{"id":4932,"date":"2022-01-04T17:39:45","date_gmt":"2022-01-04T17:39:45","guid":{"rendered":"https:\/\/performingartslegacy.org\/beattyjohnlee\/?p=4932"},"modified":"2022-01-25T17:27:20","modified_gmt":"2022-01-25T22:27:20","slug":"the-designers-eye-collaborators","status":"publish","type":"post","link":"https:\/\/performingartslegacy.org\/beattyjohnlee\/the-designers-eye-collaborators\/","title":{"rendered":"The Designer\u2019s Eye: Collaborators"},"content":{"rendered":"

I know the rest of the world sometimes find us designers maddeningly dizzy, but we are busy seeing things all the time. In collaboration with each other, we hardly need say a word. Once a nervous producer told the lighting designer Dennis Parichy and me that they were looking for a lighting designer and set designer who could collaborate. As we had by that point done about 25 shows together we thought it would be obvious that we collaborated\u2014but \u201cacting out\u201c<\/i> collaboration between two designers was quite difficult for us as we barely spoke about our work to each other \u2014 we communicated by other \u201cdesigner\u201d<\/i> means. I designed with him, he designed with me, we designed for each other. We saw things together and we saw things separately. <\/span><\/p>\n

\nI usually design for<\/i> <\/b>and with<\/i><\/b>, the other designers. I really like to know exactly who is going to light the show so I can design with them in mind. Set designers usually are brought into the process first, so we lead in the beginning, but are totally dependent on the other designers when they join in to collaborate.  Not that you could necessarily see this process happen. It can be that instinctive.<\/p>\n

\nOne frequent collaborator, costume designerJane Greenwood, and I were well known for never having color clashes. This woman can use the color words \u201cEau de Nil\u201d and \u201cAsh of Roses\u201d in a sentence without blinking. We have a designer communication without words. Once, on a rushed production, we were both hauled onto the stage, thinking there was a problem, and were surprised to be congratulated on our inspired color work on a kitchen scene set in the sixties. As we exited the stage we both were guiltily astonished as we had never<\/i> discussed the scene together but had instinctively balanced each other\u2019s work, using variations of the same three colors.<\/p>\n

\nOn another show, House and Garden <\/b><\/i> I warned Jane that I had designed a Naples yellow room, so she should probably stay away from yellow. She countered by successfully placing the leading lady in a series of yellow costumes to prove to me that yellow can be manipulated to work in more ways than I ever imagined. I smiled in deference to my collaborator.<\/p>\n

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The only argument I have ever had with Jane Greenwood was about \u201cecru\u201d and \u201cparchment.\u201d For the revival of <\/span>Brighton Beach Memoirs <\/i><\/b>there was a tablecloth, and there was a wall behind a \u201cthirties\u201d lady wearing an ecru lace collar. There was much confusion amongst the others on the production about what the hell was going on with us, as Jane and I were usually so very tight and friendly. I thought the tablecloth should be darker. She wasn\u2019t sure. She thought the wall behind an actor was a disaster, lighter ecru than the actor\u2019s collar.  I dug in. We sulked. We stopped speaking. And yes, outsiders might laugh about this, and make jokes about us arguing over \u201cpuce\u201d and \u201caubergine,\u201d but the designer\u2019s eye is both a boon and a curse. Neither of us could unsee the wheat\/ecru balance problem, so obviously important to us personally, but invisible to the others. And we had to visually protect the actors from our color malpractice, and not disturb the director, unbeknownst to them. Peace and rapprochement  was reached \u2014after a week or two, and some judicious dyeing and repainting.  Don\u2019t mess with ecru.<\/span><\/p>\n

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 <\/span><\/p>\n

[aesop_image force_fullwidth=”off” lightbox=”on” captionposition=”center” credit=”ORIGINAL SKETCH BY JOHN LEE BEATTY” caption=”Brighton Beach Memoirs” captionsrc=”custom” align=”center” imgwidth=”100%” img=”https:\/\/performingartslegacy.org\/beattyjohnlee\/wp-content\/uploads\/sites\/251\/2022\/01\/Brighton-Beach-Memoirs-2.jpg” panorama=”off”]\n

