m 4640 Cornell University Library NA 6860. W36 Outdoor theaters; the design, constructio 3 1924 015 395 456 Stffaca. ^tm TSatk COLLEGE OF ARCHITECTURE LIBRARY OUTDOOR THEATERS THE DESIGN, CONSTRUCTION AND USE OF OPEN-AIR AUDITORIUMS FRANK A. WAUGH BOSTON: RICHARD G. BADGER TORONTO: THE COPP CLARK CO., LIMITED LL. Cornell University Library NA6860.W36 ^ „« 1917. BT BICHABD G. BA0GEB COPTBIGHSi 1»1'» "* All Bights Reserved printed in the X3nited States oi America The Gorham Pre8a,?BoBton,\U.S:A. Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924015395456 COLLEGE THEATER AT POMONA, CALIPOKNIA TO MY ASSOCIATE PROFESSOR ARTHUR KENYON HARRISON IN BECOGNITION OF HIS CONSTANT HELP AND NETER-FAIUNO STUFATHT, THIS VOLUME IS UOBT COBDIAIXT INBCBIBEO OUTDOOR THEATERS In direct relation to the redeeming of cowntry and in- dustrial districts through constructime leisure, is the fotmding of outdoor theaters for the people. In the country, at present, there are few, or none, which are not privately owned, buUt usually for city "col- onies" in the cowntry. Yet no better iwveslment — in pleasure wnd the resultant attraction of wealth — could he rnade by a cowntry commumty than an outdoor theater, properly conducted during the outdoor season. This con- sideration I suggest to the officers of all local Granges, The MacDoweU outdoor stage at Peterborough, N. H., is an excellent precedent for the fowndvng of such theaters. The su/mmer circuit of the Cohwrn Players demonstrates am, already nationmde demand for them. The glory of the Greek outdoor theater need only be referred to, in suggestion. Under the sum and stars, as'^ nowhere else, dramatic art becomes conrmcvng to the \ people. In cities, the public parks and commons should cer- tainly he provided with su^ch theaters: an easting prejur , dice to the contrary ia some cities is merely thf relic of indvmduaUstic or Puritanical ideals. Since the parks are for the people's civic pleasure, they should he rnade fuU ojid efficient instruments, by means of civic art. The out- door theater at Berkeley, California, has proved itself the noblest direct art influence in the San Francisco region. It has also, in, performances- there by Sarah, Bernhardt, Margaret Anglm, Maude Adams, Robert ManteU, and Outdoor Theaters other professional companies, illustrated the leadership of the theater's art, even wnder the commercial conditions which now prevent it from performing such public service universally. Percy Maceate. CONTENTS I. QUESTIONS OF USE PAOB Question's of Ush 15 The Shakespearean Tradition 17 Modem Drama 19 The Rural Drama 20 The Greek Drama 22 Masques ^4 Informal Programs 25 Formal Speaking 27 II. PROBLEMS OF DESIGN Problems of Desiqk 31 Size 86 Enclosure 39 Orientation 43 Locations 46 Seats 47 The Stage 50 The Foyer 54 The Proscenium 55 Furnishings 58 Lighting 60 Acoustics 62 III. SELECTED EXAMPLES "Bankkde" 65 "Garden Terrace Theater" 69 Pomona Coi.i.egb Theater 75 Greek Theater at the Unitersitt of California . 80 Contents PAGS Vassar College 85 "Isis Theater" 89 "The Rhododendron Garden" 93 Bryn Mawr 96 "Bhookside" .' 98 "Cranbrook" 102 A Real Municipal Theater 107 Garden Theater in Dresden 110 Redlands Bowl .113 The John Hay Amphitheater 115 Carmel, California 123 A Players' Green 125 Players' Green, Colttmbus Park, Chicago . . .128 Italian Garden Theaters 131 Sugar Loaf 136 Abenaki Chapel 138 Bibliography 143 Index I49 LIST OF ILLUSTRATIONS College Theater at Pomona, California . . . Frontispiece FACING PAGE "Cranbrook" — the Dressing Rooms 16 The Auditorium and the Stage at Prospect Park, St. Louis 20 A California "Greek" Theater at Pomona College . . 38 A Garden Theater Under Construction 46 Two Views of a Pageant in the Yale Bowl .... 60 First Professional Performance in the Bankside Theater, University of North Dakota . . . • . . 66 The "Garden Terrace Theater" 70 Scenes Presented on the Stage of the College Theater, Pomona 76 Two Views of the Stage of the Vassar CoUege Theater 86 Two Views of "Isis Theater," Point Loma ... 90 "Brookside," Mt. Kisco, N. Y 100 "Cranbrook," the Orchestra 103 "Cranbrook," Exterior Embellishments . . . .105 Outdoor Municipal Theater, Anoka, Minnesota . . .108 Two Views of "The Bowl," Redlands, California . . 114 John Hay Amphitheater, Baguio, P. 1 120 Outdoor Auditorium, Sugar Loaf Reservation, Massa- chusetts 120 Auditorium, Stage and Entrance Gate of the Outdoor Theater at Carmel, California 124 Two Views of Players' Green on Private Grounds . .126 Abenaki Chapel 138 Private Garden Theater, "Weld," Massachusetts . .138 PLANS FAoa BuTTERICK MeMO'RIAI. PaRK 21 Outdoor Theater, Mt. Holyoke College ... 26 OfESN-Air Theater, Fresko, California .... 32 The Villa Mondraoone 34 A Garden Theater, Mannheim, Gekuant ... 37 Villa Marlia 40 Villa Collodi 42 "Cafe Chantant," Temforart Thesateb for Charitt Bazaar, BrooklinE;, Mass. 45 Outdoor Theater, Warsaw 48 Forest Park, Outdoor Theater 52 SuoGESTivB Design by Miss S. Josephine Strange . 57 The Garden Theater, Segardi, Near Siena ... 59 Elizabethan Theater, Yankton Cglleos ... 70 Greek Theater, Pomona College . . ... . 77 Greek Theater, University of California . . . 81 Outdoor Theater, Vassar College 86 Greek Thbater, International TaEoaoPHicAL Head- quarters, Point Loma, California .... 90 "Rhododendron Garden," MASSACHuasTra Aohicul- TURAL College 94 Open-Air Theater, Bryn Mawr College ... 97 "Brookside," Mt. Eisco, N. Y 99 Cranbrook Theater 104 Open-Air Theater, Anoka, Minn 108 Garden Theater, Dresden Ill Band Concert Theater, Redlands, California . .114 R. P. Conklin Open-Air Theater 117 Open-Air Theater, Carmel, California . . . .124 Players' Green 126 11 Plans FAGB An Outdoor Theater^ Columbus Park, Chicago . .129 Theater of Hercui.es — Isola Bella c . . . .132 Garden Theater, Villa Gori, Siena . . . .133 Theater of Diana 134 12 QUESTIONS OF USE OUTDOOR THEATERS QUESTIONS OF USE IN order to secure the greatest enjoyment from the outdoor theater it is necessary to know how to use it. It cannot be used like an indoor the- ,, ater. This ought to be sufficiently plain. Yet attempts are sometimes made to transfer the per- formances of an ordinary playhouse directly to the out-of-doors, and such transfers are certain to result in disappointment. A good principle to follow in this matter is this: produce in an outdoor theater only such entertain- ments as can be presented there to better advan- tage than in the indoor theater. This rule should be interpreted to apply both to the performance and to the audience. Those in attendance must be at least as comfortable and as well provided for in the outdoor theater as they would be indoors, and the performance must be such that it is artistically 15 Outdoor Theaters more effective in the outdoor setting. If a play- can be given better on an indoor stage, or if the audience can be better accommodated in the indoor playhouse, it is a great mistake to take the perform- ance out-of-doors. Ciulnbrook" — The Dressino Booms Now there are a considerable number of plays and types of entertainment which can be effectively presented in the outdoor setting. Last spring, when the wild crab apple trees were in blossom, my friend Mr. Jens Jensen, artist and landscape gardener, arranged an ideal entertainment for some of his 16 Outdoor Theaters friends. He found a grassy glade beside a brook set beautifully with blossoming crab apples. Hav- ing seated the audience on a sloping bank, he intro- duced a pretty girl in white, who sat beneath the crab apple tree and played Mendelssohn's "Spring Song" on the harp. In response to this music there appeared from the dark recesses of the surrounding wood a group of fairies — children dressed in browns — ^who danced on the grass. This picture is complete in itself. It does not require a plot, a dramatic climax, or a denouement. It is an ideal type of performance for the outdoor theater or players' green. The Shakespearean Tradition It is the historic tradition that Shakespeare's plays were first produced on a stage without scen- ery. Further than that, the playhouse itself was almost as open and out-of-doors as the modern aerdrome. It would be much less of a jshift, there- fore, to take any of the Shakespearean plays from their original setting to an outdoor theater than to 17 Outdoor Theaters take them to the big elaborate playhouses of Broad- way and the Strand, with all their spectacular stage effects. The tradition of Shakespeare therefore seems to make his masterpieces reasonably available for outdoor performances. Some of them have always had a reputation in this field. "As You Like It" has been widely re- garded as an outdoor play, and if there is a college in the country where the local dramatic club has not some time performed "As You Like It" on the college campus, such an institution ought to be in- vestigated. Other plays and parts of plays are almost equally adapted to outdoor presentation, as, for