| Dates: | 1956-2001 |
| Size: | 96.75 linear feet in 56 boxes and 21 oversize folders, includes 955 drawings, 99 photographs, 314 slides, 55 models |
| Repository: | Chicago Public Library, Harold Washington Library Center, Special Collections, 400 S. State Street, Chicago, IL 60605 |
| Collection Number: | spe.ctc-jnc |
| Immediate source of acquisition: | These materials were donated to the Special Collections and Preservation Division by Joseph Nieminski in 2012 and 2016. Models from A Christmas Carol (artifacts 2007.45a-t) were donated by Nieminski in 2001 |
| Conditions governing use: | Please consult staff to determine ability to reuse materials from collection |
| Conditions governing access: | Materials are open without restrictions |
| Physical location note: | Materials are stored offsite and advance notice is required for use. Please request materials at least 24-hours prior to your research visit to coordinate access. |
| Preferred citation: | When quoting material from this collection the preferred citation is: Joseph Nieminski Papers, [Box #, Folder # or Artifact #], Special Collections, Chicago Public Library |
| Finding aid author: | Processed by Sarah Zimmerman, 2013. Updated and ingested into ArchivesSpace by Sarah Zimmerman, 2021. |
Abstract
Joseph Nieminski is an award winning set designer whose work has been seen at Goodman, St. Nicholas, Northlight and Court theaters, among others. The collection includes set models, draftings, painter’s elevations, sketches, slides, photographs, programs and clippings.
Biographical/Historical
Joseph Nieminski was born and raised in Chicago’s Pilsen neighborhood. He became interested in scenic design as a school boy watching illusionistic scenery painted on the stage at Parish Hall for Becker Brothers Studio. Nieminski attended the School of the Art Institute (1955-1959) and earned a BFA in Advertising Design. After working in advertising and serving in the U.S. Army, where he provided scenic design for a service club production at West Point, he went on to study Scene Design at the Goodman School of Drama (1967-1970), earning a second BFA. Upon completion, he became a member of the United Scenic Artists of America. From 1970 until his retirement in 2001, Nieminski worked as a freelance set designer and scene painter. He was awarded the Charles MacArthur Award by the Chicago Drama Critics League for Lysistrata (Ravinia Festival), Suddenly, Last Summer and The Hot L Baltimore (both Ivanhoe Theatre). He received more than ten Jeff Award nominations and won for A Christmas Carol, Design for Living and The Resistible Rise of Arturo Ui (all Goodman Theatre). A Christmas Carol was produced annually, using Nieminski’s award winning sets, for more than 20 years. From 1979 to 2011, Nieminski served as an adjunct faculty member of the Goodman/DePaul Theatre School. In 1995, Nieminski redirected his artistic talents, and began sculpting award winning, one-of-a-kind collector dolls.
Scope and Contents
The Joseph Nieminski Papers span Nieminski’s nearly fifty year career (1956-2001) as a set designer and include set models, draftings, painter’s elevations, sketches, slides, photographs, programs and clippings representing his broad scope of work on productions at the Goodman, St. Nicholas, Ivanhoe and Court theaters, among others.
Of note in the collection is material related to A Christmas Carol as produced at the Goodman. The first production of A Christmas Carol (1978) includes the most material including draftings and set models. Materials are listed for all years associated.
Nieminski wrote comments that offer his insight and memories of working on each show. These comments have been included in the collection inventory below and have been edited only for format. Nieminski also provided commentary from productions that do not have a physical representation in the collection. These are listed in the inventory, but have no associated files. Nieminski’s original comments may be viewed upon request.
Arrangement
The materials in the collection are arranged chronologically by production. Due to the varying sizes of materials, items are housed by size and type. Boxes 1-3 are document cases, Boxes 4-11 are oversize (holding Oversize Folders 1-57), Boxes 12-13 include slides and photographs, Boxes 14-57 and Oversize Folder 79 include set models and pieces. Draftings and large elevations are housed in flat files in Oversize Folders 58-79.
