Found 45 collections related to Set design drawings

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

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

Lester Polakov, set and costume designer, was born in 1916. He began his career designing sets in summer stock from 1936-1940. From 1938-1941 he worked on Broadway shows as an assistant to designers such as Harry Horner, Boris Aronson, and Albert Johnson. In 1973 he designed the sets for Robert Wilson's play THE LIFE AND DEATH OF JOSEPH STALIN. His other works include: THE EMPIRE BUILDERS; MUCH ADO ABOUT NOTHING; THE WINNER; and RIGHT YOU ARE, among others. He has also created designs for industrial stage shows, exhibitions, and films. From 1955-1958 he taught theatrical design at Columbia University, and from 1958 to the present he has been the director of the Lester Polakov Studio of Stage Design, now known as the Studio and Forum of Stage Design. The Lester Polakov Papers and Designs consist of papers, photographs, set designs, and technical drawings regarding his set designs for numerous productions. 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

Charles Ludlam, actor, director, and playwright, was born April 12, 1943. He began his career in 1966 with the PlayHouse of the Ridiculous, both as a performer and playwright. Artistic differences caused Ludlam to leave and form his own company, The Ridiculous Theatrical Company, which achieved international recognition. Ludlam's three most successful plays were BLUEBEARD, STAGE BLOOD, and CAMILLE. Although the company attracted grant funding, it was always on the edge of the avant-garde and finances were uncertain. The company made its final tour with Ludlam in the first months of 1980 and then disbanded. Ludlam died on May 28, 1987. The collection consists of diaries, notebooks, scripts, set and costume designs, clippings, transcripts of interviews, and manuscript pages from a published collection of Ludlam's plays. This material was collected as research material for The Complete Plays of Charles Ludlam. The material provides valuable insight into every stage of Ludlam's playwriting process from the development of an idea to its realization on stage. Since Ludlam relied so heavily on improvisation, the information contained in the notebooks and plot outlines in this collection cannot be found anywhere else. less

Donehue was a director working primarily for the New York stage and television in the 1950s and 1960s. He also directed two films in Hollywood. The collection includes personal correspondence; production files containing notes, letters, partial scripts, cast lists, contracts and financial papers; complete scripts, many for television shows; clippings of reviews; and a few manuscripts and photographs. 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

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

Garry Simpson (1914-2011) was an American television producer, director, and screenwriter for the National Broadcasting Company (NBC) and the Vermont Educational Television Station. His papers date from 1930 to 1979 and chronicle his career through scripts, set design drawings, press clippings, and advertising brochures. 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

Scenic designer Richard Harrison Senie, born in 1916 in New Hampshire, designed sets for several television shows, many of which were produced by NBC Studio, such as I remember Mama, the Armstrong circle theatre, and The Gabby Hayes show. In 1951, Senie also designed the sets for Broadway's St. Joan, which opened in Oct. 1951 at the Cort Theatre. He died in 1986 in New York City. Originals and copies of set designs, sketches, and technical drawings such as elevations, floorplans, and hanging plots. Designs are primarily for television sets of shows produced by NBC, but also include designs and a three-dimensional stage model for St. Joan, Senie's only theatrical production. less

Gabriel M. Powell, artist and designer was born in 1902. His early career, in the 1930's, was in dance where he worked as a dancer and designer for the Gluck-Sandor Ballet Theatre. Among the company were such noted dancers as Klarna Pinska, Jose Limon and Jerome Robbins. By 1936, however, he was a designer of theatrical sets, and created the set for OUTWARD BOUND at the Forrest Theatre. Later productions included work on the musicals of Rodgers and Hammerstein and Irving Berlin. In his later years, Mr. Powell concentrated on his career as an easel artist. The Gabriel M. Powell Theatrical Designs consist of both costume and set designs for productions throughout his career. less