example, "Midsummer Night's Dream," and parts of "Cymbeline," "Hamlet" and "Lear." This tradition for the performance of Shake- speare on the lawn has been greatly intensified in re- cent years by the work of certain professional and semi-professional troupes, most notably the Ben Greet Players. Their presentations have reached a high degree of artistic success, and have pleased thousands of spectators. It may fairly be said that such performances have reached beyond the high- 18 Outdoor Theaters brow audiences and have actually touched the pop- ular imagination. Modern Drama Acting on the principle already announced, that we should never present on an outdoor stage any performance which can be better cared for indoors, we have practically eliminated all modem drama. There is hardly a piece of any sort, known or un- known, which has not been prepared especially for the modem playhouse with its cvu"tains, its wings, and its easy shifts of scenery. To be sure there are frequently foimd in these plays certain scenes or acts represented as passing out of doors. It might be possible, therefore, to select such fragments and to present them decently on an outdoor stage; but these parts are so rare and genuinely fragmenta^ry that it is hardly worth while to consider them. While we rule out practically the entire body of modem drama as it exists, this need not neces- sarily close the chapter. It is still possible to pro- duce modem drama with all the best and worst and 19 Outdoor Theaters most popular (either best or worst) ideas, facts and fashions of the hour, and to cast these ideas into such a scheme as will fit the outdoor theater. In other words, any good playwright could, with rea- sonable ease, write an outdoor drama if he tried.* Let us hope that the work will be undertaken by many competent persons. The Rural Drama With the present rejuvenation of rural life many suggestions have been oflfered, amongst others the idea of a rural drama. Doubtless different persons have different visions of what the rural drama ought to be. Certainly one fair interpretation of the thought is that it should present, a true, artistic and inspiring picture of rural life. This is already done in a few such plays as "The Old Homestead," but it is possible to go considerably further in this direction, and especially to develop a drama which will be distinctly adapted to the rural environment, "The Old Homestead," for example, is a delightful country play, especially effective when presented 20 Outdoor Theaters on a New York City stage. What we would really like to have is a rural drama which would reach its artistic perfection when presented in a purely rural environment. SCUfi Of course we dismiss without further comment the ruck of "rural" stuff, "rube specialties," and the like, which have a constant market in the city play- houses, but which have no connection at any point with what we are now discussing. The rural drama. SI Outdoor Theaters properly speaking, remains to be developed. When it comes, however, it ought to find its natural setting in the outdoor theater. The Greek Drama , In studying the field of drama, with reference to ■ olitdoor presentations, every one must be immedi- ' ately struck by the ancient Greek literature. Here we have a considerable body of dramatic writing definitely produced for outdoor performance. This literature is known to have a high degree of artistic excellence, and has been urged upon students of all classes for centuries. / When we come to examine this material we are forcibly struck with the similarity which it shows at certain points to the modern popular drama. It .was in every way a popular article. The work of Aristophanes, for example, abounds in local polit- ical hits, cheap "gags" for the gallery, shady street jokes, and much of the stuff which is now consid- ered most cheap and vulgar in our most popular playhouses. The remarkable modernity of this ma- Outdoor Theaters terial cannot be better emphasized than in remark- ing that one of the plays of Aristophanes, "The Ecclesiazusae," written 393 years B. C, has re- cently been translated imder the title "Votes for Women," and that it very cleverly presents the modern question just as one might get it in Kansas or New Jersey. However, this is not the whole of the Greek drama, the main body of which is to be foimd in Euripidesj .^schylus and Sophocles, with Aristoph- anes taking fourth place. All these plays are worthy of the most careful study in reference to modern acting out-of-doors, and some of them are weU worth reproduction in substantially their ancient form. The great advantage of study of the Greek drama, however, comes from a consideration of its form. This form seems to be very much better adapted to the outdoor theater than the popular plays of the day, which consist of a complicated plot developed through four or five acts with a complete change of scenery at each curtain. In distinction from this, the Greek drama had the 23 Outdoor Theaters simplest possible dramatic form. There was very little plot, and the dramatic action moved rather slowly and very simply. There was a minimum of acting, in the modern sense of complicated stage business, the ideas being presented more frequently in the form of recitations or very single dialogues. A very small ntimbef of actors were, therefore, required for -the drama proper. The various epi^ sodes or paragraphs of this program of recitations and dialogues were supported by choruses sung or chanted by a costimied group more or less in the background. These choruses presented both a visual and an auditory background to the dialogue^ serving thus to complete the picture and make it more interesting. This Greek model would seem to be capable of ready adaptation to the present needs of the out- door theater. Masques Masques and simple pageants would seem to be more nearly the ideal type of performance for the garden theater. These have a greater simplicity of Outdoor Theaters structure, depend less on purely literary effects, but more upon the stage picture and upon the use of symbolism. It is worth while to notice that a few fairly successful masques have been produced in this country during the last few years, notably Mr. Percy Mackaye's famous "Bird Masque." It is amongst literature of this sort we ought to look for the things most suitable to outdoor performance. Meantime audiences should learn to depend more upon their imaginations, more upon poetic symbol- ism, more upon broad suggestions, and less upon detailed verbal development of a complicated plot. Informal Programs Our study of the requirements of the outdoor theater have thus led us to the general con- clusion that simplicity of plot and smoothness of dramatic action ^reparticulafly required to make our outdoor performances successful. This leads us naturally to a consideration of the less formal types of entertainment, such as recitations, ballad singing, simple folk dancing, and various musical 25 Outdoor Theaters programs. Those who have heard the Fuller sis- ters sing their charming English ballads can easily imagine how effective their performances would be Plan R Screen TWir-yft"*??)!?-., Terraces Sci-een to' H<9h If) White P,™3 No>!! Se-QtS """''^'WjtTOtjv,™^ Staqe ji Porm a. Consist of IvloveQ.ble. Choirs Cross 3frCTioN Outdoor TttE-ATE-R Mt. fiolyoKe Colleg e Ji — • — i i ■- ;t S iP. 26 Outdoor Theaters if presented in an attractive intimate garden theater. Musical programs of various kinds, espe- cially those commonly called chamber music, can be made very effective outdoors. There is some- thing about most music which harmonizes exquis- itely with the landscape. Most of the simple clas- sics, as, for example, Titl's "Serenade," Mascagni's "Intermezzo Sinfonico," Haendel's "Largo," and all the delightful songs with or without words by Schubert, Schumann and Mendelssohn, could not possibly find a more effective presentation than in the garden theater of a pleasant smnmer evening with a quiet sky and a smiling moon. Perhaps we shall find the best use of all for our garden theaters in the presentation of such entirely informal programs of recitations, singing, and in- strumental music as we have here sketched. Formal SpeaMng It may be worth while also to call attention to the value of the outdoor stage for formal speaking. In many parts of the country it is customary to 27 Outdoor Theaters hold religious services, especially preaching, out of doors during the summer months. Evening preaching is more commonly undertaken on a lawn than the regular mid-day services, but both are pretty well known. The idea of outdoor preaching is perfectly sound and worth further study. It is encouraging to think how much could be accom- plished in a properly designed proseuche and with a form of religious service nicely adapted to such an environment. Other forms of public speaking could also be accommodated out-of-doors. It is interesting to remember that , the public aflPairs of the earliest republics were conducted in this manner, the agorae of the Greeks and the forums of the Romans being simply public squares open to the sky where all kinds of public and political addresses were de- livered. 