Related Materials
- Goodman Theatre Archive (including Tom Creamer Papers)
- Nicholas Theatre Company Archive
- Virgil Johnson Papers
- Robert Shook Papers
- Chicago Theater Collection-Miscellaneous Programs
- The George Keathley, Unpublished Manuscript (Special Collections: PN 2277.C42 I5)
Subject Headings
- Goodman Theatre (Chicago, Ill.)
- Nicholas Theatre (Chicago, Ill.)
- Ivanhoe Theatre (Chicago, Ill.)
- Nieminski, Joseph – Archives.
- Theaters – Stage-setting and scenery – Illinois – Chicago.
Collection Inventory
| Box 13 | Photograph 1.315-1.317 | A Marriage Proposal by Anton Chekov. Gads Hill Community Center, opened 1956. Sets and costumes by Joseph Nieminski. Nieminski’s comment: This amateur production was done when I was a freshman undergraduate student at the Art Institute of Chicago. It was part of a kind of neighborhood carnival at the center, which is the reason for that parachute masquerading as a tent. During the performance the children in the audience kept up a constant screaming, so that none of the dialogue could be heard. We kept acting, nonetheless. After that nightmare, it’s a wonder that I still had an interest in doing theatre. Views of the production Nieminski’s comment: That’s me in the false whiskers, 1956 |
| Box 1 | Folder 1 | The Army Way by Paul Dellinger, Service Club, United States Military Academy, West Point, N.Y., opened 1961 October 22. Directed by Ruben Maldonado, sets by Joseph Nieminski, costumes by United States Army. Nieminski’s comment: The “Inside Story” tells it all. “The Inside Story of The Army Way,” written by Paul Dellinger. Poster, review, 1961 |
| Box 1 | Folder 2 | The Army Way- Script, 1961 |
| Box 1 | Folder 3 | The Glass Menagerie by Tennessee Williams, Army Theatre, United States Military Academy, West Point, N.Y., opened 1962 April 5. Directed by Joseph Nieminski, sets and costumes by Joseph Nieminski, lighting by Robert Boag. Nieminski’s comment: The set rendering was submitted as part of a portfolio for admission into the Goodman School of Drama. Program, press clippings, 1962 |
| Box 4 | Oversize Folder 1 | The Glass Menagerie- Posters, overhead projector transparencies showing tenement houses used on the back of the cyclorama at the opening of the show, with the set silhouetted against it, 1962 |
| Box 7 | Oversize Folder 23 | The Glass Menagerie- Set rendering, 1962 |
| Box 36 | Artifact 2012.9.1 | The Glass Menagerie- ½” scale model piece on board, 1962 |
| Brigadoon by Learner and Lowe, Army Theatre, United States Military Academy, West Point, N.Y., opened 1962. Sets by Joseph Nieminski. Nieminski’s comment: The only reason I was asked to do this design, is because I once read a book on theatrical design. I was the expert, because nobody else thought to do this. [There are no physical materials associated with this production.] | ||
| Box 1 | Folder 4 | The Fantasticks by Tom Jones and Harvey Schmidt, Saint Peter’s Lutheran Church, Arlington Heights, Ill., opened 1963. Directed by Gene Freeman, sets and costumes by Joseph Nieminski. Program (signed by cast), 1963 |
| Box 7 | Oversize Folder 24 | The Fantasticks- Set rendering, 1963 |
| Box 12 | Slide 1.1 | The Fantasticks- Narrator, 1963 |
| Box 12 | Slide 1.2 | The Fantasticks- Fathers, 1963 |
| Box 12 | Slide 1.3 | The Fantasticks- Mute, the Old Actor, and the Man Who Dies, 1963 |
| Box 12 | Slide 1.4 | The Fantasticks- Mute, the Girl and the Boy, 1963 |