Designer, dancer and actress, Ruth A. Sobotka, was born in Vienna in 1925. She emigrated to the United States with her family when she was 14. Sobotka attended the University of Pennsylvania and Carnegie Institute of Technology. She also studied ballet at the School of American Ballet and was a dancer for Ballet Society and New York City Ballet. Sobotka designed costumes for both theater and dance. She appeared as "The girl" in Man Ray's segment of the Hans Richter avant-garde film, Dreams that money can buy (1947) and later worked on several films in various capacities. In 1955, she married film director Stanley Kubrick; they divorced in 1961. After retiring from dancing, Sobotka focused on acting and designing. She died after a brief illness at Flower and Fifth Avenue Hospital in June1967, at the age of 42. Approximately 71 original color costume and set designs (mostly costume designs) by Ruth Sobotka. Aladdin and the wonderful lamp is the only play represented in the collection that was actually produced (Unit Theatre Group, 1966); there are also index cards with notes and swatches for this show. Sobotka's costume and set designs for Bathsheba by Jacques Deval (1947), Ladies in retirement by Edward Percy and Reginald Denham (ca. 1944), The merchant of Venice by William Shakespeare (ca. 1944), Twelfth night by William Shakespeare (ca. 1944), a Passion play (ca. 1944), and a Shakespearean production (ca. 1944), were never executed, or were Carnegie Institute of Technology schoolwork. less

Set and costume designer Raoul Pène Du Bois (1914-1985) was born on Staten Island, New York. His career began in his teens and spanned some six decades, during which he designed for theater, film, dance, and other live productions. Du Bois received two Tony Awards for his set designs for Wonderful town (1953), and his costume designs for No, no, Nanette (1971). He died at Lenox Hill Hospital in New York City, following a stroke. Original color drawings mostly of costume designs, but also set designs and detail drawings by Raoul Pène Du Bois. Many of the designs are for the musical Jumbo, music by Richard Rodgers, lyrics by Lorenz Hart (Hippodrome Theatre, 1935), with masks by Wynn; several designs are initialed and dated "JR 35" and are possibly by James Reynolds who also designed costumes for this production. Other productions represented are Call me madam, music and lyrics by Irving Berlin (Imperial Theatre, 1950); Carmen Jones, music by Georges Bizet, lyrics by Oscar Hammerstein (Broadway Theatre, 1943); Doctor jazz, music by Buster Davis and Luther Henderson, lyrics by Buster Davis (Winter Garden Theatre, 1975); The firebrand of Florence, music by Kurt Weill, lyrics by Ira Gershwin (Alvin Theatre, 1945); Irene, music by Harry Tierney, lyrics by Joseph McCarthy (Minskoff Theatre, 1973); The music man, music and lyrics by Meredith Willson (Majestic Theatre, 1957); No, no, Nanette, music by Vincent Youmans, lyrics by Irving Caesar and Otto Harbach (46th Street Theatre, 1971); The student gypsy, music and lyrics by Rick Besoyan (54th Street Theatre, 1963). There are also detail sketches for Billy Rose's aquacade (New York World's Fair, 1939), and a costume design, possibly for the Rockettes, ca. 1932. less

The Gates and Morange Studio was founded by Frank E. Gates and Edward A. Morange and was located in New York City. Gates was born in Chicago and Morange was born in Bronxville, New York. Both men studied at the School of Fine Arts in St. Louis, Missouri. Although Gates and Morange had worked together since 1894, the partnership's first Broadway credit was Straight from the heart by Sutton Vane and Arthur Shirley (1897). The studio designed scenery for more than 50 productions over four decades, additionally painting and supplying countless others. Clients included Liebler Co., Florenz Ziegfeld and George C. Tyler. Designers included Thomas Benrimo, William E. Castle, Richard Gates (brother of Frank), Charles Graham, Alexander Grainger, Arne Lundborg, Orestes Raineiri, and Edward Morange. Edward Morange died on May 20, 1955 in Torrington, Connecticut after a long illness at the age of 90. Original set designs, curtain designs, drops, and olio designs, mostly color, produced by the Gates and Morange studio over four decades for theatrical productions and for businesses, trade shows, and several exhibitions. Although most of the designs are undated, the bulk of the collection appears to date from the 1920s. Among the more than 75 productions included are The daughter of heaven by Pierre Loti (ca. 1912); Dolce Napoli (ca. 1913); Earl Carroll vanities (1923); For valor by Martha Hedman and H.A. House (1935); Gridiron Club productions (1935); An international marriage by George Broadhurst (ca. 1909); The lady of the lamp by Earl Carroll (1920); Music in the air (musical), music by Jerome Kern, with designs by Joseph Urban (1932); Nancy Brown (musical), music by Henry K. Hadley (ca. 1903); Song of the flame (musical), music by Herbert Stothart and George Gershwin, with designs by Joseph Urban (1926), and a number of Ziegfeld productions. Of particular note is Rose-Marie (musical) by Otto Harbach and Oscar Hammerstein II (1924), which includes 3 photographs, showing the development from an initial photograph to the scenery in place on the stage (1924). There are also a few studio plans and research materials in the collection. less