28 II PROBLEMS OF DESIGN PROBLEMS OF DESIGN THE development of the outdoor theater presents a twofold problem. On the one hand the physical theater itself must be de- signed, built and equipped, while on the other hand a careful study must be made of the literary struc- ture and dress of the perfonnance to be given in the theater. The performance must be adapted to the theater and the theater to the performance. For this reason every problem in design and con- struction must be solved in view of the special use to which the theater is to be put. Outdoor auditorixmas of many kinds already exist in America. For the most part they may be classified into (a) stadiums, chiefly for athletic games; (b) large temporary grounds arranged for pageantry; (c) outdoor commercial places of amusement, "aerdromes," etc., used for moving pic- ture shows, summer vaudeville, etc.; (d) garden theaters in the restricted and more artistic sense. 31 Outdoor Theaters adapted to masques, ballad singing, chamber music, etc. The big athletic stadiums of this country stand OF-&n-)^WC Tttfe'ATT&tr. in a class by themselves. They have been occasion- ally used for dramatic performances, especially pageantry, and might be more extensively used in that way to considerable advantage. Of course the 32 Outdoor Theaters regular intercollegiate football games are much more valuable as spectacles than as games of skill. Many of them might fairly be called pageants in themselves. The brilliant artistic effect is very much more fetching and much more valuable so- cially than the competition for touchdowns. In the following discussion, however, I do not intend to consider the design and construction of stadiimis of this class. The design of a suitable setting for any pageant should, of course, be regarded as a matter of prime importance. Some attention appears to have been paid to this point in ahnost every case, including both the pictorial setting for the stage and the com- fortable disposition of the visitors. Nevertheless performances of pageantry have been so notably local and temporary that nothing much better than a makeshift treatment has, ever been offered for them. It has not been possible to give them the advantages of a thoroughly weU-built auditorium or of an ideally designed stage. Further than this it seems impracticable to go at the present time. It is obvious that very much migUt be done for ■^^— " >■■■ I '■ .11 ■■■ S3 Outdoor Theaters 3tCTI0» Tbe Villa Mondlaodme 34 Outdoor Theaters the improvement of the commercial "aerdromes." For the most part these are rather shabby structures consisting of a wooden enclosure with a cheap wooden stage, the interior of the auditoriiim being commonly ornamented with brilliant advertising posters celebrating different kinds of tobacco, pat- ent medicines and corsets. These theaters, however, are well worth better treatment. They represent a sound commercial enterprise and one which is ca- pable of much wider development. If the proprie- tors of such establishments would secure the assist- ance of first-class architects and landscape archi- tects to design their settings, substituting attrac- tive foliage masses for coarse advertising, present- ing well balanced design in place of the common squalid setting, it would be good business for everybody and a substantial contribution to Ameri- can art. The following discussion, however, is directed primarily to the design of the outdoor theater in its strictest definition. It holds in view the equipment of a place for first-class artistic presentation of suit- able drama, folk dancing, ballad singing, readings, 35 Outdoor Theaters music, etc. Some of the features of such theaters can be pointed out with confidence. Size It seems possible to standardize rather definitely the size of outdoor theaters of all classes. The foot- ball stadium should be as large as necessary — ^in other words, as large as possible in most cases. There seems to be no limit to the size of such struc- tures except the limit of vision. It is not expected that visitors wiU hear much of what is said on the grounds. In a similar way it seems to be understood that an auditoriimi for pageantry wiU have to be a large one. In general the pageant requires consid- erable space both for actors and auditors. The commercial "aerdrome" should seat approxi- mately 500. Anything less than this is a doubtful commercial success; anything more is unsatisfactory to the audience. In fact it is practically impossible to attract and satisfy audiences larger than 500 with legitimate entertainment of moving pictures and summer vaudeville. Outdoor Theaters In the matter of outdoor theaters proper, it is also quite clear that a small theater is, better than a large one. In many of the theaters of the old Trellij-^ Sect ion A Q AR.DtH THt K T^t M A « intlH • QER.HHNY Italian vUIas the accommodations would serve only the smallest audiences, sometimes not more than a dozen or two. 37 Outdoor Theaters. Furthermore it seems to be a technical and artis- tic requirement that the outdoor theater should be made compact an,d intimate. If the place is large and open, the performers and spectators being separated by considerable spaces, then the burden upon the performers of reaching the auditors be- comes altogether too great. This difficulty is both physical and psychological. It is a very real diffi- culty in an outdoor theater and must be heroically overcome. The way to overcome it is to contract the size of the theater, to bring the audience and performers closely together, and to give the place a strong feeling of enclosure and privacy. It seems fair to estimate therefore that a garden theater, to be successful from an artistic standpoint^ should not undertake to care for audiences larger than 300 or 400. Even better artistic results can probably be secured in most situations by cutting the auditorium down to accommodate not more than 200. Generally speaking, however, we may look upon 500 as the maximum. S8 A CALIFORNIA "gBEEk" THEATER. COLLEGE THEATER AT POMONA COL- LEGE, CALIFORNIA Outdoor Theaters Enclosure The commercial "aerdrome," of course, requires enclosure in order that everybody can be kept out except those who have paid the admission fee. Nearly all outdoor theaters are used at times for paid performances and this same problem arises in a more or less definite way. In some cases it will be necessary, therefore, to enclose a theater against unpaid intruders. Such an enclosure can usually be made with woven wire fencing which can be intro- duced in such a manner as to be wholly invisible or at least unobtrusive. So far this is wholly a practical matter, but artis- tically the sense of enclosure is much more impor- tant. The theater must be secluded and private, i It cannot be open to all the world without inviting ^ a wandering attention on the part of all auditors. Even if the visitors have such self-control as to enable them to concentrate their attention definitely 'upon the stage when other interests are visible out- side, it is stUl exceedingly important that the audi- ence and the performers should feel a sense of inti- y 39 Outdoor Theaters macy and personal relationship fostered by the privacy of the place. Such a psychological condi- tion is necessary to the best results. It is obvious that the best methods of securing this privacy, from VILLA MACUA ^ t. i. i. the standpoint of landscape architecture, are to be found in the employment of trees, shrubs, and hedges. Large tree masses are most generally use- ful. Straightly trinmaed hedges with severe out- lines and monotonous color masses can certainly be 40 Outdoor Theaters made very effective under some conditions. Walls of brick or stucco may be desirable for parts of these enclosures under certain circumstances. Since it is the purpose of all these plantings to supply first the background for the spectacle and second a quieting enclosure, the simpler and more monotonous com- positions are the better. A vigorous lively composi- tion of highly colored foliage and broken sky line would be highly unsuitable. One other point, however, needs to be carefully considered in reference to this problem of enclosure. It hardly seems necessary to speak of the question of ventilation in an outdoor theater, and yet as a matter of fact this is often decidedly important. The outdoor theater, especially the commercial "aerdrome," attracts people during the hot summer months largely with the idea of its coolness. There should be, therefore, a free circulation of air throughout the auditorium. If there is any simi- mer breeze blowing the audience is entitled to the benefit of it. Undoubtedly a strict and solid en- closure of the place for purposes of privacy is likely to interfere with this very desirable air circulation. 