My favorite Jane Greenwood moment was when she announced that a ballgown in a play\u2019s climactic scene obviously must, must, must be bright red. The director immediately countered that the leading actress and he had discussed it privately and decided that it would be green. Jane immediately replied <\/span>\u201cWell, then, of course GREEN! \u201c <\/i>The director affectionately mocks Jane for her silly lack of backbone in the discussion, but she and I have a \u201ccolor wheel\u201d in our heads. I have one on my wall as I write. To me, the joke was on the director \u2014 Jane didn\u2019t agree to beige or yellow, as what is the direct opposite of red on the wheel but that bright true green? The designer eye knew that doing the opposite was the same impulse, not a weaker or off-balance choice. To a designer\u2019s color eye, she actually won \u2026 Look at the wheel!  And for the same reason, if one has to choose between black and white, gray is not the compromise solution. Gray to me is just dead elephants. Choose something else that isn\u2019t a compromise.<\/span><\/p>\n

[aesop_image force_fullwidth=”off” lightbox=”on” captionposition=”center” caption=”The color wheel at John Lee’s desk” captionsrc=”custom” align=”center” imgwidth=”100%” img=”https:\/\/performingartslegacy.org\/beattyjohnlee\/wp-content\/uploads\/sites\/251\/2022\/01\/Color-Wheel.jpg” panorama=”off”]\n

I once took the L\u00fcscher Color Preference Test, where flash cards of colors are exposed to you lightning fast, and you are supposed to pick your preference at the same speed. I love all colors, some more in my private life, some in my professional life, like the sick yellow green that makes <\/span>all<\/i> us WASP \u201cpink\u201d people look healthy if painted as a background. Well, the L\u00fcscher cards are flying past and I stop short \u2014 five colors to choose amongst quickly, and one of them is blue. I love blue and wear it often, but this particular blue I couldn\u2019t choose, as it was a dirty \u201cgreen blue.\u201d DOA. Well, my designer mind is asking if this shade was a printing problem, as I know that blue is volatile in printing, or was that particular tone intentionally made unattractive for the psychological reasons the scientists were researching?  Was I supposed to pick it for my preference for blue, or my preference for the particular tone of blue? I stopped the test, as I knew that one wrong color choice led to others and upset the entire scientific color applecart.<\/span><\/p>\n

\nAnd then there was the three hour session with costume designer Patricia Zipprodt picking her<\/i><\/b> white and my<\/i><\/b> white for Alice in Wonderland<\/i><\/b> \u2014 she had file cabinets with drawers and drawers of whites. And she was quite naughty, as her<\/i><\/b> white as it eventually appeared on stage was just a touch \u201cwhiter\u201d than she promised, but not enough to be proven in a court of law, unless there was a designer court of law.  On another show, Patricia stopped speaking to me entirely for one of my reds being more her idea of \u201cChinese\u201d red than her expected \u201cRussian\u201d red.<\/p>\n

\nMs. Zipprodt was quite interested in my design for the long-running Ain\u2019t Misbehavin\u2019<\/i><\/b> which had 8 shades of red together on stage. She blithely noted that of course Randy Barcelo, the wonderful costume designer had not used red. She opined that any color can be the \u201cneutral\u201d and in this case red was the \u201cneutral\u201d\u2014and a very hot neutral it was\u2014but was the \u201cneutral\u201c nonetheless. It was a good neutral background for Black skin as well\u2014Pat Collins\u2019s chartreuse yellow green light calmed  and richened the red, and made the actors\u2019 skin glow a wonderful golden caramel.<\/p>\n

[aesop_image force_fullwidth=”off” lightbox=”on” captionposition=”left” credit=”ORIGINAL SKETCH BY JOHN LEE BEATTY” caption=”Ain’t Misbehavin'” captionsrc=”custom” align=”center” imgwidth=”100%” img=”https:\/\/performingartslegacy.org\/beattyjohnlee\/wp-content\/uploads\/sites\/251\/2022\/01\/Aint-Misbehavin-9.jpg” panorama=”off”]\n

