Legacies: A History Journal for Dallas and North Central Texas, Volume 22, Number 2, Fall 2010 Page: 49
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riences there to create a realistic New Mexico
setting." Allie Tennant worked with Hogue to
create modeling for aspects of the design.
In 1925 local architects also becanie
involved in set design. Walter Sharp, Tom Broad,
and Ralph Byran all contributed to set design
throughout the 1925-1926 season, from 1f ippiln
1t 71arfto Candida. Shortly after O'Neil Ford was
hired by David R.Williams, he assisted with exe-
cuting the set designed by Williams for
Extrcssilg Iftillic in 1928. Ford went on to be
quite involved in the Dallas Little Theatre, often
with the assistance of his brother, Lynn Ford, a
talented craftsman himself.
Every theatre production was accompanied
by a program. Throughout the little theatre's
existence, many of the program covers were cre-
ated by commercial artists. T. O. Bateman, a
Dallas Nw'lrs staff artist, created the majority of
covers for the first couple of seasons. Other com-
mercial artists, such as Guy Cahoon, Leon
Dacus, and J.O. Mahoney, also intermittently
created cover designs. Olin Travis's early involve-
ment in the little theatre led his Dallas Art
Institute students to design several program cov-
ers, including designs by Dorothy Sutton and
Roland Wilkinson. The year 1928 signaled the
beginning of well known local artist involve-
ment in program cover design. Thomas Stell
designed the cover for the production R. .R. in
1928, and the theatre made a point of noting in
the program how honored it was to "have this
recognition from an artist whose work it so
greatly admires."'' Lynn Ford, a very talented
wood craftsman and metal artist, designed many
program covers and posters for the Dallas Little
Theatre, mainly from 1928-1933. His program
covers included block prints for The Royal
Family, in 1929-193(0 and Grcc Grow tlhe Lilacs in
1931-1932. O'Neil Ford designed even more
covers than his brother. They were primarily ink
drawings and he created five between 1931 and
194(. Jerry Byvaters also created several cover
designs for the theatre, beginning with Caesar
Lynn Ford designed woodcuts for the 1928 production
of What Every Woman Knows.
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Fall oo LEGACIES 49
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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/m1/51/: accessed August 4, 2020), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Dallas Historical Society.