41 Outdoor Theaters Aj?^~^.c \' —VILLA-COLLOOI'- PL^rH of **• q-^XD^Ji TtfK^TKtC.. t» ■ j i i i V illiioaia'' 42 Outdoor Theaters Perhaps some compromise of the two requirements would be necessary in certain cases. Perhaps it will be permissible here to mention another matter of some consequence, viz., the insect nuisance. The plague of mosquitoes J s in fact one of the worst practical drawbacks to many an out- door theater. Civilization, it is true, is making visible progress in abolishing this pest, and perhaps the day will come when we may count it out altogether. Orientation An outdoor theater which is to be used at night may have almost any orientation. As many such theaters, however, are used during the daylight hours, more especially during the late afternoon, the position of the sun with reference to the stage and the onlookers becomes of considerable importance. In looking over the outdoor theaters built in various parts of this country, a nvmiber are found which have gone wrong at this point. Probably the worst arrangement is that in which the central axis of the theater runs due east and west, with the audience 43 Outdoor Theaters jplaced on the eastern end facing westward. Such an arrangement leaves the afternoon sun falling directly in their eyes. This is not merely uncom- fortable for the audience, but gives a very poor development of the stage picture. The opposite arraiigefloient, placing the audience with its back to the sun and the stage at the east, " is comfortable for the visitors and presents a fairly good stage picture. The direct sunlight in the eyes of the performers, however, is uncomfortable for them and must interfere with the success of their performance. Moreover it does not give a better stage picture than can be secured with a side light. Indeed, side lighting, with the sunlight falling upon the stage at an angle of 75 to 90 degrees, undoubtedly gives the best pictorial effect. At the same time it is not objectionable to either audience or performers. For this reason it seems desirable as a general rule, subject to some exceptions based on topography and local conditions, to place an outdoor theater with its axis approximately north and south. Perhaps, as a rule, the audience should be placed at the southern end of this axis with the 44 Outdoor Theaters "Cafe Chantant" — Teimpokart Theateh for Chakitt Bazaarj Brookunej Mass. 45 Outdoor Theaters stage at the northern end, but this is not a matter I of great moment. Locations Suitable locations for outdoor theaters are not by any means rare in natural topography. Every once in a while I have my attention directed to some outdoor theater nicely nestled in the bend of a bank, and find that the makers think they have found a unique natural formation for their special ibenefit. As a matter of fact the concave sloping ihillside is rather a common unit in the works of mature. This is to be found frequently along the sides of ravines, at the head of small canyons, etc. In any country which has a rolling or diverse topography a very moderate search will discover places suited for outdoor theaters, — some, of course, better than others. Wherever possible, advantage should be taken of such natural topography in designing the outdoor theater. However, very good results can be se- cured even on perfectly flat groimd. In such cases some grading may be required, especially for the GAHDEN THEATER UNDER COXSTRUCTION Designed by Jens Jensen Outdoor Theaters auditorium, though a sloping auditorium is not ab- solutely necessary, especially in a small theater. The stage will need to be raised to some extent even in small theaters. This may be accomplished by grading or by buUding a stage. Seats At the present time there seems to be a violent whim in possession of the American mind to the effect that an outdoor auditorium must have cement seats. Everywhere ambitious owners of outdoor theaters are trying to find their way to permanent cement benches for the accommodation of audi- ences. Yet it seems certain that cement is the worist material ever discovered for this purpose. It certainly is the worst from the point of comfort, being the last thing any sane visitor could wish to sit upon; and it is equally bad from the artistic standpoint. Nothing could be less harmonious with the landscape, less pastoral, less sylvan, than rigid cement seats. The beautiful outdoor theaters of the old Italian 47 Outdoor Theaters Outdoor Thbater, Wahsaw 48 Outdoor Theaters villas mostly depended upon grassy terraces for the accommodation of the audiences. Such a ter- race, which can be kept sufficiently dry, is perhaps the ideal seating arrangement for the audience in' an outdoor theater. Even if the grass is not very good, the banks will still serve. They may be cov- ered with mats of one kiiid and another which would make them entirely acceptable under most circum- stances. Indeed the development of such comfortable home-made seating facilities becomes a very inter- esting problem in artistic design. In case of an out- door theater, for example, surroimded by pine trees, it would be an artistic touch to cover the terrace seats with dry pine leaves. This would be entirely satisfactory also from the standpoint of comfort. In other cases mats could be provided woven from corn husks, rushes, sweet grass, or other native ma- terials. Such mats of course could be taken in be- tween performances and brought out again on occasion. Probably the most generally satisfactory provi- sion, however, for seating an audience will consist 49 Outdoor Theaters of wooden seats. These should be made of rough sawed lumber, not dressed. In some cases it will be possible to leave a considerable portion of the bark on timbers sawed for this purpose. Thus logs could be split in half, turned with the flat side up, leaving the bark on, and thus securing a first rate rustic eflFect. In any circumstances the seats should be very simply designed, always substantial, and never seeking an ornamental effect. The sawed surfaces should be stained with gray or brown neu- tral stains. In some cases a dull green could be used, harmonizing with the surrounding foliage; in other cases a brown could be used harmonizing with the bark of standing trees. The Stage The size of the stage would depend somewhat upon the character of performances to be accommo- dated; but as it is our present view that pageantry should be provided for in special large theaters quite different from those now vmder construction, and that the small theater should confine itself to 50 Outdoor Theaters very simple performances, we need not provide a very extensive stage. Very roughly stated, we may say that a space 15 x 30 feet will be suitable for most small outdoor theaters. This space should, of course, be level, and pref- erably should be grassed. Where grass cannot be grown, a smooth earth surface will be best. This may be strewn with pine leaves or some similar local material chosen with care and taste. In some cases a platform built of lumber may seem desir- able, though such an artificial structure should not be introduced imless entirely necessary. In more elaborately designed theaters a stage platform may be made of brick work. But under no circimi- stances should the stage treatment be gaudy or conspicuous. The stage should present a definite background. In general this should be of a somewhat monot- onous neutral and inconspicuous character. We should understand that this is a background and not a part of the performance. It should not attract our attention from singers or actors in any case. Furthermore this background should complete 51 Outdoor Theaters 52 Outdoor Theaters the view. There should not be openings through it where the eye can wander to interesting scenes beyond the stage. It is very important that this stage arrangement should be such as to assist those in the audience in concentrating their thought and attention upon the performance instead of diffusing it to other things. This principle is frequently dis- regarded in the design of outdoor theaters. It is very often assumed that the audience will be pleased with a fine development of landsca|)e, for example a splendid outlook which they may see from their seats in the auditorium. An outdoor theater, however, is not primarily a place for view- ing the landscape. If there are splendid landscape views to be revealed they should be shown from -vantage points outside the theater, perhaps from the lobby. But when the audience has finally taken seats in the theater itself and the performers are ready to begin, there should be no competition of interests with what is going on on the stage. The stage should also be provided with wings such as will assist actors in moving into and out of the scene, and