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Unlike most Ex directors who put props on the floor for a set and use the moveable black flats only to separate the playing area from whatever wing space is necessary, Babe and designer William Schroeder have built a small raised stage in the theatre, a rectangular room open to the audience on two sides. The Ex's seat-wagons are placed directly in front of the two open sides, so that the audience becomes in effect the two missing walls, and The Pelican thereby achieves intimacy and involves the audience. The conditions are close to ideal for Strindberg...

Author: By Tim Hunter, | Title: The Pelican | 5/23/1966 | See Source »

Directors John Ross (in capital letters) and Forman (in small) have mounted a production that speaks well for the possibilities of House drama. William Schroeder's three-level set soundly avoids the difficulty of attempting scenery changes without the mechanics of a real theatre, and the level-to-level journeys are made through effective use of lighting...

Author: By James Lardner, | Title: Father, Son, and Holy Ghost | 4/30/1966 | See Source »

Opera cynics today occasionally claim that successful productions are necessarily about 80 per cent staging; but if that dictum held last night, Giovanni would have been a disaster. Designer W. E. Schroeder was faced with the sizeable challenge of eight sudden and radical scene changes, and totally cowed, he reverted to a single homely, primitive set, which remains essentially unchanged for three and one-half hours. Nor were the ideas of Luiz-Lopez-Cepero of much greater ambitiousness; both the overall blocking and the dance sequences remained clumsy and often unconvincing...

Author: By Jeffrey B. Cobb, | Title: Don Giovanni | 4/28/1966 | See Source »

...William Schroeder's set appears to have been built under pressure and with little in the way of a budget, but it certainly serves its purpose. Some of Ellen Geisler's costumes--particularly Miss Hart's--are very effective, even if a few of the actors have haircuts and demeanors that seem a lot more 20th-century-Harvard than 19th-century-London...

Author: By James Lardner, | Title: The Importance of Being Earnest | 3/31/1966 | See Source »

...small but rather decorative set--featuring a superflous canopy resembling the top of a disembodied four-poster--was designed and effectively lighted by William Schroeder. Edith Shroeder's and Thalia Boyajian's simple, colorful costumes and William Sleator's pleasant incidental music both made modest contributions to the evening...

Author: By Martin S. Levins, | Title: All's Well That Ends Well | 3/18/1966 | See Source »

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