Set Designer at Loeb Left New York Theatre Career

Officials from the School Armistead a call; he accepted, entered the academic commodity. His reasons for making the age? "You could never give productions like "Ulysses in on the commercial . There is too much pressure plays that will make money." From the point of view of the experimenter, the Loeb production is a God-. "All the King's Men" has thirty scenes, of which approximately half require new sets. complicated is the scene-to- switching that the play was conceived as taking place on age decorated only with blocks, which could be to suggest new settings a minimum of time and effort. the Loeb stage is too deep this method, Armistead feels. he had to "thearicalize" the design, introducing a patters of and backdrops, all of which to be designed, built and paint--a difficult chore though one plenty of room for innovation.

Working with him on the Loeb is a hard core for half a theatre enthusiasts, most of are also taking his course. are several others, however, "just drop in to help when they have the time."

Professor Armistead's own feeling on the place of a technical education in the liberal arts institution is far from confident, unlike Harvard, B.U. allows theatre design as an academic major, but there must also take many courses in the traditional Humanities and Social Sciences fields. Thus the total work load is very heavy. Professor Armistead has no desire to see the Humanities and Social Sciences time lessened; but on the other hand he sees no way to make set design less than a full-time occupation. "I wonder," he says, "if it's just asking too much."