This article is from the source 'guardian' and was first published or seen on . It last changed over 40 days ago and won't be checked again for changes.

You can find the current article at its original source at http://www.guardian.co.uk/stage/2013/apr/01/hayden-griffin

The article has changed 2 times. There is an RSS feed of changes available.

Version 0 Version 1
Hayden Griffin obituary Hayden Griffin obituary
(6 months later)
Hayden Griffin, who has died of cancer aged 70, was regarded by many as the finest stage designer of his generation and a worthy successor to Brecht's Caspar Neher and the Royal Court's Jocelyn Herbert. The reason for this lies in what Hayden himself said in an interview in 1983: "Theatre is about a man or a woman saying the line. The designer's job is to decide what the audience should see when that line is said."Hayden Griffin, who has died of cancer aged 70, was regarded by many as the finest stage designer of his generation and a worthy successor to Brecht's Caspar Neher and the Royal Court's Jocelyn Herbert. The reason for this lies in what Hayden himself said in an interview in 1983: "Theatre is about a man or a woman saying the line. The designer's job is to decide what the audience should see when that line is said."
Never decorative for their own sake, Hayden's sets tried to be the pictures that authors saw in their heads when they were writing – sometimes open tableaux, as in David Hare's Plenty (at the National Theatre in 1978), sometimes a detailed environment, as in David Mamet's Glengarry Glen Ross (at the National in 1983). Sometimes the sets actually were what the writer saw, because Hayden had sent them sketches of what would solve the problems of scene changes and an actor's business.Never decorative for their own sake, Hayden's sets tried to be the pictures that authors saw in their heads when they were writing – sometimes open tableaux, as in David Hare's Plenty (at the National Theatre in 1978), sometimes a detailed environment, as in David Mamet's Glengarry Glen Ross (at the National in 1983). Sometimes the sets actually were what the writer saw, because Hayden had sent them sketches of what would solve the problems of scene changes and an actor's business.
An unlikely aesthete, both enthusiastic and shy, stubborn, grinning and sports mad, Hayden was born in Pietermaritzburg in Natal, South Africa. His father was a Spitfire pilot in the South African Air Force and his mother was a cousin of the novelist Alan Paton. Soon after the second world war they divorced, but although Hayden and his brother had to iron their own shorts, there was a maid and life was comfortable.An unlikely aesthete, both enthusiastic and shy, stubborn, grinning and sports mad, Hayden was born in Pietermaritzburg in Natal, South Africa. His father was a Spitfire pilot in the South African Air Force and his mother was a cousin of the novelist Alan Paton. Soon after the second world war they divorced, but although Hayden and his brother had to iron their own shorts, there was a maid and life was comfortable.
Hayden went from Maritzburg college to Durban Art School. After graduating he taught at the school and did graphic odd-jobs, one of them a theatre poster. After the play's designer died unexpectedly, Hayden was asked to take over, and was hooked. But it was 1965 and he had friends with connections in the African National Congress. Hayden left for London.Hayden went from Maritzburg college to Durban Art School. After graduating he taught at the school and did graphic odd-jobs, one of them a theatre poster. After the play's designer died unexpectedly, Hayden was asked to take over, and was hooked. But it was 1965 and he had friends with connections in the African National Congress. Hayden left for London.
Coming from the southern summer, he had miscalculated. He thought that the theatre design schools would be recruiting, when in fact they were full, and the only one interested in him was the new Motley course run by Margaret "Percy" Harris. Hayden had landed among the most modernising, high-thinking, creative people in British theatre. He was tutored by Herbert and her criticisms shocked him. Then he realised that what she advocated was what lay inside him.Coming from the southern summer, he had miscalculated. He thought that the theatre design schools would be recruiting, when in fact they were full, and the only one interested in him was the new Motley course run by Margaret "Percy" Harris. Hayden had landed among the most modernising, high-thinking, creative people in British theatre. He was tutored by Herbert and her criticisms shocked him. Then he realised that what she advocated was what lay inside him.
The Motley design philosophy that the words came first, the actors second and that the rest must serve them ran from work with John Gielgud in the 1930s, through the Stanislavski-inspired studio of Michel Saint-Denis and George Devine just before the war to their Old Vic School just after, and into Devine's triumphant "writer's theatre" at the Royal Court in the 1950s.The Motley design philosophy that the words came first, the actors second and that the rest must serve them ran from work with John Gielgud in the 1930s, through the Stanislavski-inspired studio of Michel Saint-Denis and George Devine just before the war to their Old Vic School just after, and into Devine's triumphant "writer's theatre" at the Royal Court in the 1950s.
Motley influence got Hayden his first job, at Coventry, where in 1968 the visiting director Jane Howell used him on Edward Bond's Narrow Road to the Deep North. He was always aware meanwhile that South African security shadowed him in England. When his passport expired his citizenship was withdrawn, and he was stateless until he became British in 1973. Not that it mattered. Howell took him to Exeter and their production of Bond's Bingo transferred in 1974 to the Royal Court, now run by William Gaskill. There Hayden met the other people with whom he did his defining work.Motley influence got Hayden his first job, at Coventry, where in 1968 the visiting director Jane Howell used him on Edward Bond's Narrow Road to the Deep North. He was always aware meanwhile that South African security shadowed him in England. When his passport expired his citizenship was withdrawn, and he was stateless until he became British in 1973. Not that it mattered. Howell took him to Exeter and their production of Bond's Bingo transferred in 1974 to the Royal Court, now run by William Gaskill. There Hayden met the other people with whom he did his defining work.