I did a small number of shows with lighting designer Arden Fingerhut, a good designer, but we had the oddest color problem. Her taste in color and mine were the same, disastrously so.  I would do a golden brown-hued set, and she would pick the same color to light it. You couldn\u2019t find the actors unless they wore pale ice blue, thoughtfully provided by costume designer Jennifer von Mayrhauser. The next show Arden and I did, I manipulated my colors to be \u201coff\u201d from my instinctive choices, knowing she would have unconsciously matched me again. The lights came up and she told me proudly she had chosen different colors to <\/span>\u201cfix our problem.\u201d <\/i>Yes, she had adjusted them to be \u201coff\u201d exactly the same way I had!  We were both being sensitive collaborators, but it took some time to repaint and relight the set nevertheless.<\/span><\/p>\n

\nOne of my favorite shop experiences as a designer was standing in the middle of the paints at Hudson Scenic studios. With painters of all different ethnic backgrounds and skin tones, we were sampling colors to see what would make our different skin tones look \u201cgood\u201d or \u201cbad\u201d\u2014absolutely fascinating, especially as the show we were painting\u2014Good People<\/i><\/b>\u2014had a mixed cast.  We were doing pure color work, learning from each other how make people look good.  <\/p>\n

\nWhen I designed Rabbit Hole<\/i><\/b> my first question to the director, Dan Sullivan was \u201cWhat color is Cynthia Nixon\u2019s hair going to be?\u201d <\/i> On Sex and the City <\/i><\/b>she was a redhead, but she is known in the theater as a blonde. He came back to me with a firm, if amused answer to my seemingly fanzine question: definitely blonde. But indeed from the first, I built the entire production scheme around her being the leading color. Hey, and she won the Tony, so \u2026 <\/p>\n

[aesop_image force_fullwidth=”off” lightbox=”on” captionposition=”center” credit=”ORIGINAL SKETCH BY JOHN LEE BEATTY” caption=”Rabbit Hole” captionsrc=”custom” align=”center” imgwidth=”100%” img=”https:\/\/performingartslegacy.org\/beattyjohnlee\/wp-content\/uploads\/sites\/251\/2022\/01\/Rabbit-Hole-2.jpg” panorama=”off”]\n

\nA word of warning to designers, however.  If the director doesn\u2019t like wallpaper, there\u2019s a pretty good chance they may be color blind. Don\u2019t call them on it, but take note. It may be your opportunity to do an all gray or all white production! I would love to name names, but the designers\u2019 code of ethics prevents.<\/p>\n

\nBut it\u2019s not just color consciousness that can be a distraction. There are things a designer\u2019s eye sees that cannot be ignored.<\/p>\n

\nI used to study handwriting analysis, and am quite the believer. What designer wouldn\u2019t believe that the drawing and writing hand reveals the personality?  Doors designed by different designers reflect their own personalities, especially in proportion. Sometimes they actually are tall and thin, or shorter and wider, directly in proportion to who drew them.  Certainly we unconsciously arrange a space to our own dimensions\u2014I\u2019m looking at you, Frank Lloyd Wright. I knew he was short the first time I entered Taliesin West. I didn\u2019t have to ask. I recognize my own handwriting, as do you, probably. I recognize my own hand drafting, I recognize my paint style, I recognize my own doors! They look like me.<\/p>\n

\nSo many times I can\u2019t remember someone\u2019s name but I can recall what they were wearing.  Director Dan Sullivan once teased me and said I didn\u2019t remember the first time I met him. True I guess, but a moment later this designer offered: \u201dSheared sheepskin coat, you didn\u2019t take it off, sat in swivel easy chair, unhappily slouching.\u201d<\/i> <\/i><\/b> <\/p>\n