| Box 12 | Slide 1.5 | The Fantasticks- “Round and Round”: the Company, 1963 |
| Box 12 | Slide 1.6 | The Fantasticks- Curtain call, 1963 |
| Box 13 | Photograph 1.319 | Aaron Slick from Pumpkin Crick by Walter Benjamin Hare, Saint Peter’s Lutheran Church, Arlington Heights, Ill., opened 1963. Sets by Joseph Nieminski. Nieminski’s comment: Because of the scene shift between Acts I and II, a real cast iron stove would be too heavy to move, so we built a stove out of scenic materials. Act I set Nieminski’s comment: Act II was painted on the reverse side, 1963 |
| Box 13 | Photograph 1.320-1.327 | Aaron Slick from Pumpkin Crick- Act I kitchen, 1963 |
| Box 13 | Photograph 1.328-1.336 | Aaron Slick from Pumpkin Crick- Act II cabaret, 1963 |
| Box 52 | Artifact 2012.9.2 | Aaron Slick from Pumpkin Crick- 1” scale model of the kitchen stove, 1963 |
| Oversize Folder 58 | A Dog in a Manger by Lope de Vega, Goodman School of Drama, Goodman Studio Theatre, opened 1968. Directed by Eugenie Leontovich, sets by Joseph Nieminski. Draftings, 1968 | |
| Box 4 | Oversize Folder 2 | Tanuki, the Mischievous Raccoon by Clive Rickabaugh, Goodman School of Drama, Goodman Theatre at the Art Institute, opened 1968. Directed by Dr. Bella Itkin, sets by Joseph Nieminski, costumes by Bupha Chuvisavaphong. Poster, 1968 |
| Oversize Folder 58 | Tanuki, the Mischievous Raccoon- Draftings, 1968 | |
| Box 12 | Slide 1.7 | Tanuki, the Mischievous Raccoon- Goodman Theatre’s gold fire curtain, 1968 |
| Box 12 | Slide 1.8 | Tanuki, the Mischievous Raccoon- The unit set, 1968 |
| Box 12 | Slide 1.9 | Tanuki, the Mischievous Raccoon- The magic fan: sun and moon motif. Japanese see a rabbit in the moon, 1968 |
| Box 12 | Slide 1.10 | Tanuki, the Mischievous Raccoon- In the woods: a screen and rock units set the scene, 1968 |
| Box 12 | Slide1.11 | Tanuki, the Mischievous Raccoon- Close-up of woods screen, 1968 |
| Box 12 | Slide 1.12 | Tanuki, the Mischievous Raccoon- The reverse side of screen becomes a garden, 1968 |
| Box 12 | Slide 1.13 | Tanuki, the Mischievous Raccoon- Garden set for a wedding with lanterns, 1968 |
| Box 12 | Slide 1.14 | Tanuki, the Mischievous Raccoon- The prince dummy pulled to heaven by his nose, and the actor playing the prince, 1968 |
| Box 1 | Folder 5 | Tom Paine by Paul Foster, Goodman School of Drama, Goodman Theatre at the Art Institute, opened 1969 March 28. Directed by Patrick Henry, sets by Joseph Nieminski, costumes by Virgil Johnson, lighting by Jerrold Gorrell. Nieminski’s comment: Students usually didn’t design for mainstage productions. I was honored to be given this difficult assignment. Program, correspondence, press clipping, 1969 |
| Box 7 | Oversize Folder 25 | Tom Paine- 1” scale painter’s elevation for the governor‘s palace drop, 1969 |
| Oversize Folder 58 | Tom Paine- Draftings, poster, 1969 | |
| Box 12 | Slide 1.15 | Tom Paine- The bear pit, 1969 |
| Box 12 | Slide 1.16 | Tom Paine- The bear posters are lifted, 1969 |
| Box 12 | Slide 1.17 | Tom Paine- Two bear posters on the paint frame, 1969 |
| Box 12 | Slide 1.18 | Tom Paine- Bear poster on the paint frame, 1969 |
| Box 12 | Slide 1.19 | Tom Paine- Alive bear poster on the paint frame, 1969 |
| Box 12 | Slide 1.20 | Tom Paine- The rocking unit suggesting the cross section of a ship, 1969 |
| Box 12 | Slide 1.21 | Tom Paine- Fans inflate the sail, 1969 |
