissipation of There is now a spacious, elegantly ap Dudley's succession of beautifully drawn atmosphere. Worst of all, and for no pointed foyer, backed by a broad, open and painted flats and gauzes were certainly apparent reason, the company from time to staircase which leads to spacious, unclut evocative of the magic of pantomime, as time donned half-masks, Oresteia-style, tered bars at each level. The entire restor- Opening night with Blonde( a musical by Tim Rice and Stephen Oliver. Set designs Tim Goodchild. Photo Michael Le Poer Tren ch The Old Vic restored to its former glory. Photo Christine Quick 20 .

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