BUSINESS Copyright Lighting&Sound America July 2008 http://www.lightingandsoundamerica.com/LSA.html A Tony Award for Projections? A top projection designer raises the Timothy Bird and the Knifedege Creative Network, and I applaud the issue—and her answer isn’t what you sophistication of the Tony committee in seeing that—but now what? This might expect year, there are several other shows with projections that are scenically By: Wendall K. Harrington intertwined, most notably A Catered he decision of the Tony Awards Design” the year that The Who’s Tcommittee to put both the set Tommy was eligible. In other words, and projection designers’ names on it left the nominating committee with “When I think about a year the nomination for the set design of two names and was announced with that has five shows with so the current revival of Sunday in the one. That Tommy went on to sweep Park with George has caused quite a the awards, with not a single winner many projections that they storm in the design community. By even mentioning my name, is a can be considered for an finally acknowledging the contribution subject I’ll leave to the consciences award, I shudder. of the projection designer, and of those involved, but I think there is ” admitting that, without projections, general agreement that it wasn’t the the set is unjudgable, the committee scaffolding that made that design Affair. What about them? opened the door for a conversation prize-worthy; it was the projections. This year, the Tony committee that is long overdue. The same is true now of Sunday in added an award for sound design; is Years ago, I was told by a member the Park With George. David Farley’s projection design next? Should it be? of the Tony committee that my name set was clearly designed to support There are those who think we “fell off the nomination for Best Set the use of projections designed by should lobby for a separate category for projection design; I think this is a terrible idea. Of all the disciplines of the theatre, projection and scenic design are the most intertwined. Projections cannot stand alone on the g g e stage. Think about a design category s o R l for wigs that did not include the cos- o r a C tumes—you can’t; it’s a collaboration. : m o t When stage design is at its best, t o B one shouldn’t be aware of where the x o C m costumes and the lighting are separate. i J : p For years, I’ve been urging that o T : t f specific design categories be e l s o dropped and a prize, or prizes, t o h awarded for Best Design. That would P s u c r solve the problem that arose this year, a M n when the committee couldn’t tell the a o J : difference between the contributions t h g i r of Kevin Adams (lighting) and David o t Timothy Bird and the Knifedge Creative Network seamlessly integrated projections into o h Sunday’s set P 72 • July 2008 • Lighting&Sound America A Catered Affair features a collaboration between David Gallo (scenery) and Zak Borovay (projections). Korins (set) in Passing Strange—with considered for an award, I shudder. the result that neither one was Suddenly, shows that only need a few nominated. It seems like they were images will get pumped up to look punished for erasing the edges bigger; projections will overwhelm the between their categories—an play, because someone smelled a achievement that is the goal of the possible nomination. best modern design. I am aware that a Best Design A new approach category will never fly in world where It’s a fragile craft, this projection producers are convinced that large business, and I take it as my personal numbers of awards translate into responsibility to encourage it to be ticket sales—and, of course, they subtle, ephemeral, and original. So may be right—but, nevertheless, here’s my humble suggestion to the adding a category for projection Tony committee: Did Tony nominators grasp who did what on Passing Strange? design is a bad idea. When I think If you won’t just bite the bullet about a theatre season that has five and make an award for Best Design— of the design team—then projection shows with enough projections to be thereby rewarding the collaboration design should be nominated along with the set design—but only when the set is less without it. This “Years ago, I was told by a member of the approach eliminates the use of title Tony committee that my name ‘fell off the slides or transition-only projections. If nomination for Best Set Design’ the year that you can’t see the value of the set, or its charms are greatly lessened The Who’s Tommy was eligible. In other words, without them, nominate the projection it left the nominating committee with two names designer as well. and was announced with one.” For set designers who are unhappy www.lightingandsoundamerica.com • July 2008 • 73 BUSINESS about this, all I can say is, get over it. This approach doesn’t make the set designer any less important. It simply clarifies things—and, if you need the credit, learn how to do the work. Set designers used to be costume and lighting designers, too. There is a precedent for this; there is a long and varied history of projec- tions on Broadway, beginning with Jo Mielziner, Tony Walton, and Richard Pilbrow. In fact, it is only since the technical advancements of the ‘60s that a distinctly skilled designer has been used to explore the potential of this form. It takes a Harrington’s projections for The Who’s Tommy weren’t included in the show’s set design nomination. dedicated craftsperson to translate a technology that, in most cases, a manner as possible, and we need all our work, even as we labor to fold was created to glorify a motor car hands pulling together to do it. our edges into the scenic statement. on a dais, and rethink and refine that Increasingly, scenery will incorpo- But please—don’t make a separate m potential to expand the reach of a rate projections; they have too much category; it is not necessary, and it a h g n i playwright’s vision. potential to ignore, and—let’s face will just confuse people. The best n n u C Projection designers are not in it—cinema is the language of our projections are felt more than seen; r e t e competition with set designers. We are time. I think I speak for the projection they don’t draw attention. They are, P : o t in the theatre for the same reason as community at large when I respectfully rightly, a part of the set. o h any other designer: We want to deliver request that the nominating P the play in as imaginative and eloquent committees notice our names and 74 • July 2008 • Lighting&Sound America.