Scenography in Canada: Selected Designers (review)

Reviewed by: Scenography in Canada: Selected Designers Patrick Neilson Scenography in Canada: Selected Designers. By Natalie Rewa. Toronto: University of Toronto Press, 2004; pp. x + 249. $98.00 (£60.00) cloth, $63.00 (£40.00) paper. This handsome volume is divided into three parts. The first section, printed on heavy coated paper, contains beautifully reproduced illustrations of designs by a group of seven Canadian scenographers. The second section contains captions and photo credits; the third, extensive commentaries on the illustrations. To some extent the chosen designers were self-selecting in that they were willing and able to participate in the project. But author Natalie Rewa acknowledges that there are many other theatre artists, equally talented, whose work deserves recognition—perhaps in future volumes. Most of the pictures are in full color and many are stunningly beautiful. The author has chosen to present the images grouped by designer, arranged two to a page, portfolio style; or as one might encounter them in an art gallery, with only a discreet number pointing the viewer towards the captions contained in the second section. While this approach is clean and uncluttered, it has its drawbacks. Some designs, like Susan Benson's sumptuous Mikado,are unmistakable. But others are more mysterious. An [End Page 106] impatient reader who wishes to know more about a particularly beautiful design—and there are many—is forced to flip back and forth between the captions and the photos. This problem has been solved by other books about design through the use of brief captions—often just a play title—that allow the reader to know whether she is looking at Shaw or Shakespeare. The third section of the book begins with an explanatory essay by Rewa, in which she outlines her process and objectives. Rewa sees this volume as not only contributing to the historical record but also enhancing the visual vocabulary of the general theatregoing public. She presents a variety of contemporary artists, not as a celebration of an elite, but as an indication of quality and range. Each designer has a unique approach to his art—from Astrid Janson's celebration of the material composition of her designs, to Michael Devine's use of dream-like visual metaphors. While pride of place goes naturally to the larger venues, the author has made an effort to include some works for smaller spaces. Subsequent chapters are devoted to each artist, with biographical information and extensive footnotes. Scenographers express themselves visually through texture, light, pattern, color, and the articulation of surfaces. Unlike directors, scenographers rarely express themselves other than through the medium of their work. Edward Gordon Craig notwithstanding, most designers prefer to let their work speak for itself. How often does one see a theatre program that describes the scenography in even the simplest terms? It is a rare pleasure, therefore, to discover that Rewa has coaxed each of the featured designers to write, however briefly, about their process and their influences. This is particularly interesting when we are able to trace Susan Benson's thoughts about A Midsummer Night's Dream over two seasons' work at the Stratford Festival in Ontario. Rewa fleshes out each designer's remarks with her own commentary. Her intelligent remarks are lucid, balanced, and informative. There are a few lapses into academic opacity, but for the most part the writing is accessible and comprehensible to the nonspecialist. This makes it all the more frustrating that the third section of the book contains no illustration numbers, or even page numbers, referring back to the illustrations. Comparing the written descriptions with the pictures involves going back to the captions section to get the plate number, flipping through the first section to find the right designer's portfolio, and then finally zeroing in on the appropriate picture. Fortunately, there is only one description for which there is no corresponding illustration. The struggle to match text to illustration, while labor intensive, is nevertheless rewarding. In many instances, there is more than one illustration for a design and we can see the development of the work from conceptual sketch to production photo—much more satisfying than a single picture. A curious omission in the otherwise very complete production...

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