Found 50 collections related to Theaters -- Stage-setting and scenery

The Donald Oenslager Collection of Edward Gordon Craig is an artificial collection containing correspondence and artwork created by the noted theatrical designer and graphic artist, Edward Gordon Craig. Although born and raised in England, Craig moved to the continent in 1904 where he continued to work; the impact of his radical innovations in stage design were international in scope. Craig’s colleague, Donald Oenslager, an American stage designer and longtime faculty member of the Yale School of Drama, whose own work had been profoundly influenced by Craig, amassed the selection of letters and prints that form this collection. less

Richard Hoover (b. 1947) is an American scenic designer, production designer, and art director for theater, television, and film. The collection represents Hoover's professional work as a scenic designer for theater and as a production designer and art director for television and film. It contains designs, production binders, photographs, sketches, and video recordings related to his career from 1969 to 2015. less

Samuel Leve (1910-1999) was a New York-based scenic designer. The Samuel Leve design files date from the 1930s to 1994 and contain designs, photographs and slides, scenic and rigging plots, course materials, correspondence, clippings, programs, and newsletters. less

Beni Montresor (1926-2001) was an Italian-born artist, designer, writer, and director who worked in opera, dance, theatre, and film. The Beni Montresor papers date from 1953 to 1999 (bulk dates: 1970-1989) and contain correspondence, photographs, screenplays, scripts, programs, articles, and designs that document Montresor's multifaceted artistic career. less

Peter Harvey (born 1933) is an American theatrical stage and costume designer. His work has appeared in Broadway, Off-Broadway, regional, and international theatre productions. The Peter Harvey design files date from 1956 to 1970 and contain drawings, elevations, and renderings of stage and costume designs, as well as clippings, programs, photographs of the sets, and correspondence. less

The Theatre Guild Technical Drawings and Other Production Materials primarily consist of miscellaneous technical drawings and other items documenting various productions put on by the independent production company. The contents of the individual files on productions, mainly dating from the 1920s and 1930s, vary, but may include ground plans, stage plans, and light and/or property plots. less

Jo Mielziner, theatrical designer. Consists of 26 original set design drawings by Jo Mielziner. Seventeen are for a 1965 revival of DANTON'S DEATH translated and directed by Herbert Blau and performed by the Repertory Theatre of Lincoln Center at the Vivian Beaumont Theatre, seven are for the 1968 original production of I NEVER SANG FOR MY FATHER at the Longacre Theatre, and two are for THE THIRD LITTLE SHOW (revue), 1931, at the Music Box Theatre. A few of the drawings are signed or initialled by Mielziner. less

Legare Rogers Lytton (1867-1924) was an actor, director and architect of New York City. His real name was Oscar Legare Rogers. Collection consists of Lytton's diaries and notebooks containing architectural notes and drawings. Other topics include his work as an actor on the stage and in motion pictures, and personal matters. Also, copies of plays, his notes on stagecraft and address book. less

Consists of ten slides with accompanying documentation: a detailed listing in English and an article about the fate of Bilinsky's designs by René Clémenti Bilinsky in French from CinemAction (no. 97, 2000). Slides consist of a set design for the movie MONTE-CRISTO (France, 1929), a costume design for the opera PELLÉAS ET MÉLISANDE at the Royal Opera of Covent Garden in London (1937), set and costume designs for the movie AMORE IMPERIALE (Italy, 1941), set design for the movie SENZA CIELO (Italy, 1941), costume design for the play IL TENENTE VIRGOLA at the Odeon Theatre in Milan (1941), set design for the play SAINT JOAN at the Argentina Theatre in Rome (1943), and two women's costume designs from unidentified productions. less

Paul Morrison (1906-1980), whose prolific theatrical career began in New York with the Theatre Guild and Group Theatre, designed sets, lighting and costumes for more than 60 Broadway productions, often working in multiple capacities. This collection includes many of his scenic and lighting designs and a few costume designs, as well as notes and sketches. less

Frederick Fox (1910-1991) was a scenic designer for theater, opera, and television. The Frederick Fox design files date from 1880 to 1959 and consist of designs, scale drawings, paint elevations, blueprints, photographs, and slides that document his work. less

Ben Edwards (1916-1999) was an American scenic designer and art director, and occasional lighting designer, costume designer, and producer, working in theatre, industrial shows, film, and television. The Ben Edwards designs and papers (1884-1999, bulk dates: 1938-1999) document his career and personal life with designs, drawings, research files, letters, and other files. less

