Perera “...when the drama has been simplest, most genuine and lit up by the joy of living, it has had its setting in the open.” — Sheldon Cheney, The Open Air Theater, 1918‘Ontdoor theaters have a uniquely close relation- ship to the landscapes they inhabit, particularly to the earth from which they are carved. Similar to the earthworks of today's environmental artists, they provide poignant insighe into how a culture regards the landscape and nature, Exemplary out door theaters — constructed in America’ estate gardens, parks, campuses and development pro- jects ~ can provide models for ereating memo- rable relationships herween structure and sie that reveal the unique character and spiritual power ofa particular landscape. Today we often associate outdoor theaters with large commercial facilities that off concerts to capacity crowds or historical dramas to summer tourists, Although outdoor theaters can be built at a fraction of the cost of similarly sized indoor theaters, they frequently mimic the characteristics of indoor theaters rather than cap- talize on the unique opportunity of gathering citizens together in the landscape This disregard of the landscape setting in theater ign was notalways the case. During q the early 19008 “new drama” movement focused sof an avant-garde group of theatrical professionals, naturalists and design- ers on creating open air theaters that were an antidote to the increasing technical and commer- cial concerns of indoor theaters, Influenced by Greek artistic and democratic ideals, these the- + enthusiasts envisioned theaters as commu nity strietires that weld enntrihnte to the spiritual and civic well-being of American life by aking the joys, good health and inspiration of nature available to all This civic and environmental idealism was still evident in theaters buile in the 19208 and in the Works Progress Administration theaters of the 19303 and "4os. After World War II, theater man- agers began updating older theaters and buildi new outdoor theaters with plastic seats, lig structures, sound systems, concession facilities and canopies to provide the amenities found in interior theaters. The resultin Sten 8, cushing Abieobliteraed vistas and destroyed the topography, ‘vegetation and other natural patterns of the orig ‘nal landscape, This sift of design priorities from ‘he interpretation ofthe lndseape setting toa fascination with technology ard physical comfort has Fesulted in contemporary outdoor theaters thatare not much different From indoor theaters ‘with athole in she root “Tada, public concern for the preservation of natural environments has macle it crucial that ..through the spoken work, the rendition of designers understand the opportunities and limi : tations of placing stucturesin the landscape. music, through song and dance the outdoor Inspite of these concerns, designe : “ ‘contemporary suburb asa testament to the com theater can contribute to mental, physical and. mercial pressure to disregard thelandscape entirely. It is daunting to realize that structures acceptany spiritual growth, If itis healthful to exercise, designed woshowease artistic endeavors = sich as outdo theaters ~ have also rleyaced the work, play, and sleep in the open, itshould ——_landseapeto incdenal importance, ‘Notall the nowsis bad. Knights favorable be even more beneficial to have our finer atmosphere” persists in many older outdoor the- ters that continue to atract large audiences. sensibilities unfolded in the same favorable The bestknown of these pre-World War I the- aters is Colorado’s beautiful Red Rocks Theater, atmosphere. designed by the architect Buraham Hoyt in 1936 and buileby the Givilian Conservation Corps — Emerson Knight, Landscape architect, Despite what is considered a small seating capac ity (9,000) that limits revenue, Red Rocks consis: “Outdoor Theaters and Stadiums in the tontly wins Pollstar magazine's “best outdoor concert vennie” survey of performers, West,” in The Architect and Engineer, 1924 Tigh ralde thence eg ccm Found sites, ancliences and performers frequently adapt to hard seats, awkward sight lines, minimalle stage lighting, rain and overhead air traffic to participate in cultural anc! eivie events that engage the landscape, An understanding of these memo- ‘able older theaters can rekindle our commitment twereating structures that incerpretand highlight site’ unique natura character and, conse- «quendy, ingpire reflection on how culture ein interface with the beauty and rhythms of nature. Locating theater precedents that successflly cooly ‘vo American books on outdoor theaters: The Open- Air Theatr (wos8) by theater crite Sheldon ‘Cheney and Oavdar Peasers (apr) by landscape architect Frank Waugh. The majority ofthe cease study theaters in these books are stil intact, andn ative use, a testament ofthe appeal and interpret their site is difficult since ther endurance of thoughthully des Both books diseuss expi auldress their surrounding landseapes, indicating pe. With insights pertinent to contemporary ly how the