there should be suitable provisions 53 Outdoor Theaters of privacy for dressing rooms back of the stage. ; Costuming is of great importance in many of the spectacles to be presented in the outdoor theater, and this, of course, requires suitable dressing-room facilities. The Foyer Any theatrical performance should be more or less of a social function. Friends should meet friends at the theater and should have an opportu- nity for greeting and conversation. In the best playhouses of the old world this is rather fully pro- vided for in attractive foyers and the performance is arranged with long intermissions permitting pleasant social intercourse in them. Unfortunately this custom is not so well developed in America. Whatever may be the situation regarding dramatic or musical performances in ordinary theaters, cer- tainly the outdoor theater should do better. At- tendance upon an outdoor performance ought to be distinctly more of a friendly social function than attendance upon a paid performance in a Broad- way playhouse. Every one must recognize at once S4) Outdoor Theaters the superior social advantages of the outdoor the-j ater. Provision should always be made, therefore, for social greeting and friendly circulation of the entire audience. This can best be provided for by one or two definite foyers or promenades directly in connection with the theater plan. They would naturally, however, be placed outside the regular auditorium space, and may be nicely developed in connection with hedges, screens, or similar features of the theater. The trained landscape architect will need nothing more than a suggestion of this sort in order to develop the idea under whatever circum- stances may be presented in specific problems. The Proscenium In the outdoor theater there is, strictly speaking, no proscenimn, but while the picture is not so defi- nitely confined by a hard and fast outline, there should be an even more graphic and eflfective pic- ture presented to the eye. The outdoor theater stage should be quite superior in its pictorial eflfect. As we have already suggested, this should not be 55 Outdoor Theaters assertive and gaudy so as to compete with the per- fonnance on the stage. We have also already sug- gested the technical requirement that the stage pic- tures should be closed and never left open to dis- tracting vistas. Whether it should be definitely formalized or not must rest with the taste of each designer. Undoubtedly some outdoor theaters should be rather distinctly formal. Others should be distinctly informal. Whenever a more or less formal type of design is adopted it should be some- what emphasized in the treatment of the stage. In dealing with the stage picture we come natu- rally to the idea of movable scenery. We are so accustomed to having drop curtains, painted scenes and movable stage effects in our indoor theaters that it is hard to do without them in the outdoor theaters. In general it may be said that such effects should be very greatly minimized on pur outdoor stages, and that wherever possible they should be entirely abandoned. It is, of course, possible to have mova- ble backgrounds, and even soriie stage scenery on an outdoor stage, but everything of this kind should be undertaken with the utmost caution. 56 Outdoor Theaters Perhaps the best that could be done with movable backgrounds would be to present different color schemes or tone pictures. Thus one performance Sea.+ 1-n^ Co,paci+>( .TOO Suggestive Design by Miss S. Josibphine Strakge might require a bright cheerful color scheme, while another might prosper better with a dull somber background. Movable lattice-work screens into which can be woven cut foliage, or even cut jflowers. 57 Outdoor Theaters would make changes of this kind practicable. In all cases, however, it is better to be extremely cau- tious and to remember that simplicity is the ideal of all art, and especially of the garden theater. In a few instances designers of garden theaters have felt compelled to supply a curtain for the stage. This is plainly an exceedingly difficult prob- lem, and no solution for it which I have yet seen or heard of can be regarded as artistically success- ful. The makeshift is too obvious. It wiU be bet- ter, in most cases certainly, to be quite frank with the audience and omit the curtain. Aside from what has already been spoken of, the outdoor theater does not need many furnish- ings. Some very simple vase forms or painted col- umns may be desirable in setting off the stage, or in marking the entrances and exits. The old Italian theaters nearly always introduced marble statuary. Such furnishings, however, do not seem especially suited to American outdoor theaters,^ 58 Outdoor Theaters both because we are unaccustomed to them, and because we do not have good material available. A rather frequent technical device has been the ■'ir~ir"ir'm, I '^<: "A- ■ •--.■•<~.r".Vi!,:-.V^'' : .•J^Vj>■^^;:i.^a^-.giSJ£:;:^!;;^ "Brookside," Mt. Kiaco, N. Y. noon sun streams comfortably over the shoulders of visitors on the benches. So far as I know, "Brookside" is the only out- door theater properly so called which has been regu- larly used for the conmiercial production of plays, music and other similar material. Miss Leonard, however, has managed this theater through three 100 Outdoor Theaters successful seasons. The program of 1914 may be recorded as a fine example of the uses of the out- door theater. It was as follows : May 30, Decoration Day. "Orpheus." Music by Gluck; dances arranged and executed by Flor- ence Fleming Noyes and pupils. June 6. The Misses Hoyt in a program of tableaux-chantants. June 13. The Electra of Sophocles; incidental music by Moussorgsky. June 20. Miss Ruth St. Denis in Eastern dances and impersonations. June 27. "Pinkie and the Fairies," a play for children and grown-ups. July 4. Variety Entertainment. 101 "CRANBROOK" ONE of the newest of the outdoor theaters, and one of the most refined in design, is Cranbrook. This was designed by Mr. Marcus R. Burrowes, architect for Mr. George G. Booth of Detroit. This may fairly be called a Greek theater, although no attempt has been made to reach an excessive classicism in detail. The theater is buUt on the farm of Mr. George G. Booth, at Bloomfield Hills near Detroit. While it is entirely under private ownership, it is expected that it will be used by local dramatic and musical societies. The following account of this theater is clipped from the Boston Transcript of May 6, 1916: "The theater is set on a hUl in the midst of an extensive garden. Or rather than garden, it is a farm de luxe, with farm and meadow lands, cattle, sheep, goats, dogs, horses and so oh, 'for the very earthy,' together with many other delights to the 102 Outdoor Theaters senses, such as kitchen gardens, walled fruit gar- dens, fprmal and wild, and bogs for orchids and water flowers, all to 'round out one person or to meet the special interest of each.' This character of friendly idleness is somehow carried out in the "Cbaxbrook" — The Orchestra architecture of the theater. This reproduces in stone the chief characteristics and proportions of the Greek theater at Syracuse in Sicily, but in re- ducing the dimensions the architect has managed to get quite rid of the austerity of the original. The theater as it stands, with its roomy stage and its grass 'orchestra,' with its seats in friendly prox- ies Outdoor Theaters imity to the actor, invites the intimate type of dra- matic production which American little theaters have chiefly housed. "Instead of the conventional temple portal the back wall of the stage contains three openings. ftt jJ »©©L CLAlftLOOL TbLATR-L •I'l'jYueiftJ , •AXCIITtCT LuU DCTLeiT- NlO* These may be curtained for the performance. But through them, when the 'house is dark,' can be seen the inviting swimming pool which Mr. Booth has provided perhaps for use and certainly for adornment. This is symbolic as well as decorative, for Greek drama was never far removed from ath- letic games. 104 Outdoor Theaters "Thanks to luck and to careful planning, the acoustics of the little theater are admirahle. A few months ago the Misses Fuller sang some of 'Cranbrook" — Exterior EmbeiLlishments 105 Outdoor Theaters their English folk-melodies there, and of the per- formance a recorder says: 'There, in the face of a strong wind and in "citizens' " clothes, they sang a variety of their songs and then, going back of the stage and pool to the pavilion, they sang in half -voice several of the Gaelic melodies and songs of the Hebrides. Every note was perfectly audi- ble. The music seemed also to take on an un- earthly quality. The sound was held and the very mood given back by the setting. It was like the loveliness of a thing imagined.' The sponsors assert that the swimming pool is a beneficent aid to the acoustics." 