Stage designer Will Steven Armstrong (1930-1969) was born in New Orleans. He was a graduate of Louisiana State University and served in the U.S. Air Force in Korea. Armstrong received a Master's Degree from Yale University in 1957. After working as production designer for the Williamstown Summer Theatre (now Williamstown Theatre Festival) from 1955 to 1957, Armstrong came to New York to work under Boris Aronson, Jo Mielziner and Donald Oenslager. The American Shakespeare Festival (Stratford, Connecticut), Long Wharf Theatre, National Repertory Theatre, the Phoenix Theatre, and the New York City Opera were among the companies for which he designed sets, lighting, and costumes. His Broadway design credits include over 40 productions, winning a Tony award in 1962 for his set designs for Carnival! (Imperial Theatre, 1961). Armstrong also received an Obie award for his set designs for Ivanov (Renata Theatre, 1958). He was married to Jo Grady and they had a daughter, Sloane. Armstrong died while on vacation in New Mexico at the age of 39. Original costume and set designs by Will Steven Armstrong. American Shakespeare Festival Theatre productions included in the collection are Coriolanus (1965), Julius Caesar (1966), The merry wives of Windsor (1959), and Romeo and Juliet (1965). National Theatre productions represented are Mourning becomes Electra by Eugene O'Neill (1967) and The rivals by Richard Brinsley Sheridan (1965). There are also costume designs for The beaux stratagem by George Farquhar (1959) and a set and costume design for Lysistrata by Aristophanes (1959), both produced by the Phoenix Theatre. Other Broadway productions include The lion in winter by James Goldman, Ambassador Theatre (1966), Tchin-Tchin by Sidney Michaels, based on Francois Billetdoux's play, Plymouth Theatre (1962), and The wayward stork by Harry Tugend, Forty-sixth Street Theatre (1946). less

Designer, technical advisor, jazz pianist, and lyricist, Carl Kent (1918-1959), was born in New York City. A graduate of the National Academy of Design, he also studied at the Art Students League. Kent served as technical advisor and supervisor on a number of Broadway and television productions, often under Harry Horner. His Broadway design credits include Tis of thee (Maxine Elliott's Theatre, 1940); Career angel (National Theatre, 1944); Peepshow (Fulton Theatre, 1944); As we forgive our debtors (Princess Theatre, 1947); Leaf and bough (Cort Theatre, 1949). Among Kent's television credits are NBC Opera Theatre (1951) and United States Steel hour (1955-1956). At the time of his death, he was living in Great Neck, New York and died at North Shore Hospital at the age of 43. Original set designs (mostly color) primarily for television, but also for theater, by Carl Kent (1918-1959). A number of set designs are for the television programs NBC Opera Theatre (1951) and United States Steel hour (1955-1956). The collection also contains blueprints for Peepshow by Ernest Pascal (Fulton Theatre, 1944), for which Kent designed lighting, as well as for the motion picture Crowded paradise (1956), on which Kent served as art director. There are also a few designs for businesses such as De Soto, Gordon's Distillers and John Strobl's Viennese Restaurant. Several set designs are untitled and unidentified. 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

Set designer Tom Adrian Cracraft designed settings for several Broadway plays in the 1930s and 1940s, and later for Hollywood, where he also served as head of the scenic art department at Columbia Pictures. Tom Adrian Cracraft died in Los Angeles in 1963 at the age of 58. His credits on Broadway include the revivals of The Petrified Forest (1943) and Goodbye Again (1943). Set designs for Broadway shows from 1932-1936, including color designs on illustration board, pencil designs, sketches, elevations and ground plans on tracing paper, and blueprints. The collection also includes 2 ceramic tiles, a cartoon by T.A. Cracraft, and a caricature of him by Betancourt. less