theaters this eras focus on the land design, Cheney's book differentiates two design approaches. His “architectural theater” is most clearly depicted in the book's images of the ago Point Loma, Calif, Theosophical Society Greek 1. This type justaposes strong geometric nse the surrounding landscape to reveal ‘charneterstis ofthe site that might otherwise xo tnnoticed, such asasteep slope or an unusual rock formation that is highlighted by placing contrasting wall behind it. The Theosophical Society ‘Theater’ white geometric forms contrast sharply with the adjacent canyon and coastline, focusing our attention on their rugged shapes Like ts classical Greek precedent, the sill ntact Theosophical Theater was site for its ve from the theater rather than by the appearance of the theater itselfin the landscape. Cheney's “nature theater” merges with the landscape, giving the impression that itisa part ofits natural surroundings, Witha stage back- ‘ground! of vegetation or the landscape beyond, this theater type implies thar both performers and ye merelya part ofthe scenery, Seating is typically integrated into the topography, is built from materials indigenous to the site and is olen interrupted by vegetation or stones. Atone of Cheney's examples, the Guerneville, C: Bohemian Grove Theater the stage evolved gradually on a redwood covered slope during the Jate nineteenth century. Its unique vertical stage still accommodates the annial Grove Plays, in which actors appear on three different levels from. fbchund the redwoods ‘The two California theaters derseribed in this article, Mount Ielis Nature Theater ane! Mt “Talmalpais Mountain Theater, do not fit neatly into these categories, but instead exhibit proper ses of both theater types. The formal coneepts af both theaters began with simple geon that, with the geometries of the natural site. But chese trieldeas Cheney’ architectural theater, contrast forms are modified, adjusted and distorted to respond to the natural patterns ofthe particular site. Many ofthese site-specifi adjustments are apparent in the initial proposals, but significant molifications were made during construction when these schematic ideas were fine tuned to the particulars of their immediate landscapes. Alonger version f this sr a, and the photog Aston Gras ares pact ofa fortheoming book ad exh Ion, Cr Siete Sition of Arise Ontdne Thoaert Tse bok wil inlide wey cine salies of exemplary theaters rane these sae wich accompanying hiseiel and contemporay photographs Piling fr this see ‘wassuppoctedy the National Enduninent orehe Ars, Design Ares Penge, ad iy the Universi California, ese, hough its Com- smi on Research ad the Department of Landsape Archivesture’ Fareand Pd Rescirch asta Temy Clements Gall Don- also, Mey Calkinu and Acne 4Location: sloping east ‘ona summit 1320 ft above sea level 12 miles east of San Diego. Designers: Richard equa, architect; Emerson Knight, landscape architect. Construction date: 1924.25, Designated seats: 5,000 “otal capacity with seat- ing on boulders and wall: 8,000, Bach Esster since 1925, approximately 7,000 people have attended sunrise services in a grand theater atop Mt. Heli, the highest point in San Diego County. This mountaintop had atracted San Diego residents up a rough helix-shaped road toa panoramic vista long before the theaters 125 dedication. Beginning in 1919, Paster worshipers walked two anda half miles up the mountain to crowd onto boulders and makeshift benches for «simple service with a spectacular sunrise view, ‘One nearby resident, Mary Carpenter ‘Ywkey, came to the mountaintop Frequently co ‘meditate inthis majestic natural setting, When Yawkey died in 1923 her daughter, Mary Yawkey White, and son, Cyrus Carpenter Yawkey decided to honor their mother by erecting: nature theater on top of Mt. Helix for “inspira- tion and public use.” White asked Ed Fletcher, the local entrepreneur who owned the moun- taintop, to sell the and. Instead, Fletcher donated it and designated his 23-year-old son, Ed Jr, to oversee construction ofthe project. “The Yawkeys hired Richard Requa and Emer- son Knight to design the theater. Requa wasa revered loca architect who had designed many of the buildings in Balboa Park. Knight, a San Fran- ciseo landscape architect, had written extensively oon outdoor theaters and designed several theaters it Northern California. The collaboration went well and they created a scheme that was distinct from the environs yet inspired by the rugged nature of he site “Me, Heli rises from the mesas almost 2 perfect cone in outline to an atime of 500 ft. Asite more inspiving, more raggealy picturesque, more accessible or otherwise more perfeely fitted toiits purpose eould hardly be found the world cover. ..Bvery cut and fill, every rock formation and boulder and even every plant and shrub most be carefully considered so that perfect harmony ‘of parts and unity with the setting is secured and maintained” (equa, 1925) “The ewo men proposed asymmetrical, fan- shaped scheme tobe buil of indigenous stone and