| Box 12 | Slide 1.22 | Tom Paine- The London Packet at sea, 1969 |
| Box 12 | Slide 1.23 | Tom Paine- Stage left box unit, 1969 |
| Box 12 | Slide 1.24 | Tom Paine- Onstage rolling unit one, 1969 |
| Box 12 | Slide 1.25 | Tom Paine- Onstage rolling unit two, 1969 |
| Box 12 | Slide 1.26 | Tom Paine- Unit two dressed for governor’s palace, 1969 |
| Box 12 | Slide 1.27 | Tom Paine- Close-up, 1969 |
| Box 12 | Slide 1.28 | Tom Paine- Political cartoon speeches, 1969 |
| Box 12 | Slide 1.29 | Tom Paine- Tie-died silk for the sea, 1969 |
| Box 12 | Slide 1.30 | Tom Paine- The court of France, 1969 |
| Box 12 | Slide 1.31 | Tom Paine- Stage right box unit, 1969 |
| Box 12 | Slide 1.32 | Tom Paine- The ghost of Oliver Cromwell flag, 1969 |
| Box 12 | Slide 1.33 | Tom Paine- Close-up, 1969 |
| Box 12 | Slide 1.34 | Tom Paine- Feast for the King of France, 1969 |
| Box 12 | Slide 1.35 | Tom Paine- Feast for the King of England, 1969 |
| Box 12 | Slide 1.36 | Tom Paine- The trial, 1969 |
| Box 12 | Slide 1.37 | Tom Paine- The imprisonment, 1969 |
| Box 12 | Slide 1.38 | Tom Paine- The executions by guillotine, 1969 |
| Box 1 | Folder 6 | Little Mary Sunshine by Rick Besoyan, Florence G. Heller Auditorium, Bernard Horwich Jewish Community Center, opened 1969 November 28. Directed by Esther Wykell, sets by Joseph Nieminski, costumes by Hilda Bourgeois, lighting by Louis Nessler. Program, 1969 |
| Oversize Folder 58 | Little Mary Sunshine- Draftings, 1969 | |
| Box 12 | Slide 1.39 | Little Mary Sunshine- Outside the Colorado Inn (model), 1969 |
| Box 12 | Slide 1.40 | Little Mary Sunshine- Point Look Out drop (model), 1969 |
| Box 12 | Slide 1.41 | Little Mary Sunshine- Cora’s bedroom (model) Nieminski’s comment: the reverse side of the inn porch unit, 1969 |
| Box 12 | Slide 1.42 | Little Mary Sunshine- Chief Brown Bear’s teepee (model), 1969 |
| Box 12 | Slide 1.43 | Little Mary Sunshine- The Colorado Inn at night (model), 1969 |
| Box 1 | Folder 7 | The Canterville Ghost by Darwin Reed Paine, Goodman School of Drama, Goodman Theatre at the Art Institute, opened 1969. Directed by Kelly Danford, sets by Joseph Nieminski, costumes by Virgil Johnson, lighting by G.E. Naselius. Review, 1969 |
| Oversize Folder 59 | The Canterville Ghost- Draftings, 1969 | |
| Box 12 | Slide 1.44 | The Canterville Ghost- Canterville mansion by day, 1969 |
| Box 12 | Slide 1.45 | The Canterville Ghost- Canterville mansion by night, 1969 |
| Box 12 | Slide 1.46 | The Canterville Ghost- Stage right view, 1969 |
| Box 12 | Slide 1.47 | The Canterville Ghost- Stage right at night, 1969 |
| Box 12 | Slide 1.48 | The Canterville Ghost- Stage left view, 1969 |
| Box 12 | Slide 1.49 | The Canterville Ghost- Window by day, 1969 |
| Box 12 | Slide 1.50 | The Canterville Ghost- Window at night, 1969 |
| Box 12 | Slide 1.51 | The Canterville Ghost- Portrait of Lady Canterville painted on patterned underskirt fabric, 1969 |
| Box 12 | Slide 1.52 | The Canterville Ghost- Portrait of Lord Canterville painted on patterned fabric of his cape, 1969 |
| Box 12 | Slide 1.53 | The Canterville Ghost- Portrait with actor Joe Mantegna playing the ghost, 1969 |
| Box 12 | Slide 1.54 | The Canterville Ghost- Macabre motif above entrance screen, 1969 |
| Box 12 | Slide 1.55 | The Canterville Ghost- The mansion at night, 1969 |
| Box 12 | Slide 1.56 | The Canterville Ghost- The transformation for the dream ballet, 1969 |