Original set designs, working drawings and sketches, blueprints and notes by Mstislav Dobuzhinskiĭ for the following productions: Anne of England by Mary Cass Canfield and Ethel Borden adapted from Viceroy Sarah by Norman Ginsbury (1941); Boris Godunov opera by Modest Mussorgsky (n. d.); Don Giovanni music by Wolfgang Amadeus Mozart and with an Italian libretto by Lorenzo Da Ponte (1952); Das Dreimaderlhaus (House of the Three Girls) adapted into English language versions as Blossom Time and Lilac Time is a Viennese pastiche 'operetta' with music by Franz Schubert rearranged by Hungarian Heinrich Berte and a libretto by Alfred Maria Willner and Heinz Reichert (n. d.); Emilia Plater (Lithuanian National Theatre) (1939); Enough Stupidity in Every Wise Man by Alexander Ostrovski (1953); Eugene Onegin (opera) by P. Tchaikovsky (different productions 1923-1953); The Fair at Sorochinsk book by Nicolai Gogol, music by Modest Mussorgsky (1942); The Four Ruffians by Edward J. Dent adapted from I Quattro Rusteghi by Goldoni music by Ermanno Wolf-Ferrari (1951); Die Geburt der Salome (1944); Happy Endings by A. Chekhov (n.d.); Khovanshina by M. Mussorgsky (1948-1950); Love for three oranges (1949); Masked Ball music by G. Verdi (1940); A Month in the Country (1909); Queen of Spades by P. Tchaikovsky (1925-1931); Radvila Perkunas by Jurgis Karnavicius (1936); Wozzeck opera music by Allen Berg (1952). There are also a few designs for unidentified productions. Most of the designs and sketches are signed. less

Desmond Heeley (1931-2016) was a British-born costume and set designer for theater, ballet, and opera who worked internationally. Through original sketches, prints, production bibles, reference files, photographs, and correspondence, the Desmond Heeley designs and production files primarily document the North American portion of Heeley's career. less

The Helen Hayes papers span the years 1817–1963 and consist of correspondence, the majority from friends and colleagues; speeches and writings, including drafts and handwritten index cards of speeches; clippings from her earliest days in theater and covering her work in film, television, and radio; programs for theatrical productions and awards ceremonies; awards and ephemera including her honorary degrees, appointments to committees, and citations for her charitable work; designs including costume designs for theatrical productions and artwork created by friends and colleagues; photographs, including family photographs, candid shots and professional portraits from childhood, production stills and publicity from theater, film, and radio, and portraits by famous photographers; and scrapbooks, some dedicated to particular theatrical productions and others that cover all aspects of her career and life. less

Marius Sznadjerman was born in Paris in 1926. He escaped to Spain with his parents in 1942, moving to Venezuela where he attended the School of Fine Arts in Caracas. After moving to the United States in 1949, Sznajderman studied at Columbia University with scenic designer Woodman Thompson and printmaker Hans Mueller, receiving both a B.F.A. and M.F.A. He served in the U.S. Army from 1953-1955 and has taught at several universities, including New York University, School of Visual Arts and Fairleigh Dickinson University. Sznajderman has also had numerous exhibitions of his work over several decades. Over 350 original designs, principally for sets (mostly color), floor plans, and studies created by Marius Sznajderman for Circle in the Square Theatre and the French Art Theatre in the 1950s. The collection also contains production and research notes, as well as publicity material and posters. There are also some publicity materials for Circle in the Square, programs, fliers, and postcards for individual productions, blueprints, elevations, as well as a number of black and white photographs. Also included are costume designs (possibly for The firebrand, ca. 1924), several sketches, a sketchbook with notes, ca. 1918-ca. 1924, by noted stage designer Woodman Thompson, perhaps related to Sznajderman's research for the play Ludus Coventriae. In addition to Sznajderman's set designs, studies, floor plans, and production notes for the French Art Theatre, New York City (Eve Daniel, director), there are subscription letters and 7 posters, ca. 1951-1958. 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

The Radio City Music Hall Collection of the Designs of James Stewart Morcom and John William Keck contain color set designs, including renderings, elevations and details, of productions primarily from the Radio City Music Hall as well as other venues. less