106 A REAL MUNICIPAL THEATER COMMUNITY drama is looked upon by some as one of the great coming social move- ments. Certain it is that most attempts at coinmunity drama and pageantry have given the happiest social results. This experience has been especially marked in the town of Anoka, Minne- sota, with a population of a little over four thou- sand. Anoka is situated on the picturesque banks of the Rmn River, and at a point where this stream circles in near to one of the principal streets advan- tage has been taken of the usual concave bank to build the not unusual cement stadium seats. At the foot of the bank the level space has been used for the development of an attractive stage. In this case the river nms behind the stage and is visible from the seats of the spectators, instead of run- ning between the stage and the spectators, as in some other outdoor theaters. 107 Outdoor Theaters The Anoka theater was buUt in 1915 from the designs by Purcell & Ehnslie, architects, of Min- YTAUK. ^tcTion Ovm AiaTH£ATPt neiapolis. The money was raised by various com- munity enterprises such as the usual fairs, suppers. loa OUTDOOR MUNICIPAL THEATER, ANOKA, MINNESOTA Outdoor Theaters bazars, etc., but partly also by performances given in the theater itself. At the outset a canvas cover was provided which could be stretched over the auditoriiun in case of rain, but this was found un- satisfactory and has been abandoned. " The theater cost approximately $4,500. The un- satisfactory character of the cement seats led early to an improvement in the form of wooden-slatted seats made to lie upon the cement benches. These seats have comfortable backs. The theater has been successfully used for page- ants, various kinds of plays, including motion pic- ture shows, and for musical performances. Archi- tecturally, dramatically and socially it is considered a striking success. 109 GAKDEN THEATER IN DRESDEN IN the Royal Park in Dresden I came one day, quite unexpectedly, upon a garden theater hid- den in the midst of a considerable stretch of woods. The trees were old, large and stately, so that we had the feeling here of being in the big forest. The sun slanted warmly in through the opening in the tree tops, adding to the sense of seclusion an equally agreeable sense of warmth and welcome. I sat down on the grass terrace and for some time studied the delightful layout, after which I made the paced survey shown in the ac- companying sketch (page 111). This little theater was placed transversely upon a long straight path running through the woods. This path was not a structural axis in the general design of the park. It entered and crossed the or- chestra pit inamediately in front of the stage. The orchestra pit was depressed about three feet below the general level, and the spoil from this 110 Outdoor Theaters GiXDES TlEEATBH, DkESDEUT 111 Outdoor Theaters excavation had been heaped up to form the circular grass terraces on which the spectators might sit. The stage was level and separated from the orches- tra by a low retaining wall. At either end of this wall was a statuary group, marking a sort of proscenium. At the back of the stage was another statuary group of considerable mass. Placed obliquely along either side of the stage were four rectangular pedestals about four feet high. I was left to con- jecture their office. My guess was that they were used to support flambeaux for lighting the stage during performances. I am obliged to testify without qualification that this is the most charming outdoor theater which I have ever seen. Yet it was of the most inexpensive construction, and the physical and topographic conditions under which it was built were of the most ordinary sort. It would seem that the ideas rep- resented ia this piece of work are capable of wide adoption. 112 REDLANDS BOWL WHAT is known as the "Bowl" at Red- lands, CaL, is an enterprise of the city park department. This well-built am- phitheater was provided mainly with a view to the presentation of public band concerts. A natural depression was brought to a smooth grade and permanent seats of concrete and wood were built. The stage is simply a hood, practi- cally the quarter concavity of a sphere, used as a band stand. It is hardly suited for dramatic per- formances, though it could probably be adopted without much diflSculty to the presentation of out- door kinematics. This amphitheater is perhaps somewhat too open. There is a magnificent view of the mountains, but there is too much temptation for the attention of the audience to stray away from the stage. The big paved automobile road encircling the theater is convenient for access, but the coming and going 113 Outdoor Theaters of automobiles, and even of visitors on foot, must measurably disturb players and auditors. For every outdoor theater it is especially desir- able that provision be made for the parking of automobiles at some little distance. Noisy traffic and other external disturbances must be reduced to the minimum by carefully laid plans to that end. 114 TWO VIEWS OF THE BOWL, BEDLAIfDS, CALIFORNIA THE JOHN HAY AMPHITHEATER THIS most striking design was carried out in -the years 1912-13 at Camp John Hay, Baguio, Philippine Islands. It was the work of United States Army officers, Maj.-Gen. J. Franklin Bell being apparently the leading mover. Maj.-Gen. Bell contributed an account of the undertaking to the Teachers' Assembly Herald, a local publication. His statement is of such in- terest that it should be reproduced in full. He says: "That the natural semi-circular hollow in which the John Hay Amphitheater is constructed pos- sessed most remarkable acoustical properties was demonstrated by actual test before construction work was begun. This camp has no chapel or recreation haU, but possesses an unusual outdoor climate. These circumstances led to the conversion of this natural hollow into what its very form seemed to suggest, an open-air amphitheater, where 115 Outdoor Theaters the garrison, and the general public as well, might occasionally enjoy mental recreation and distrac- tion, as well as religious services. "The general plan of the amphitheater is that of semi-circular tiers of seats, arranged on five ter- races, rising one above the other toward the rear and facing southward toward the speaker's plat- form, situated down below at the exact center of the semi-circle. "The terraces are twelve feet wide, planted to grass, and rise in steps of two and one-half feet eadi, except the highest — ^the rear one — ^which rises five feet above the one next to it. "At the inception of this project, we failed fuUy to comprehend the true size of the undertaking, but notwithstanding the difficulties and delays encoim- tered from time to time, we persevered in our ef- forts and to-day our task is well-nigh completed. The results have given us just cause to feel grati- fied with what we have achieved. I have never known any one who, having observed these results, does not consider this amphitheater the prettiest thing of the kind ever seen. 116 Outdoor Theaters B;PCOW ICLl/j •^Oftn-AIE.-'TtttATEi •OunSTCo D«.03-oirs- ~ ESOajUJtB-Utl.- ' • !"■ {(K^ .•'';S?^.- ■ -g^^ .■■'"/.■■•■ -. .. ■•..-.■ ■ ■■ ■. .-. • ■ •, . •■•V :.;::,44:^ ic-. , jjf' »tftrnf"nc'titfi'ti»tct an^/tHtf tun ***»»# ► 117 Outdoor Theaters "The first thing we had to do was to make the ter- races. It took very little grading to prepare them because the ground was of such appropriate shape. Then the construction of the rock walls which revet the terraces was begun. This required consider- able labor, all of which was done by Igorots. On top of each of these terrace revetment walls, and forming a part thereof, is a low flower wall, about a foot high. The rock with which the terrace walls are constructed was largely dug out of the ground itself, while grading the terraces, and is of very variegated and beautiful colors, reds, browns, and lavenders predominating. The rock in the flower walls came from the Whitmarsh Valley and the NaguDian Road country. It is a grayish white and black color and is very ornamental in effect. The contrast between these walls heightens the artistic character of the whole. There are six ter- race walls, the flower wall on top of each being filled with earth and planted to flowers of various kinds and colors. Immediately behind the high, rear terrace wall is a hedge of hibiscus and behind that a row of tree-ferns. In the rear of these tree- 118 Outdoor Theaters ferns and rising higher is the last wall, a flower wall, about two feet high. In fact, this flower waU extends entirely around the perimeter of the amphitheater, above as well as below. The lowest terrace wall is extended until it forms a figure closely resembling an ellipse. It is, in shape, actu- ally two semi-circles, whose ends are joined by right lines thirty feet long. In the center of this ellipti- cal figure stands a pagoda, whose roof rests on six pillars, the whole hexagonal in shape, with a semi- elliptical platform