| Box 12 | Slide 1.337 | The Canterville Ghost- Joe Mantegna as the Canterville ghost, posing in front of his portrait, 1969 |
| Box 1 | Folder 8 | A Threepenny Christmas or the Legend of Nick the Saint by Stephen Lehner, Goodman Theatre at the Art Institute, opened 1970 December 19. Directed by Kelly Danford, sets by Joseph Nieminski, costumes by Nancy Ash, lighting by G.E. Naselius. Program, 1970 |
| Oversize Folder 59 | A Threepenny Christmas or the Legend of Nick the Saint- Draftings, 1970 | |
| Box 12 | Slide 1.57 | A Threepenny Christmas or the Legend of Nick the Saint- Entr’acte Nieminski’s comment: Nick entered through the hearth. The fireplace folded and all the other props were put into Nick’s sack. He carried them offstage, 1970 |
| Box 12 | Slide 1.58 | A Threepenny Christmas or the Legend of Nick the Saint- London street, 1970 |
| Box 12 | Slide 1.59 | A Threepenny Christmas or the Legend of Nick the Saint- London street, 1970 |
| Box 12 | Slide 1.60 | A Threepenny Christmas or the Legend of Nick the Saint- ½” scale painter’s elevation of street scene drop. Color scheme for the show was red, green and gold for Christmas, 1970 |
| Box 12 | Slide 1.61 | A Threepenny Christmas or the Legend of Nick the Saint- Den of thieves, 1970 |
| Box 12 | Slide 1.62 | A Threepenny Christmas or the Legend of Nick the Saint- Scotland Yard, 1970 |
| Box 12 | Slide 1.63 | A Threepenny Christmas or the Legend of Nick the Saint- Crown Jewels in London Tower, 1970 |
| Box 12 | Slide 1.64 | A Threepenny Christmas or the Legend of Nick the Saint- The thieves heisting the jewels, 1970 |
| Box 12 | Slide 1.65 | A Threepenny Christmas or the Legend of Nick the Saint- The gallows, 1970 |
| Box 12 | Slide 1.66 | A Threepenny Christmas or the Legend of Nick the Saint- Kringles Department Store (veiled figure is Queen Victoria), 1970 |
| Box 4 | Oversize Folder 3 | A Threepenny Christmas or the Legend of Nick the Saint- Joseph Nieminski (above left) and assistant James Reed painting the set, 1970 |
| Oversize Folder 59 | The Hide and Seek Odyssey of MadelineGimple by Frank Gagliano, Goodman Children’s Theatre Touring Company, opened 1970. Directed by Joseph Slowik, sets by Joseph Nieminski. Draftings, 1970 | |
| Oversize Folder 59 | Alice in Wonderland: A Mad, Mod, Wonderful New Version, Goodman School of Drama, Goodman Theater at the Art Institute, opened 1970 January 30. Directed by Thom Racina, sets by Joseph Nieminski, costumes by Ferrucio Garavaglia. Draftings, 1970 | |
| Box 12 | Slide 1.67 | Alice in Wonderland: A Mad, Mod, Wonderful New Version- In the rabbit hole (model), 1970 |
| Box 12 | Slide 1.68 | Alice in Wonderland: A Mad, Mod, Wonderful New Version- In the rabbit hole (set) Nieminski’s comment: The circular screens above were used for projections, 1970 |
| Box 12 | Slide 1.69 | Alice in Wonderland: A Mad, Mod, Wonderful New Version- In the rabbit hole (set) Nieminski’s comment: The circular screens above were used for projections, 1970 |
| Box 12 | Slide 1.70 | Alice in Wonderland: A Mad, Mod, Wonderful New Version- Tea party (model), 1970 |
| Box 12 | Slide 1.71 | Alice in Wonderland: A Mad, Mod, Wonderful New Version- Tea party (set), 1970 |
| Box 12 | Slide 1.72 | Alice in Wonderland: A Mad, Mod, Wonderful New Version- Garden (model), 1970 |
| Box 12 | Slide 1.73 | Alice in Wonderland: A Mad, Mod, Wonderful New Version- Queen’s court (model), 1970 |
