Idiot's Delight

At the end of my first summer and a short trip home to Long Island, I moved into my third and final apartment in Ann Arbor.
It was about three or four blocks north of the Theatre building and close to the Farmer’s Market.
My two housemates were both grad students but not theatre majors.
It was very small, but served its purpose well.

Like my first year, I designed the lighting for one of the first productions of the year.
The play was part of the Guest Artist series in the large Power Center Theatre in which I had just designed in that summer, but now I could design for my play alone.
The play was the Idiot’s Delight by Robert E. Sherwood which won the Pulitzer Prize in 1936.

Idiot's Delight, 1979

I felt lucky that we had a good production team.

The director, Jim, was a young faculty member who I had met on my trip first to Ann Arbor for my interview to get into the program.

While working as an actor a few years earlier Jim had guest roles in Room 222 and The Partridge Family, both of which were still being rerun at the time, and he would be teased whenever someone saw him on TV.

Program Cover

The scene designer was also a young faculty member who was in the "second year" of a one year visiting professor position.

Dick would go on to have some success as he is the Associate Head of the School of Drama at Carnegie Mellon University.

Nancy Jo, the costume designer, was a fellow MFA design student who now teaches at California State University, Long Beach.

I served as the lighting designer for the play and would go to; well, write this blog and a few other things here and there and maybe a thing or two over the years.



Idiot's Delight, 1979


Early on in the production process Jim invited the design team to go see an old movie playing on campus because he wanted us to see the style that was used in it.
We did not have VCRs back then so you could not just order any movie any time you wanted so it was just lucky that some group was showing it on campus.
We went to see My Man Godfrey from 1936 staring William Powell and Carole Lombard.

The movie is a lot of fun and still is one of my favorites.

The style and design of the play was defiantly affected by the movie.

The large set was Art Deco in style and I was asked if mirrored panels as part of the design would be a problem.
I said that I could work around them and that they should not be a problem, but I was not really sure.
In between the mirrored panels were frosted plastic panels that I lit with blue and white lights.
To add to my fun the costume designer had gold glamee costumes for the dancing girls.
Black, white, silver and gold: it was challenging but fun to do.

Late at night

In the play a war breaks out at the end and we needed an explosion outside of a big window that was rigged to fall apart.
We were lucky that one of the MFA students had just come off the road where he was the pyrotechnic for the band KISS.
Now I do not know for sure if it was Doug who blew Kiss’ drummer up so many times that it became the basis of the joke about killing numerous drummers in the movie This is Spinal Tap, but I do know that his flash pots were so big that they burned the curtains in the set window and had to be replaced each night.
Like everyone else from the show, Doug went on to have success in Theatre and was the production manager of last year’s Christmas Show at Radio City Music Hall.

As with all shows while I was Michigan lighting designers had to give a talk back after the shows open to discus and explain what you did with the lighting to our fellow students.
I felt lucky that people enjoyed my work but I was puzzled when someone said that they liked my lighting especially the little red tint that I had put into the set.
I did not know what they were talking about, and except for the explosion at the end, there was no red in my design.
I thanked them all for their comments and after they left I walked around the Theatre and found out that it was the Exit signs that were reflecting off of the set.

Puttin' on the Ritz