>> WORKING ON THE RELATIONSHIP WITH SIR TYRONE GUTHRIE AND ALL OF HIS PEOPLE AT BEST MIGHT BE DESCRIBED AS TRAUMATIC.

♪ >> SEEMED AS THOUGH WE WERE ALWAYS FIGHTING ABOUT SOMETHING.

BUT WE HAD COME BACK THE NEXT DAY AS THOUGH NOTHING HAD EVER HAPPENED.

I FOUND HIM TO BE AN EXCITING, INVIGORATING, DYNAMIC, ARROGANT BASTARD.

[ CHUCKLING.

[ .

[ .

>> LOOKING BACK, IT'S EASY TO IMAGINE LOCAL ARCHITECT RALPH RAPSON LOCKING HORNS WITH SIR GUTHRIE OVER THE DESIGN OF THE THEATER.

GIEWTS REHAD FIRM IDEAS ABOUT WHAT HE WANTED.

HE HAD BEEN ALL THROUGH IT WITH STRATFORD, AFTER ALL, AND RAPSON WAS JUST UNFORTUNATE ENOUGH TO HAVE A FEW IDEAS OF HIS OWN.

>> HE WAS ALWAYS SURROUNDED BY THIS GREAT ENTOURAGE OF PEOPLE, AND THEY'D WEIGHED UNTIL THE GREAT MAN MADE IT CLEAR WHAT HIS FEELING WAS ABOUT THE DESIGN, AND THEN THEY HAD A ALL POUNCE ON THIS LITTLE MIDWEST, YOU KNOW, ARCHITECT.

>> RAPSON SUGGESTED A STAGE WHICH COULD BE CONVERTED FOR DIFFERENT PRODUCTIONS.

GUTHRIE INSISTED, A THRUST STAGE ONLY.

GUTHRIE THOUGHT PEOPLE WOULD BE MORE INVOLVED WITH THE PLAY IF THEIR SEATS TILTED UNCOME 40ABLELY TOWARD THE STAGE.

RAPSON WAS APPALLED BUT WHEN IT CAME TO PICKING OUT UPHOLSTERY, RALPH RAPSON GOT HIS REVENGE.

>> THEY WERE ADAMANT IT SHOULD BE OF ONE COLOR, I THINK A DARK BLUE, A SORT OF PURPLE-DARK BLUE, WHICH IS THE SAME COLOR OF THE SEATS IN STRATFORD-ONTARIO AND RALPH SAID THEY SHOULD BE MULTI-COLORED.

>> WHEN GUTHRIE WOULDN'T HEAR OF IT, RAPSON TOOK MATTERS INTO HIS OWN HANDS AND ORDERED THE BRIGHTLY COLORED SEATS ANYWAY.

>> >> EVERY TIME I WOULD SEE GUTHRIE, HE WOULD SAY, WELL, HOW ARE WE DOING ON THE SEATS, THE COLORING AND SO ON, AND I REMEMBER GIVING HIM ALMOST EVERY POSSIBLE EXCUSE I COULD THINK OF.

WELL, WE'RE WORKING ON IT, YOU KNOW, STILL TRYING TO FIND A SOLUTION.

I THINK WHEN THEY FINALLY CAME, THEY STARTED UNCRATING THESE SEATS A COUPLE WEEKS BEFORE THE THEY DEER WAS DUE TO OPEN AND I'M AFRAID THE POOR MAN WAS ABOUT TO DIE.

>> I ALWAYS LIKED THE MULTI-COLORED SEATS.

FROM MY POINT OF VIEW, I THOUGHT THEY WERE GOOD BECAUSE WHEN THE THEATER WASN'T ALWAYS FULL, THE SEATS LOOKED LIKE PEOPLE.

[ INDISTINCT CONVERSATIONS ] JID INDISTINCT DIALOGUE ] >> OUR AIM WITH THE MINNESOTA THEATER COMPANY IS TO PRESENT A SERIES OF THE GREATEST PLAYS AS WELL AS WE CAN.

WHETHER THE VULT IS UPLIFTING, PURIFYING, CORRUPTING, ENTERTAINING OR BORING DEPENDS ONLY PARTLY UPON US.

