•NEWS • INFORMATION 'f' NEUGKEITEN BOOKSHELF British Theatre Design - The Modern Age Edited by John Goodwin. Fore­ shows the quality of choice and always refreshing and stimulat­ word by Sir Pete1· Hall. Wei­ presentation that can be ing to observe, but Peter dendfeld and Nicholson, London achieved in a volume prepared Mumford's work is also well •B1· itish Thecitre Desig11 1989. with care. depicted here. Interestingly the - The Modem Age, John Higgins, opera critic, chapter on dance moves away edited by John Goodwin, is a lavishly provides the essay for the next from many of the conventional It has taken nearly three years illustrated collection of to compile this volume, the section, which looks at the theatre spaces that are the work of 130 British first-ever exhaustive overview lavish designs that have been represented in the preceding designers, illuminated of British theatre design. And enjoyed by British opera. Tim chapters, but designer Pamela by informative com­ mentary. (below, the British Theatre Design turns O'Brien, who contributes the Howard's essay deals specifi­ design of Paul Brown out to be a thorough and final essay of the book, and cally with 'found spaces.' for the 1987 tour of Tazeena Firth provide solid John Goodwin's enormous unique reference work looking F(l/sf(ljf. "[Director} at the work of almost all those designs which are representa­ achievement in producing an Graham Vick wanted a set designers whose work is tive of the scale and detail of accurate cross-section of F(l/staff of Benny Hill seen in professional theatres scenography for British opera theatre design in the 80s is proportions,"" he says in around the British Isles. John productions with designs for astonishing and the book his commentary. "Costumes proclaimed Goodwin has compiled an Turandot, A Midsmnmer provides an excellent reference the vanities and Night's Dream and the book for designers and non­ excellent collection of essays to vulgarities of the accompany what is essentially celebrated Peter G1·irnes at the designers alike. Whilst the bourgeoisie.") Britain's stage design portfolio. Royal Opera House, but Maria essays may be said to provide a Enormous care has been Bjornson's enormous contribu­ frame for the pictures, it is in taken in the layout and quality tion to theatre design shines the latter that the book's value of the book's presentation, but forth in pictures of From the lies since the quality and its main strength lies in the House of the Dead - stun­ substance of the material is far excellent colour and black and ningly lit by Chris Ellis - and in excess of previous surveys of white photographs which The Valkyrie. Stephanos the subject. show settings rather than Lazaridis' work is also very im­ close-ups of the action. pressive in this DAVID I. TAYLOR One hundred and thirty de­ section. signers are included in the Trevor Nunn, book which is broken into the father of "the eight sections, beginning with designer musical," essays by commentators such rigorously defends as Sir Roy Strong and Trevor the importance of Nunn, each of which refers to design in the British many of the productions illus­ Musical Theatre. trated later in that section. Sir Here John Napier Roy Strong sets the scene with has cornered much a short discussion of the post­ of the market, with War years of British theatre Cats, Les Miser­ design, with critic Michael ables, Time and Ratcliffe continuing on plays. Starlight Express Here, amongst other great providing colourful productions of the 80s, we are spreads along with treated to Alison Chitty's fascinating costume stunning design for Martine at sketches. the National Theatre, John Design for Dance Napier's clever setting for shows a lot more Nicholas Nickleby and Bill work by British Dudley's colourful designs for lighting designers, Futurists and Bartholomew although only sec­ Fafr at the National. Perhaps ondary credits are the most beautiful picture in included here with the book is Anthony Ward's much more empha­ own photograph of his design sis on backcloths for The Tempest at The Swan and costumes. John Theatre, Worcester which B. Read's lighting is 6 CUE INTERNATIONAL .