| Box 12 | Slide 1.74 | Alice in Wonderland: A Mad, Mod, Wonderful New Version- Queen’s court (set), 1970 |
| Box 1 | Folder 9 | Tea Party / The Basement by Harold Pinter, Goodman School of Drama, Goodman Theatre at the Art Institute, opened 1970 March 2. Directed by Patrick Henry (Tea Party) and Joseph Slowik (The Basement), sets by Joseph Nieminski, costumes by Al Tucci, lighting by G.E. Naselius. Nieminski’s comment: The student technician who took the photos knew that the dusty-rose easy chair was to be struck after the first scene, but he forgot. It’s gone in the model photos. Program, reviews, 1970 |
| Oversize Folder 60 | Tea Party / The Basement- Draftings, 1970 | |
| Box 12 | Slide 1.75 | Tea Party / The Basement- The Basement: opening set (model), 1970 |
| Box 12 | Slide 1.76 | Tea Party / The Basement- Danish modern manifestation (model), 1970 |
| Box 12 | Slide 1.77 | Tea Party / The Basement- Gay manifestation (model), 1970 |
| Box 12 | Slide 1.78 | Tea Party / The Basement- Opening set, 1970 |
| Box 12 | Slide 1.79 | Tea Party / The Basement- Sand castle on the beach, 1970 |
| Box 12 | Slide 1.80 | Tea Party / The Basement- Return to opening set, 1970 |
| Box 12 | Slide 1.81 | Tea Party / The Basement- Scene on the patio, 1970 |
| Box 12 | Slide 1.82 | Tea Party / The Basement- Italian restaurant, 1970 |
| Box 12 | Slide 1.83 | Tea Party / The Basement- Modern manifestation, 1970 |
| Box 12 | Slide 1.84 | Tea Party / The Basement- Beach in winter, 1970 |
| Box 12 | Slide 1.85 | Tea Party / The Basement- Gay manifestation, 1970 |
| Box 12 | Slide 1.86 | Tea Party / The Basement- Opening set, 1970 |
| Box 36 | Artifact 2012.9.3 | Tea Party / The Basement- ½” scale model piece on board, 1970 |
| Oversize Folder 60 | The Thirteen Clocks adapted from the book by James Thurber, Florence G. Heller Auditorium, Bernard Horwich Jewish Community Center, opened 1970. Directed by Esther Wykell, sets by Joseph Nieminski, costumes by Hilda Bourgeois, lighting by Louis Nessler. Draftings, 1970 | |
| Box 12 | Slide 1.87 | The Thirteen Clocks- The town, 1970 |
| Box 12 | Slide 1.88 | The Thirteen Clocks- The town units slid off stage right, 1970 |
| Box 12 | Slide 1.89 | The Thirteen Clocks- The count’s hall wall slid on from stage left, 1970 |
| Box 12 | Slide 1.90 | The Thirteen Clocks- The hall played with the rest of the castle which was permanently on the stage left side of the auditorium, 1970 |
| Box 12 | Slide 1.91 | The Thirteen Clocks- The prince dressed in an upper room, 1970 |
| Box 12 | Slide 1.92 | The Thirteen Clocks- The dungeon with the Golub was below, 1970 |
| Box 12 | Slide 1.93 | The Thirteen Clocks- The trees upstage center parted to reveal Hagga’s hut, 1970 |
| Box 12 | Slide 1.94 | The Thirteen Clocks- The hut revolved to the interior, 1970 |
| Box 12 | Slide 1.95 | The Thirteen Clocks- Close up of the exterior, 1970 |
| Box 12 | Slide 1.96 | The Thirteen Clocks- Close up of the interior, 1970 |
| Oversize Folder 60 | Children of Courage, Florence G. Miller Auditorium, Bernard Horwich Jewish Community Center, opened 1971. Directed by Esther Wykell, sets by Joseph Nieminski, costumes by Hilda Bourgeois, lighting by Louis Nessler. Draftings, 1971 | |
| Box 4 | Oversize Folder 4 | Song of the Hasid, Florence G. Miller Auditorium, Bernard Horwich Jewish Community Center, [opened 1971]. Directed by Esther Wykell, sets by Joseph Nieminski, costumes by Hilda Bourgeois, lighting by Louis Nessler. 1” scale painter’s elevation, [1971] |