WE'LL DO OUR BEST TO INTERPRET THE PLAYS, BUT WHAT THE PUBLIC MAKES OF OUR EFFORTS, THAT'S YOUR BUSINESS.

THE THEATER, AFTER ALL, IS A TWO-WAY TRAFFIC BETWEEN THE AUDIENCE AND THE STAGE.

>> I WILL NEVER FORGET THE FIRST TIME I DIRECTED AT THE GUTHRIE, I HAD NEVER SEEN A PRODUCTION THERE AND SO I ARRIVED AT THE FIRST PREVIEW AND THERE'S THIS MOMENT WHERE YOU'RE SITTING THERE AND EVERYONE'S TALKING BEFORE THE PLAY STARTS AND THE AUDIENCE IS READING THEIR PROGRAM AND TURNED SIDEWAYS, TALKING TO THEIR FRIENDS AND THERE'S THIS MINUTE WHEN ALL THE DOORS OF THE THEATER CLOSED.

[ WIND BLOWING ] AND I HAD NEVER EXPERIENCED A MOMENT LIKE THAT IN MY LIFE, THE BLOCKING OUT OF THE REST OF THE WORLD.

AND EVERYONE WHO HAD BEEN LOOKING AT EACH OTHER TURNED AND LOOKED STRAIGHT AT THE STAGE, AND LITERALLY THE STAGE GLOWED IN MY MIND WITH THE ENGINEERING OF PEOPLE LOOKING AT IT.

AND THE ACTOR WHO MADE THE FIRST ENTRANCE WAS ALSO NEAR TO THE SPACE.

WALKED OUT THAT NIGHT AND SHE SAID TO ME AFTER, I NEVER EXPERIENCED ANYTHING LIKE THAT.

I STUMBLED OVER THE ENERGY, I WALKED OUT AND FELL OVER IT BECAUSE WE'D BEEN USED TO WORKING IN THE SPACE EMPTY.

>> IT IS THE THRUST STAGE WHICH CREATES THIS RELATIONSHIP BETWEEN AUDIENCE AND ACTOR.

HISTORICALLY THE THRUST WAS THE STAGE FOR THE CLASSICS, THE PLAYS OF SHAKESPEARE AND THE ANCIENT GREEKS WERE WRITTEN FOR JUTTING STAGES.

GUTHRIE THOUGHT THE PROSCENIUM STAGE DISTANCED THE AUDIENCE.

IF YOU WANT TO SEE A PLAY IN A BOX, HE SAID, STAY HOME AND WATCH IT ON TELEVISION.

>> THE TELEVISION DIRECT EXAMINATION A THE MOVIE PLAY HAVE BEEN SET, THEY'RE FIXED IN A MODE.

THEY'VE BEEN PERFORMED, THEY ARE VAST, THE AUDIENCE CAN GO TO SLEEP, THE AUDIENCE CAN CUT ITS THROAT.

THE PLAY STILL DRAWS TO ITS FORE-ORDAINED CONCLUSION.

THE PLAY AUDIENCE MAKES THE PERFORMANCE.

A GOOD ACTOR KNOWS 5 SECONDS AFTER HE COMES ON THE STAGE, HE FEARS THE AUDIENCE LIKE A GOOD ANGLER FEARS THE FISH ON THE ENDS OF THE LINE.

HE KNOWS HOW TO PLAY THE AUDIENCE AND IF THE AUDIENCE IS DOING THEIR STUFF, THEY PLAY WITH HIM, THEY GO ALONG WITH THE TENSIONS, THEY RELAX ON THE RELAXATIONS, THEY BUILD THE CLIMAXES, THEY PULL THE PERFORMANCE OUT OF THE ACTOR.

>> NO, NO, I BEGIN TO THINK IT WOULD BE IMPRUDENT AND YOU KNOW I ADMIT YOU AS A LOVER, NO FURTHER THAN FASHION REQUIRES.

>> TRUE, A MERE PRACTICE TANNIC AMORE, WHAT EVERY LONDON WIFE IS ENTITLED TO.