between the two pillars on its front side and extending five feet to the front of them. This platform and pagoda serve as a pulpit for religious exercises. "The elliptical figure,made bythe flower wall sur- roimding the pagoda, contains two side walks, fol- lowing the diameter of the semi-circular amphithea- ter and connecting the pagoda with flights of steps (discussed later) which continue upward along the diameter to the perimeter of the amphitheater. These side walks divide the elliptical space into two lawns, the rear, or soutib lawn, behind the pagoda, and the front, or north lawn, in front of the pagoda 119 Outdoor Theaters which (with the front half of the pagoda floor) con- stitutes the stage for out-of-door performances. The front lawn slopes slightly toward the audience, which faces southward. The south, or rear lawn, is twenty inches lower than the front, or north lawn. The pagoda is surrounded by a side walk on its southern side, and by steps all around it rising to its floor, two feet above the side walk. "One break is made in the elliptical flower wall surrounding the pagoda by two wing walls buUt to include a large boulder and a pretty pine tree in the lawn surrounding the pagoda. "Five equidistant flights of stairs (composed of landings on terraces and steps between) rise from the lowest terrace wall to the perimeter wall of the amphitheater to facilitate access to seats. ' Two of these walls, previously referred to, follow the di- ameter of the semi-circular terraces, and one of them bisects them into two equal quadrants. The other two stairways bisect these quadrants. One of the stairways is picturesquely broken up into branches by intervening obstacles. "None of the trees which stood on the ground oc- 120 JOHX HAY AMPHITHEATER, BAOUIO, PHILIPPINE ISLANDS OUTDOOR AUDITORIUM, SUGAR LOAF RESEBVATION, MASSACHUSETTS \ Outdoor Theaters cupied by the structure have been disturbed. They have all been preserved. One of them, apparently standing on top of a flight of steps, really grew on a large boulder and the steps were made in the ter- race for the purpose of preserving the tree. The preservation of this tree, as well as one which grows out of a very large boulder in the orchestra pit, adds considerably to the picturesqueness of the amphi- theater. "The stage, as already stated, includes that por- tion of the lawn between the pagoda and the lower terrace wall. "A lot of very large boulders, or rocks, stuck oul; of the ground in the upper lefthand (western) por- tion of \ the amphitheater. These were so treated as to result in unique boxes, holding from fifteen to thirty persons each. These boxes are connected with flights of rustic steps. "A rock tower, surrounding a very large and shapely pine tree, forms one of the striking archi-: tectural accents of the structure. There are other pictiu*esque features, mainly consisting of oddities, too unusual in character to admit of lucid descrip- isi Outdoor Theaters tion. The entire structure is ornamented here and there with garden vases, varying in shape and color, filled with growing plants. "This amphitheater can seat two thousand people, with three rows of chairs on each terrace, and its acoustical properties are so good that one can stand in the pagoda and, speaking in a stage whisper, be heard almost equally well by every person in the audience whose hearing is normal, provided perfect stiUness prevails and no wind is astir. Its rather profuse ornamentation with flowers presents a pleasing and unique feature not embodied, so far as is known, in any other open-air amphitheater in the world." 122 CAKMEL, CALIFORNIA IN California the outdoor theater flourishes be- yond all other parts of the world. A favorable climate must receive some of the credit for this fact, but the healthy imaginations of the Califor- nians have undoubtedly helped. The outdoor theater at Carmel is not one of the most celebrated in California, but is perhaps con- tent to be one of the best. It is not too large, it is not over-pretentious, it is snuggled away amongst friendly shady trees, it has a fine foliage back- ground for its stage. All these are positive good qualities. The stage background in particular is one of the best. The accompanying photographs by Mr. L. S. Slevin wUl give a good idea of the theater and its ingratiating surroundings. 12S Outdoor Theaters i c^- ■■:■' '■■.■■ -^C >=i>y 0Ptn ^a TMtATDt CwaMErL — CAUt 124 AUDITORIUM, STAGE AND ENTRANCE GATE OF THE OUTDOOR THEATER AT CARMEL, CALIFORNIA Copyright by L. S. Slevin A PLAYERS' GREEN MR. JENS JENSEN is a poet and a painter as well as a landscape architect. Mr. Jensen does not build theaters — ^at least not by preference — ^but he does introduce a "players' green" now and then into his suburban gardens. The nomenclature is significant. A sim- ple nook of shaded lawn is certainly not just the same as an outdoor theater with stage and seats, no matter how plain the theater. And a players' green on a private home place is surely quite differ- ent from a Greek auditorium on the campus of a big state university. As illustrating the idea the accompanying sketch plan and photographs wiQ serve very well. This particular design consists of a small, nearly circu- lar, clipped lawn, backed and flanked by trees, and serving as the stage. Fronting it on the same level the same lawn enlarges into a space where auditors may sit. The transition from stage to auditorium 125 Outdoor Theaters is marked by a sort of proscenium consisting of a larger arching tree on either side, and to some ex- tent also by the "council rock." This latter is in reality a stage feature, though placed well to the ^4<^ ■ ^Kfii Cf4l|^W^r: '^3i^-tl IM ^fi^^^^^'^^^SH^H Hj^a^jduHH I^^B^St^^B'^Q^ . ■ j?^'- ''»--■ ^ -^ .jift - fc HHhb^H| ^^P^mNHP'- .;^ VgHSg ^E^y-- ■-':,■ • "♦''^Sk^MKJSHSy W^'^r^ ■ ', ^. '-'7 ; "" ■ ' ■■.v'"'*"' " ' ' » *■ i>.vvu^^ ^^*'*?S^^t''^^'^ "^'t ^--^ ' X ■• Jrg H -^^^:^^^^S TWO VIEWS OF PIAYERS GREEIf ON PRIVATE GROUNDS Designed by Jens Jensen. See plan, page 126 Outdoor Theaters front where the stage blends away to the audi- torium. This council stone is a symbol (and Mr. Jensen is very fond of symbols) intended to sug- gest to susceptible minds the thought of the Ameri- can aborigines gathered round their council rock for the recitation of their native epics or the en- actment of their many mystic rituals. Beside this stone, and on the side nearest the audience, is care- fully placed a small dwarf juniper. When this players' green is used at night it is lighted by a few open flambeaux. It has been successfully used for recitations, bal- lad singing and simple musical performances. So far as I know it has not been tried out with larger enterprises requiring groups of actors. The idea of the players' green seems to be espe- cially suitable to the private country place or sub- urban garden. It is a feature which can be easily developed in such surroundings by any landscape architect of moderate imagination. 127 PLAYERS' GREEN, COLUMBUS PARK, CHICAGO ANEW outdoor theater or players' green is just now being V designed for Columbus Park, Chicago, by Mr. Jens Jensen, land- scape architect of that city. This simple, but at- tractive, playground is to be constructed during the spring of 1917. The stage consists of an informal lawn separated from the auditorium by a narrow strip of water. The auditorium is also an informal lawn sloping toward the stage very gently. The stage back- ground is formed by heavy plaiitings of trees and shrubbery. Larger trees informally placed at the front of the stage and on the nearer side of the water make a very informal postenium. The landscape plantings about the stage and auditorium form an important feature of this de- sign. The plants used are hawthorn, crab apple, plum, sumacs, etc. Ehn trees are used in the back- 128 Outdoor Theaters An GVTBGGK THEITKE C0LVMI)Y5 PARR CHICAG0 ILLINGI^ 129 Outdoor Theaters ground, while the four trees in the foreground are American aspen. Along the brook to the right of the audience are planted interested masses of cor- nus alba, while in the water are various aquatic plants such as calamus, cat-tails, joint grass, iris, pickerel weed, arrow-head, blue lobelia and water- lilies. Back of the boulders are fire pits for the lights. The lights wiU thus be concealed and the stage lighting will be indirect. Near the left hand cor- ner in front is one large boulder which serves as a council rock and from which the speakers may- address the audience. 