THE PLAY
 Edward Hopper
Edward Hopper's paintings captured in art a quintessential American 20th-century sensibility that is characterized by desolation, loneliness, and sadness. Not until age 37, in 1925, did Hopper begin to gain recognition for his work. House by the Railroad became the first piece to enter the Museum of Modern Art as well as establish the melancholy tone that would become his recognizable trademark for the remainder of his life.
Probably the most recognized of his paintings, Nighthawks, depicts three uncommunicative customers and a barman, all trapped together in an all-night café. In this painting, among others, there are signature characteristics of his work. His paintings were technically realistic, such as in his use of sunlight versus electric light, making the time of day instantly recognizable. His subjects are often seen in moments of intense privacy, such as in his famous New York Movie, which shows a woman standing in the aisle, deep in thought, while the movie plays. In Summer Evening, a young couple on a porch are captured in an ambiguous moment that could be either life changing or simply sad.
Hopper visited Europe three times, but was more influenced by the classicists, such as Rembrandt and Monet, than contemporary artists like Picasso. Sometimes compared to the plays of Henrik Ibsen, Hopper's style is rooted in realism, but his themes give his paintings an almost existential quality. The absolute simplicity of his work helped gain him recognition but also contributed to being overlooked by more modern movements such as abstract impressionism. His true importance has only been fully realized in the years since his death in 1967. |
SET DESIGN
 Frank Lloyd Wright
If you have a living room in your house, the way you live your life is being directly influenced by Frank Lloyd Wright's innovations in architecture. In a seventy year span, Wright designed 1141 buildings, 409 of which still stand. He experimented with controversial angles and circles, creating unusually shaped structures such as the spiral Guggenheim Museum. He was also the first architect in the United States to promote open planning in houses, often eliminating confining walls between rooms. Wright was known as an architectural philosopher, whose ideas are still studied and practiced today.
The set design for The Hopper Collection is strongly influenced by Stanford's Hanna House. Built in 1937, it is one of 17 Wright works selected by the American Institute of Architects as his most important designs. Going against conventional theory, Wright used the hexagon, the shape of honeycombs, which he found more organic and conducive to family life than the square. He created an open floor plan of interlocking hexagons. There are no 90-degree walls in the entire house.
Wright believed in the roots of American ideology. He created the design for Broadacre City, his personal response to the Marxist Revolution and his vision for a new democracy. Although his work was praised in Europe as early as 1910, it was not until 1949 that he received an award from American Institute of Architects. In 1938, Wright appeared on the cover of Time magazine. He spent many years giving interviews and enjoying his celebrity. Still working at 92 when he died, the epitaph on Wright's grave reads, "Love of an idea, is the love of God." |
COSTUME DESIGN
 Claire McCardell
Known as "the gal who defied Dior," Claire McCardell changed women's fashion by becoming the first designer to popularize zippers, leotards, tweed coats, denim, shorts, and spaghetti straps for evening gowns. She filled a gap of the times by creating a look that was both functional and comfortable, focusing on clothes for women of an average build and height, or, in other words, "normal." She opposed Dior's and other French fashions that accentuated the unusually shaped form, defying the use of flimsy materials, designing particularly for the average working woman. Her versatile styles appealed to women of different classes and continue to be relevant today.
McCardell's influence was a signature of the times. Her trademark design, the 1938 "Monastic," was a loose-fitting dress that ran straight from the shoulder to the ankle and utilized a sash at the waist. Considered radical at the time, this style is still popular today. In 1942, she introduced the "Popover" dress, which was simple, comfortable and is strongly associated with housewives of the 50s. She designed six-piece, interchangeable apparel, allowing women to mix-and-match. She introduced the use of ballet slippers as an alternative to heels, making slippers the sudden rage in the 40s.
McCardell is responsible for what we now consider the American look. Her designs for women changed not only the way women were perceived, but the way women perceived themselves. Simple and elegant, but most of all affordable and functional, she paved the way for the post World War II woman with her popular swimwear, summer dresses, party clothes, and the distinctive wrap-around style. In addition to her enormous talent, her active lifestyle was a model for American women as well. In 1955, she told TIME magazine, "I've always designed things I needed myself. It just turns out that other people need them too." |
SOUND DESIGN
 Cole Porter
Night and Day, I've Got You Under My Skin, Too Darn Hot, It's De-Lovely, My Heart Belongs to Daddy - these are just a few tunes from one of the most popular and entertaining songwriters of the twentieth century. Known primarily for his musicals, such as High Society, Anything Goes and Silk Stockings, Porter's songs have also been performed out of their original context and immortalized by performers ranging from Louis Armstrong and Ella Fitzgerald to U2 and Tom Waits. His compositions have been the basis for many Hollywood films, as well as several biographies, including the 2004 film De-Lovely, starring Kevin Kline.
"There's no love song finer, but how strange the change from major to minor, every time we say goodbye." Despite the general upbeat tempo of his songs and the frivolity of his lyrics, Porter's work is also characterized by an underlying feeling of sadness or desperation. Young Cole grew up in a wealthy, sheltered atmosphere. Pressured to become a lawyer, he began law school at Harvard but soon switched to music. After gaining confidence as a successful composer at the university, his first try at Broadway was an unfortunate flop. Forced to live a secretive lifestyle as a homosexual, he was made the target of constant gossip and hearsay. A horse riding accident in later life led to the amputation of his leg, followed by depression and isolation. In spite of his setbacks, during this period Porter continued to compose some of the most beloved songs of our time.
The many diverse qualities of his music make Cole Porter the strongest inspiration for the sound design of The Hopper Collection. From his first big hit in 1928, Let's Do It, Let's Fall in Love, to his last major success, the musical Kiss Me, Kate, Porter's influence left an indelible mark on the history of American music. Whimsical, lively, funny, Porter was known as a socialite and a celebrity. His romance with the city of Paris, where he lived for several years, became an ongoing theme in his songs. Eventually, he settled in Hollywood, where he would remain with his wife and companion Linda Thomas for the rest of their lives. |
Loretta Greco, Artistic Director | David Jobin, Managing Director