>> THE THRUST STAGE MAKES A VERY SPECIFIC DEMAND ON AN ACTOR, IT'S A PIECE OF COMEDY, A LOOK OR GESTURE BECAUSE YOU HAVE TO SPREAD IT AROUND AND YOU HAVE TO FIND A WAY TO DO THAT THAT DOESN'T LOOK LIKE YOU'RE JUST SPREADING THE JOKE AROUND AND YOU THEN HAVE TO RIDE THE FACT THAT THE JOKE STARTS OVER HERE AND KIND OF TRAVELS AND THE LAUGHTER TRAVELS WITH IT, SO YOU'VE GOT TO KEEP YOURSELF OCCUPIED AS IT MOVES AROUND.

>> THE THRUST STAGE CAUSED ME TO BE MORE DARING ABOUT CERTAIN ASPECTS OF MY WORK.

IT ALSO CAUSED ME TO, IN A SENSE, BECOME VERY PUBLIC ABOUT WHO I AM AND WHAT I PORTRAY AND THE WAY THAT I PORTRAY IT.

THERE REALLY ISN'T MUCH OF A WAY TO HIDE YOURSELF ON THAT STAGE.

>> YOU HAVE TO SOMEHOW DEVELOP THE TYPE OF VOICE THAT WILL GET THROUGH IN THE BLOODY HOUSE, THE ACOUSTICS, THAT'S ALWAYS BEEN A PROBLEM.

WHEN YOU HAVE YOUR BACK TURNED AS YOU MUST TO A LARGE PORTION OF THE AUDIENCE AT ANY TIME, FORGET IT.

>> GUTHRIE CALLED THE HOUSE THE BIG TOAD, IT REMINDED HIM OF A TOAD ON ITS HUNDRED MPS, AND IT IS BIG WITH MORE THAN 1400 SEATS ALL WITHIN 52 FEET OF THE STAGE.

GUTHRIE BELIEVED ONE SHOULDN'T FEEL SECOND-CLASS FOR BUYING A LESS EXPENSIVE TICKET.

ARCHITECT AND DIRECTOR AGREED ON THIS POINT SO RAPSON BLAWRD THE DISTINCTION BETWEEN ORCHESTRA AND BALANCING COULD KNEE WITH A STEEP UNBROKEN BANK OF SEATS KNOWN AS THE ALPINE SLOPE.

>> OH, MY.

>> YOU'RE RIGHT, AS ALWAYS, REAL LIFE IS FAR MORE ENJOYABLE.

>> THE STAGE WAS DESIGNED TO SHOW OFF ACTORS, NOT SETS.

>> O THOU INDOLENT.

ALL YOU DO IS REHE BEEN KLEIN.

>> >> GUTHRIE THOUGHT ELABORATE SETS DID THE WORK OF THE AUDIENCE'S IMAGINATION.

>> LOOK AT THE SKY, NOT A CLOUD IN SIGHT.

>> LET ACTORS COMMUNICATE BY THE WAY THEY MOVED, WHETHER IT IS DAY OR NIGHT, INDOORS OR OUT.

BUT WOULD THE CHANGING TIMES CAME CHANGES TO THE STAGE.

IN 1981, LEVU CHUEW, A STRONGLY ARTISTIC DIRECTOR SQUARED OFF THE STAGE ALTERING THE ORIGINAL DESIGN.

HE WANTED MORE OF A PLATFORM FOR SCENIC ELEMENTS AND EVEN THOUGH THE STAGE CAN REVERT TO ITS FORMER SHAPE, THE CHANGES WERE CONTROVERSIAL.

>> WHEN MOISEIWITSCH, WHEN SHE CAME AND SAW WHAT I DID, I WAS VERY AFRAID.

WITH TEARS IN HER EYES, SHE SAID, YOU ARE RIGHT.

THINGS HAVE A LIFE OF THEIR OWN AND THEN THEY MUST BE RENEWED AND THEY MUST ANSWER TO THE TIME IN WHICH WE LIVE.

I WAS -- IMPRESSED MYSELF WITH THE TEARS.

IT WAS A BEAUTIFUL STATEMENT OF AN ACTRESS WHICH UNDERSTANDS THE WORK AND THE GOING OF EVENTS.

♪ >> THIS IS THE COSTUME SHOT AND WHAT WE'RE WORKING ON FOR RICHARD, III.

WE'RE DOING MOCK-UPS OF THE GARMENTS TO BEGIN WITH BEFORE WE START ON THE ACTUAL FABRIC.