Gaskill came first, the master who, said Hayden, made him think the most. Their sumptuous, traditional 1977 revival of Harley Granville Barker's The Madras House at the National Theatre won a Plays and Players design award and their 1976 production of Sophocles's Oedipus at Colonus, outdoors at Dubrovnik, with dawn breaking to give light, was a festival classic. For Hare and Howard Brenton, Hayden made epic plays such as Pravda (1985), Plenty, and Weapons of Happiness (1976) viable on the National's vast spaces, and for the director Bill Bryden he and the lighting ace Andy Phillips created the worlds of Eugene O'Neill, Clifford Odets, John Osborne and Mamet.Gaskill came first, the master who, said Hayden, made him think the most. Their sumptuous, traditional 1977 revival of Harley Granville Barker's The Madras House at the National Theatre won a Plays and Players design award and their 1976 production of Sophocles's Oedipus at Colonus, outdoors at Dubrovnik, with dawn breaking to give light, was a festival classic. For Hare and Howard Brenton, Hayden made epic plays such as Pravda (1985), Plenty, and Weapons of Happiness (1976) viable on the National's vast spaces, and for the director Bill Bryden he and the lighting ace Andy Phillips created the worlds of Eugene O'Neill, Clifford Odets, John Osborne and Mamet.
For 25 years he taught at Motley, and because he had run the workshops at Exeter he was a master of effects: the parachute landing in Plenty, machine-gunning in Osborne's Watch It Come Down (1976) and the "Pepper's Ghost" mirror trick in a 1990 revival of Christopher Hampton's Total Eclipse.For 25 years he taught at Motley, and because he had run the workshops at Exeter he was a master of effects: the parachute landing in Plenty, machine-gunning in Osborne's Watch It Come Down (1976) and the "Pepper's Ghost" mirror trick in a 1990 revival of Christopher Hampton's Total Eclipse.
He regretted that he did not design more for film, but both Hare's Wetherby (1985), for which he created claustrophobic interiors, and Patrice Chéreau's Intimacy (2001) won Golden Bears at Berlin.He regretted that he did not design more for film, but both Hare's Wetherby (1985), for which he created claustrophobic interiors, and Patrice Chéreau's Intimacy (2001) won Golden Bears at Berlin.
As for the high-class other work, he enjoyed very much the ballets with David Bintley and the Metropolitan Opera with John Dexter. He worked in Los Angeles, Sydney (where he fell head over heels for his second wife, Fiona Williams), San Francisco, Yugoslavia, Canada, Germany, the Netherlands and many times in Italy, as often as not driving like a madman across Europe, with his close friend Rory Dempster, the lighting man, alongside, and their scuba gear in the back. He returned twice to South Africa, in 1990 for his mother's funeral and in 1994 with Bintley's ballet Still Life at the Penguin Cafe. On the day Nelson Mandela was released, Hayden was so excited that he described over and again the workings of a coffee machine he had just bought.As for the high-class other work, he enjoyed very much the ballets with David Bintley and the Metropolitan Opera with John Dexter. He worked in Los Angeles, Sydney (where he fell head over heels for his second wife, Fiona Williams), San Francisco, Yugoslavia, Canada, Germany, the Netherlands and many times in Italy, as often as not driving like a madman across Europe, with his close friend Rory Dempster, the lighting man, alongside, and their scuba gear in the back. He returned twice to South Africa, in 1990 for his mother's funeral and in 1994 with Bintley's ballet Still Life at the Penguin Cafe. On the day Nelson Mandela was released, Hayden was so excited that he described over and again the workings of a coffee machine he had just bought.
In his career Hayden designed an astonishing 30 world premieres, and saw Devine's ideas leave their centre of excellence at the Court and flourish mightily in other places. Then Britain and the audience changed and highbrow rigour was not so much the go any more. Hayden, never the man to stomach a tourist musical – although he would have made one dazzle – worked less.In his career Hayden designed an astonishing 30 world premieres, and saw Devine's ideas leave their centre of excellence at the Court and flourish mightily in other places. Then Britain and the audience changed and highbrow rigour was not so much the go any more. Hayden, never the man to stomach a tourist musical – although he would have made one dazzle – worked less.
After cancer was diagnosed he designed a last show, The Cone Gatherers, for the director Kenny Ireland in Scotland, perfecting the set made of suspended strings he had used in Bingo, so that characters emerge from nowhere, and he taught his London Film School students until the end. In hospital in his last weeks he talked about his wish to see South Africa and the mountains that descend to Indian Ocean beaches.After cancer was diagnosed he designed a last show, The Cone Gatherers, for the director Kenny Ireland in Scotland, perfecting the set made of suspended strings he had used in Bingo, so that characters emerge from nowhere, and he taught his London Film School students until the end. In hospital in his last weeks he talked about his wish to see South Africa and the mountains that descend to Indian Ocean beaches.
He is survived by Fiona, their son, Teal, and his children, Rhys, Jon and Sian, from his previous marriage, to Carol Lawrence.He is survived by Fiona, their son, Teal, and his children, Rhys, Jon and Sian, from his previous marriage, to Carol Lawrence.
• Hayden Griffin, stage designer, born 23 January 1943; died 24 March 2013• Hayden Griffin, stage designer, born 23 January 1943; died 24 March 2013
Our editors' picks for the day's top news and commentary delivered to your inbox each morning.