180 ITALIAN GARDEN THEATERS NEVER was the garden theater more widely or more skillfully managed than in the wonderful Italian viUas built during the period of the Renaissance. These houses and gar- dens reached a high stage of artistic excellence. The garden theater was only a detail in a large layout, but it was a detail very commonly used. These Italian theaters were nearly always small affairs intended for the accommodation of the mem- bers of the household and their guests. Amateur theatricals and amateiir musical performances seem to have been the principal form of entertainment used in these theaters. Some of them were so small as to accommodate only two or three dozen persons. The snugness and intimacy of these little theaters is to be especially admired. They were practically always developed as an in- tegral portion of the larger garden design. Some- times they terminated an axis, sometimes they occu- isi Outdoor Theaters pied the space between two buildings, sometimes they merely filled a nook or angle of the garden, though never what might be looked upon as a waste l^^rOcn Thbi&ter of Hbr.cui.es — Isoi«A, Bella 132 Outdoor Theaters space. Since these Italian gardens were nearly all of formal design the typical location for the theater was upon a minor axis. This, however, is a type having very many exceptions. VILLA GORI .5l£NA Jfa^ 3/^ ^ GARDEN THEATRE In spirit and in use the Italian garden theater was more like the Players' Green as devised by Mr. Jens Jensen for his very modem clients in Chicago than it was like any more formal garden structure now in use in America. That is these 13S Outdoor Theaters garden theaters were simply ineidental items in large private gardens and were intended solely •i.y///?\/,f 4 — ^' Pla»», 5caltf abou't* 20 5«ct*on t1»rw' cenTan 184 Outdoor Theaters for private use. Their present charm of course is largely due to the years of growth which have come to them'and sometimes to the mellowness of decay. The designs are very interesting to the student of landscape architecture, though they cannot very often be adapted to modern American uses.* * The student who wishes to know more about the Italian garden theaters should consult Triggs' "Art of Garden Design in Italy" (London, 1906), and the interesting sketch by Pro- fessor H. V. Hubbard in "Landscape Architecture," 4:53, 1914. 13S SUGAR LOAF AT South Deerfield, Mass., is the Sugar Loaf Reservation, a state park of 150 acres, the chief feature of which is a fine mountain giving splendid views up and down the Connecticut Valley. The reservation, however, is open for various sorts of public recreation, and quite incidentally there has been built the open-air auditorium shown in the photograph. It is an impromptu scheme in every way and has never been taken seriously by Any one. It has not been used for dramatic performances, and thus the trees which cut up the "stage" have not been trou- blesome. It seems to have served the need of Sun- day school gatherings and of various occasional meetings at which public speaking constituted the entire program. The orientation is good, the surroundings agree- able, and the simple rustic furniture appropriate. This veiy simple enterprise, probably costing less 136 Outdoor Theaters than $100, illustrates how easily an outdoor audi- torium can he provided. In this case the natural topography was not at all favorahle. 187 ABENAKI CHAPEL CAMP ABENAKI is a successful summer camp for boys maintained by the Y. M. C. A. on the shores of Lake Champlain at North Hero, Vt. At this place the boys have built the very simple but wholly adequate "chapel" illus- trated in photograph. A shallow basin offers a fairly satisfactory site, and the "pulpit" is prettily backed by a solid wall of arbor vitaes. The "pulpit" stands toward the west, thus making an advantageous orientation for meetings held in the forenoon, when this auditorium is mostly used. It wiU be readily seen that the cost of construc- tion was negligible. Yet this outdoor "chapel" most beneficially and agreeably serves every need. The use of such airy outdoor meeting places for various religious services is much to be com- mended. In the middle western and southern states especially there is a strong feeling for this 138 ABENAKI CHAPEL PRIVATE GARDEH THEATER, "WELD," MASSACHUSETTS Outdoor Theaters sort of religious gathering, and it is rather remark- able that more serious and intelligent efforts have not been made to provide dignified and attractive proseuches along these lines. 189 BIBLIOGRAPHY V '" > - ■ . ' ■'■ .■;' ■■'''!' ^^1^^5^^"^^BtJ 1 |i^ T^„.. f THE AUDITOKIUM AND THE STAGE AT PROSPECT PARK, ST. LOUIS. PIED PIPER OF HAMELIlf" BIBLIOGRAPHY STUDENTS of landscape architecture or of architecture who desire to follow this subject further will find an interestihgrthough some- • what scattered, literature. The following list of references does not attempt to be exhaustive, but includes those articles which have come to light in the, preparation of the present work. Greek Theater for University of California. C. G. Fisk, Overland ns, 43:143-5. H. Henderson, II. Outlook, 77: 834-5, Ag. 6. '04. Under the Greenwood Tree. S. A. Armstrong, II. Craftsman, 12:620-8, S. '07. Open-air Theaters. Ind. 64:1362, Je. 11, '08. Beauty in Out-door Drama. II. Craftsman, 18:570-3, Ag. '10. * 143 Outdoor Theaters Out-door Plays and Pageants. P. Mackaye, 11. Ind. 68:1227-34, Je. 2, '10. Planting a Play. G. Middleton, Bookn., 32:148-53. O. '10. The Drama Invasion of the Amphitheater. II. Cur. Lit., 50:311-3. Mr. '11. Portable Theater. Outlook. 92:549. Jan. 7, '11. What Cahfomia has Achieved in Theaterdom. R. Grau, II. Overland, ns. 58 :350-5. O. '11. Experiences of an Open-air Actor. H. Kyle, II. Harp. W. 55:12-3. D. 23, '11. Open-air Theaters in America. - A. Row, Harp. W. 21:0. 4, '13. Where Theaters are Out-of-doors. H. F. Stoll, II. Tech. W. 20:403-7 N. '13. Theaters Roofed by the Stars. II. Lit. Dig. 47:20-1. Jy. 5, '13. Italian Garden Theaters. H. V. Hubbard, Land Arch. 4:53, 1914. Rural Theatricals at the North Dakota Agr. Col. II. Survey, 32:408. Jy. 18, '14. 144 Outdoor Theaters Garden Theaters. Country Life Am. 27:43. Mch., '15. Some Garden Theaters. Frank A. Waugh, Arch. Rev. 4:161. Sept. '16. 145 INDEX INDEX Abenaki Chapel^ 138 Acoustics, 62, 72 Aerdromes, 35 Anoka, Minnesota, Theater, 107 Anoka Theater Plan, 108 Aristophanes' Work, 23 "As You Like It," 18 Audience and Actors, 67 Backgrounds, 51-56 Baker, Prof. George P., 73 Band Concert Theater, 113 "Bankside," 65 Bell, Maj.-Gen. J. Frank- lin, quoted, 115 Ben Greet Players, 18, 83 Bibliography, 143 Booth, Mr. George G., Owner, 102 "Brookside," 98 Brookside Theater Plan, 99 Bryn Mawr, 96 . Bryn Mawr Theater Plan, 97 Burrowes, Marcus R., De- signer, 102 Cement Construction, 47 Coburn Players, 68, 71 Columbus Park Players' Green, 128 Commercial Productions, 100 Community Drama, 107 Concealed Lights, 130 "Cranbrook," 102 "Cranbrook" Theater Plan, 104 Curtain for Stage, 58 Design for Outdoor Thea- ters, 31 Dresden Garden Theater, 1 10 Dresden Garden Theater Plan, 111 Dressing Rooms, 53 Durand, Prof. George H., 70 Enclosure, 39 Entrance Gateways, 60 Electric Light, 61 Elizabethan Theater, Yank- ton College, 70 Cafe Chantant, 45 Carmel Theater, 123 Carmel Theater Plan, 124 Flambeaux, 61 Forest Park, St. Louis Thea- ter, 52 149 Index Formal vs. Informal Design, Lighting, 60 56 Locations, 46 Formal Speaking, 27 ' Foyer, 54 Mannheim Garden Theater, Jbresno, California, Theater, on ^^ Masques, 24 Fuller Sisters, 26, 105 Massachusetts Agricultural Furnishings, 58 College Theater, QS Modern Drama, 19 "Garden Terrace Theater," Mosquitoes, 43 69 Mount Holyoke Theater, 26 Garden Theaters of Italy, 131 Movable Scenery, 56 Greek Agorae, 28 Municipal Theater, 107 Greek Drama, 22 Musical Programs, 27 Henderson V. H., Quoted, 80 qj^ Homestead, 20 Howard, John Galen, De- ohnsted Brothers, Designers, signer, 83 pg Hunt, Myron, Designer, 78 Orientation, 43 Outdoor Speaking, 27 Informal Programs, 25 International Theosophical _ . _ , „„ Society, 92 V^S^iA Grounds 33 "Isis Theater," 89 ^J^^^^' ^f "' i^f , ^, Isis Theater Plan, 90 ^'""'"^^ ^"^^^8^ ^^^^^' \^ Italian Garden Theater, 131 ^^ST^ „.^°"^S^ ^^^^^"^ Plan, 77 Jensen, Jens, 16 ^""^^f ^^ 40 Jensen, Jens, Designer, 125, P'^oWems of Design, 31 jog Proscenium, 55 John Hay Amphitheater, 115 P"'''^^^ ^ Elmslee, Designers, Koch, Prof. Frederick H., 65 Redlands Bowl, 113 Leonard, Miss Marcia, Mana- Redlands Bowl Plan, 113 ger, 98 "Rhododendron Garden," 93 150 Index "Rhododendron Garden" Plan, 94 Roman Forum, 28 Rural Drama, 20 Scenery, 56 Seats, 47 Segardi Theater, 59 Shakespearean Tradition, 17 Size of Theater, 36 Social Advantages, 55 Stadiums, 31 Stage, 50 Strange, Josephine S., De- sign by, 57 Sugar Loaf Theater, 136 Sumner, Prof. C. B., 76 Theater of Diana, 134 Theater of Hercules, 132 Tingley, Madame ' Katherine, Designer, 92 Topography, 46 Ui^derwood, Loring, De- signer, 85 University of California Theater, 80 University of California Theater Plan, 81 Use of Outdoor Theaters, 15 Vassar College Theater, 85 Vassar College Theater Plan, 86 Ventilation, 41 Villa CoUodi Theater, 42 Villa Gori Theater Plan, 133 Villa Marlia Theater, 40 ViUa Mondragone Amphi- theater, 34 Warsaw Outdoor Theater, 48 Wings, 53 Wyman, Phelps, Designer, 69 Yankton College Theater, 69 151