New-York tribune., 1921-02-20
What the Musicians Are Doing
Shaw Specifies Scenery
And Props for His Play
'Heartbreak House Here

Bernard Shaw is "Class A" play
wright, according to Lee Simonson,
scenic director for the Theater Guild,
to whom is due the credit for the
setting OF "Heartbreak House" and a
dozen other finely staged plays of the
last two seasons.
"Class A" playwrights in the bright
lexicon of scenic directors are those
who know just what scenery and
properties are necessary to the action
of the play and who indicate each need
adequately and clearly, leaving all
superfuous detail to the judgment of
the artist. "Class b" playwrights are
those who happen in after the first act
set is built and protest: ooh, but
didn't notice that French window over
there in the model That is where the
fireplace ought to be; and | am sure
that your chandelier is not early
Peorian."
The "class A" author of "Heart-
break House" however, set forth in
masterly fashion the needs of his play,
and in a personal letter to Mr. Simon
son graciously surrendered to him all
further responsibility. Nevertheless,
the apparent ease with which the scene
for the first act is presented before
audiences in the Garrick Theater is
belied by the history of hectic sum-
mer in the life Of its artist.
1t is scarcely simple-the Shavian
description of the setting--a room
which has been built SO as to resemble
the after part of an old fashioned,
high popped ship with stern gallery;
for the windows are ship-built, with
heavy timberine, and run right across
the room as continuously as the stabil-
ty of the wall allows. A row of lockers
under the windows provides an unun-
holstered window seat interrupted by
twin glass doors, respectively half
way between the stern post and the
sides. Another door strains the IL
lusion little by being apparently in
the ships port side, and yet leading
not to the open sea but to the entrance
hall Of the house. .>
With these directions, as soon as the
Theatcr Guild had decided upon "Heart
break House" Mr.. Simonson and his
assistant, Sheldon X. Viele, technical
director for the Guild, set forth upon
their quest for the complete nautical
expert. They spent hours studying
collections of ship models, hours more
over old books and hours more at the
New York Yacht Club in their effort to
find the elusive and exact seventeenth
century design after which the scene
was to be patterned. From all of these
sources material was drawn and pieced
together.
The illusion of the ship became more
and more convincing. When at last
the scene was set up for the first re-
hearsal within its walls Mr.. Simonson
sal. out in the darkened auditorium and
signed contentedly, at peace with the
world Then came Helen Westley
hastily down from the stage in the
middle of the scene. you'll have to do
something with that set, Lee" she pro-
tested. ITS SO real that we are all get
ting seasick."
ready and approved, the work Of the
director was but half accomplished
The lighting had to be planned out,
tried and retired, until the gradual
fading of day over the Sussex hills and
the twilight scene.
"Give me deeper darkness" says the
old captain in the play, as he bends
over the table to plan new invention.
Money is not made in the light"
Darkness in the theater however,
must be relative and not absolute;
Der and blue baby spotlights, to say
nothing of screens and DINNERS and
the thousand and one mysteries that
underlie and overhang and hem in the
stage Of the Garrick.
Mr.. Simonson has recently completed
designs for the settings of two future
productions-"Mr.P PIN Passes By" the
Milne comedy which will be presented
by the Theater Guild on February %.
at the Garrick, and for "Tangerine," a
musical comedy which opens Tuesday
in Atlantic City.