YOU CAN COME DOWN THE TABLE.

THESE TWO LADIES ARE WORKING ON COSTUMES FROM STOCK WHICH ARE POSSIBLE TO BE USED IN THE CROWD SCENES.

>> THE GUTHRIE THEATER IS KNOWN FOR THE EXTREME DETAIL AND CRAFTSMANSHIP OF ITS COSTUMES.

IT'S A LEGACY THAT GOES BACK TO THE DAYS OF TANYA, WHEN THE CHALLENGE WAS TO FIND SOMEONE, ANYONE, SKILLED IN ENGLISH COSTUME-CUTTING.

>> IT WAS TOUCH AND GO WHEN WE STARTED.

>> LOUIS BROWN DESIGNED COSTUMES FOR OVER A DOZEN PLAYS AT THE GUTHRIE, BEGINNING IN 1962 WITH "HENRI IV."

>> I REMEMBER THE FIRST COUPLE OF YEARS TRYING TO FIND LOCAL PEOPLE THAT YOU COULD TRAIN IN COSTUME, PERIOD COSTUME CONSTRUCTION.

IT WAS IMPOSSIBLE.

I MEAN, AT THIS POINT, PERIOD CUTTERS WERE FALLING OUT OF THE TREES IN MINNESOTA.

THERE WAS A VERY SPECIFIC CHAIN OF COMMAND THAT STARTS FROM THE FIRST TWO ENGLISH CUTTERS THAT GUTHRIE BROUGHT TO STRATFORD, ONE WHO IS STILL THERE AND WENT TO MINNEAPOLIS AND THEN THE PEOPLE DANETTE TRAINED ARE ALL OVER.

THAT THEATER WAS REALLY A TRAINING GROUND FOR PEOPLE WHO WORK ALL OVER THE COUNTRY, IN EVERY THEATER.

♪ >> HERE WE CAN LOOK AT WE'RE COMMITTING ARMOR, THESE ARE THE LEGGINGS FOR THE ARMY.

WHICH WILL ACTUALLY BE DYED GRAY AND PLACED WITH SILVERLEAF AND BRONZING POWDERS SO THEY WILL COME OUT LOOKING METALLIC.

ALSO A LOT EASIER AND MORE COMFORTABLE TO WEAR.

>> THE THEORY HERE IS THAT WITH THE FACT OF RICHARD'S INFIRMS, THAT HE HAS PHYSICALLY BUILT UP THE OTHER ASPECTS OF HIS BODY SO ONE SIDE IS SHRIVELED AND THE OTHER SIDE IS LIKE A MUSCLE-BUILDER.

SO WHAT WE'RE DOING IS USING HIS OWN SHAPE FOR THE SHRIVELED PART AND THEN HERE, WE'RE BUILDING MUSCULATURE ON TO A BODY SUIT THAT SHOWS THE BUILDUP OF THE BICEPS AND TRICEPS AND PECK FORRALS AND WHAT HAVE YOU -- PECK FOR ALL, WHAT HAVE YOU.

THE GOAL WAS TO GIVE THE ACTOR ANYTHING HE COULD POSSIBLY DREAM OF AND ANYTHING THAT CHARACTER TOUCHED, THE AIR THAT CHARACTER BREATHED, THE NATURE OF THINGS THAT CHARACTER SAT ON, TOUCHED, PROPS, EVERYTHING ELSE, ALL THIS ASPECTS OF THE WORLD OF THE ACTOR WAS THE ULTIMATE.

>> ONE OF THE CUTTERS, ANNETTE, HAD SOME WHALEBONE, WHICH OF COURSE HAD BEEN OUTLAWED, A LONG, LONG TIME AGO AND HAD BEEN PASSED TO HER FROM SOMEONE ELSE IN ENGLAND AND SHE SAID I'M GOING TO MAKE YOU AWE CORE SET WITH WHALE BONE.

WHAT IT DOES, AFTER A WHILE IT MOLDS TO YOUR BODY AND HOLDS YOU AND GIVES THAT YOU ABSOLUTELY DISTINCTIVE SHAPE THAT YOU SEE IN PAINTINGS AND I GOT TO WEAR THIS CORSET.

WE HAD TO KEEP A HUH MADE FIRE IN MY DRESSING ROOM SO THE