Legacies: A History Journal for Dallas and North Central Texas, Volume 22, Number 2, Fall 2010 Page: 45
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Charles Meredith directed the Dallas Little Theatre productions from 1931 until 1937.
Starting with Walter Sharp, Thomas Broad,
and Ralph Bryan in the early 1920s, many
architects were also involved with the little the-
atre. Sharp, Broad, and Bryan belonged to a
group of architects called the Texas Centennial
Architects and assisted in designing the Hall of
State for the Texas Centennial Exposition in
1936. Beginning in 1928. David R.Williams
and O'Neil Ford also began participating in the
art scene at the little theatre. David R. Williams
was a talented Dallas architect who first hired
Ford as an aspiring young architect.' They
would later develop a style of architecture that
focused on "brilliant and original styles based on
the study of local forms."'
The Dallas Artists League and its members
also played a large role in the Dallas Little
Theatre. Its members included artists, scholars,
and patrons and "became a forum for promot-
ing the regionalist aesthetic in the Southwest."
A wide range of topics was presented by mem-
bers who included many members of the Dallas
Nine as well as Talbot Pearson. architects
Williams and Ford, and John H. McGinnis, edi-
tor of the SoutIw ,est Rc vicel, an interdisciplinary
journal on Southwestern culture published by
Southern Methodist University. From the artists
of the Dallas Nine to architects like O'Neil
Ford, the Little Theatre of Dallas brought multi-
ple elements of Texas Regionalism together in
the theatre arts.''
The Dallas Little Theatre engaged many
individuals for the work involved in producing a
play. In addition to the recruitment of actors,
technical workers, and a director, the theatre also
needed set design, costumes, set painting, posters
for publicity, and cover designs for programs.
Local artists assisted in filling these positions and
created an inspiring collaboration between the
theatre arts and the visual arts. Exhibits of local
artwork at the theatre greatly enhanced this spir-
it of collaboration.
Set design requires both knowledge of what
is necessary for the backstage of the theatre and
a sense of visual aesthetics and design. Both local
artists and architects were intermittently
Fall 2010 LEGAII-S 45
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Dallas Historical Society. Legacies: A History Journal for Dallas and North Central Texas, Volume 22, Number 2, Fall 2010, periodical, 2010; Dallas, Texas. (https://texashistory.unt.edu/ark:/67531/metapth146050/m1/47/: accessed August 15, 2020), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Dallas Historical Society.