Alice Lewisohn Crowley was born in New York City in 1883, a daughter of Leonard Lewisohn. With her sister Irene Lewisohn, she established the Neighborhood Playhouse on Grand Street in 1915, a theater and teaching facility for dance and drama. By 1920, professional actors had replaced the amateur troupe of children and adults, and the Playhouse became known for its avant-garde productions. The neighborhood theater closed in 1927. In 1928, Alice Lewisohn Crowley, Irene Lewisohn and Rita Wallach Morgenthau established The Neighborhood Playhouse School of the Theatre, still in operation in New York City. Crowley died in 1972 in Zurich at the age of 88. The designs are primarily costume designs, with a few set designs, for theatrical productions including Everybody's husband by Gilbert Cannan, 1919; Harlequinade by Harley Granville-Barker and Dion Calthrop, 1921; The mummer's revel and The masque of the apple, music by Kurt Schindler, 1931 with costume designs possibly by Esther Peck; Night at an inn by Lord Dunsany, 1916; Pinwheel by Francis Edward Faragoh, 1927 with sketches and notes by Donald Oenslager; and The player queen by William Butler Yeats, 1923 with costume designs probably by Alexander Koiransky. Ballets represented in the collection are La boutique fantasque, music by Ottorino Respighi, 1920 with costume designs probably by Esther Peck; Petrouchka, music by Igor Stravinsky, 1916; Royal fandango by Gustavo Morales, 1921 with costume designs and 1 set design by Ernest de Weerth; and 1 costume design for Le tricorne, 1922 "after Picasso's design for a costume for the ballet." There is 1 set design by Jo Davidson of the Wailing Wall for the symphonic drama Israel by Ernest Bloch, 1928. There are also several unidentified costume and set designs. less

Lloyd Burlingame, designer for the theater. Consists of six designs in watercolor and ink for the following productions of the Association of Producing Artists: three signed costume designs for TWELFTH NIGHT and one unsigned set design for each of the following: PENNY FOR A SONG, SCHOOL FOR SCANDAL, and THE SEAGULL. less

Award winning designer of sets and costumes and a theatrical producer, Lemuel Ayers (1915-1955) had a brief but brilliant career with extensive Broadway credits including High button shoes and Oklahoma! He was born in New York City and received a degree in architecture from Princeton University and a degree in drama from the University of Iowa. Original set designs, working drawings and sketches, blueprints, elevations, floor plans, and sections by Lemuel Ayers for the following productions: Ariadne auf Naxos (opera; Central City Opera House, Central City, Colorado), 1954; Angel street (also titled Gaslight) by Patrick Hamilton, 1941; Bloomer girl by Sig Herzig and Fred Saidy, adapted from a play by Lilith and Dan James; music by Harold Arlen; lyrics by E.Y. Harburg, 1944; Camino real by Tennessee Williams, 1953; Cyrano de Bergerac by Edmond Rostand, adapted by Brian Hooker, 1946; Inside U.S.A. (revue, book by Arnold Auerbach, Moss Hart, Arnold B. Horwitt, Joseph Stein, and Will Glickman; music by Arthur Schwartz; lyrics by Howard Dietz), 1948; Kiss me Kate (book by Sam and Bella Spewack; music and lyrics by Cole Porter), 1948; The pajama game (book by George Abbott and Richard Bissell, based on the novel, 7 1/2 cents, by Richard Bissell; music and lyrics by Richard Adler and Jerry Ross), 1954; The pirate by S. N. Behrman, adapted from a play by Ludwig Fulda; music by Herbert Kingsley, 1942; and St. Louis woman (book by Arna Bontemps, Countee Cullen; music by Harold Arlen; lyrics by Johnny Mercer), 1946. less

Award winning designer of sets and costumes and a theatrical producer, Lemuel Ayers had a brief but brilliant career with extensive Broadway credits including HIGH BUTTON SHOES and OKLAHOMA! He was born in New York City and received a degree in architecture from Princeton University and one in drama from the University of Iowa. He died in 1955 at the age of forty. Collection consists of six costume and twelve set designs by Lemuel Ayers for the following productions: KISS ME KATE (1948), OUT OF THIS WORLD (1950), BLOOMER GIRL (1944), CYRANO DE BERGERAC (1946), INSIDE U.S.A. (1948), MUSIC IN THE AIR (1951), and ST. LOUIS WOMAN (1946). Executed in paint, ink and pencil on paper or illustration board, some have mat frames, a few are signed by Ayers, most are undated. less

George Jenkins was a set designer, lighting designer and architect. He designed for both theater and film. His most famous theatrical designs are Sly Fox (1976), Wait Until Dark (1966), 13 Daughters (1961), The Miracle Worker (1959), The Happiest Millionaire (1956-1957), Too Late the Phalarope (1956), The Desk Set (1955-1956), and Two for the Seesaw (1954). The collection is primarily designs and production materials. less

The majority of the Knorr papers is comprised of set designs and production materials. The collection illustrates Knorr’s multiple talents and his unifying role as a producer. The designs and plans include Knorr’s early work for the Capitol and Roxy theaters, a formative time in his career. Amongst the designs are those of the Milton Berle shows (1948-1952) and the Miss Universe and Miss USA pageants in the early 1960s. less

J. A. Partington was a producer, inventor and stage manager. Born on the Isle of Man in 1890, he and his family migrated to California when he was five. Partington produced stage shows which were performed before featured films at the Granada and Metropolitan Theatres in San Francisco and later for the Publix Theatres Corporation. Partington is best known for his invention of the rising orchestra pit and the disappearing footlights. Partington produced the stage shows of the Roxy Theatre for Fanchon and Marco until his death. He died in New York City in 1944. The J. A. Partington Papers span the years 1924-1931 and consist of photographs, production notes, sheet music and scores and in some cases stage plans of his productions at the Granada Theatre in San Francisco and the Publix Theatres Corporation, particularly the Paramount Theatre in Los Angeles and the Paramount Theatre in New York City. There are some issues of Publix Opinion, the house newsletter of the Publix Theatres Corporation. There are no materials from Partington's career at the Roxy Theatre in New York City. less