\nIt was a bit of a joke in my hometown too, as I could recall people\u2019s clothing, even particular dinette sets from the fifties. Or whether something had been changed in a room.<\/p>\n

\nWhile working at the Oregon Shakespeare Festival (OSF) on my last day, I asked to go into the archives room.  There was a Merchant of Venice<\/i><\/b> in my visual memory that I couldn\u2019t identify. Those three suitors\u2019 very particular metal caskets lingered in the backwaters of my memory. I\u2018ve seen the show five times and designed it twice, yet there was a lurking memory of a production of Merchant of Venice<\/i><\/b> left unidentified in my head. I discovered, having thought MIdsummer\u2019s Nights Dream<\/i><\/b> was my first Shakespeare at six, that I had indeed seen a Merchant of Venice<\/i><\/b> at five. Not only that, but an All\u2019s Well That Ends Well.<\/i><\/b>  I looked at the photos in the OSF archives and could recall which actor was good or not in the production, and which costumes<\/i>  were good, and since the photos were black and white, what color<\/i> they were. At five. <\/p>\n

\nI now know that when I saw the film The Red Shoes<\/i><\/b> at too early an age that the theme of \u201cnot being able to turn it off\u201d can apply to the designer as well. But I can\u2019t really turn off the designer eye, and it has led me away from other things in life and art. <\/p>\n

\nThe joy of all this is that no moment of life is without visual or tactile sensation. Even a \u201ctedious\u201d wait in an airport waiting lounge sends me off on musings about upholstery, dress, luggage, human spatial needs, scale and color. \u201cUnited Airlines blue \u201c used to endlessly fascinate me.  In the most literal sense, no moment in life is wasted. On the new play Sylvia<\/i><\/b> I was called frantically about an added scene: a LaGuardia waiting lounge. That design popped out whole in about 20 minutes. <\/p>\n

[aesop_image force_fullwidth=”off” lightbox=”on” captionposition=”left” credit=”ORIGINAL SKETCH BY JOHN LEE BEATTY” caption=”The LaGuardia Airport scene in Rabbit Hole” captionsrc=”custom” align=”center” imgwidth=”100%” img=”https:\/\/performingartslegacy.org\/beattyjohnlee\/wp-content\/uploads\/sites\/251\/2022\/01\/Sylvia-4.jpg” panorama=”off”]\n

But watching and seeing are unending and never stop. I have even pulled up my shirt sleeve to show a painter the perfect blue purple of a bruise on my arm. And that little yellow halo around it. Fascinating.  Did it hurt? I don\u2019t remember, I was just trying to achieve a lost color I had seen. A painter once reminded me that all the colors in <\/span>Proof<\/i><\/b> came from a favorite sweater I was wearing.<\/span><\/p>\n

[aesop_image force_fullwidth=”off” lightbox=”on” captionposition=”center” credit=”ORIGINAL SKETCH, RESEARCH, AND SET PHOTO BY JOHN LEE BEATTY” caption=”Proof Scenic Sketch with Research Image and Set Photo” captionsrc=”custom” align=”center” imgwidth=”100%” img=”https:\/\/performingartslegacy.org\/beattyjohnlee\/wp-content\/uploads\/sites\/251\/2022\/01\/Proof-Combination.jpg” panorama=”off”]\n

One of my happiest designer memories was while visiting lighting designer Craig Miller in Santa Fe.  As others around us were partying, we went out to the driveway to observe the vivid New Mexico sunset. On impulse, we took turns describing step by step and by name the colors transitioning from the red orange horizon to the deep blue skies above. There were possibly twelve or more colors, and we took turns naming them, like repeating a rosary, and going back to start again and again.  How you get from bright orange to deep blue, fascinating, one of the joys of having a designer\u2019s eye.<\/span><\/p>\n

\nSo much serious fun, and to share it with other designers.<\/p><\/p>\n","protected":false},"excerpt":{"rendered":"

I know the rest of the world sometimes find us designers maddeningly dizzy, but we are busy seeing things all the time. In collaboration with each other, we hardly need say a word. 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