| Box 1 | Folder 10 | Look Homeward, Angel adapted by Ketti Frings, Murray Theatre, Ravinia Festival, Highland Park, Ill., opened 1971 August 17. Directed by George Keathley, sets by Joseph Nieminski, costumes by Virgil Johnson, lighting by Bengt Nygren. Nieminski’s comment: The screen door frames were mounted on, and braced under, the porch platform. They played three inches downstage of the scrim, but this was not noticeable from the audience. When the doors slammed, the scrim did not move. Program, review, 1971 |
| Box 7 | Oversize Folder 26 | Look Homeward, Angel- ½” scale painter’s elevation for downstage scrim, 1971 |
| Oversize Folder 60 | Look Homeward, Angel- Draftings, 1971 | |
| Box 36 | Artifact 2012.9.4 | Look Homeward, Angel- ½” scale model pieces on board, 1971 |
| The Magic Isle from the Commedia dell’Arte by an unknown adapter, Goodman Children’s Theatre Touring Company, opened 1971. Directed by Kelly Danford, sets by Joseph Nieminski. [There are no physical materials associated with this production.] | ||
| As You Like It adapted for children by John O’Shaughnessy, Goodman Children’s Theatre Touring Company, opened 1971. Sets by Joseph Nieminski, costumes by Sandy Tappan Tignor. Nieminski’s comment: This production was fully designed, with the directorial concept of a group of strolling hippy players deciding to do the play, who just happened to have all the props in the trunk they are carrying. It was a tired idea that was used many times in the 1960s and 70s. Before the play went into rehearsals, the production was canceled. [There are no physical materials associated with this production.] | ||
| How the First Letter Was Written adapted by Aurand Harris from Rudyard Kipling’s “Just So Stories,” Goodman Children’s Theatre Touring Company, opened 1971. Directed by Joseph Slowik, sets by Joseph Nieminski. [There are no physical materials associated with this production.] | ||
| The Prop Man by Robert Gibson, Goodman Children’s Theatre Touring Company, opened 1971. Directed by Joseph Slowik, sets by Joseph Nieminski. Nieminski’s comment: Robert Gibson was the star of the Children’s Theatre Touring Company. He wrote this piece in order to give himself another vehicle in which to play. In it he told the story of Humpty Dumpty, and finished by falling backwards from a prop wall. I was surprised that he was so acrobatic, and I asked if he could really do the stunt. It turned out he couldn’t, so it became a design problem. I solved it by designing a prop easy chair with a mattress for a back. When he told the story, he turned the chair on its back to create the illusion of a wall. Then, when he fell backwards, he landed on the mattress. [There are no physical materials associated with this production.] | ||
| Box 1 | Folder 11 | The Plain Princess by Aurand Harris, Florence G. Keller Auditorium, Bernard Horwich Community Center, opened 1972 April 16. Directed by Esther Wykell, sets by Joseph Nieminski, costumes by Hilda Bourgeois, lighting by Louis Nessler. Program, 1972 |
| Oversize Folder 61 | The Plain Princess- Draftings, 1972 | |
| Box 36 | Artifact 2012.9.5 | The Plain Princess- ½” scale model piece on board, 1972 |
| Box 1 | Folder 12 | Lysistrata by Aristophanes, adapted by John Lewin, Murray Theatre, Ravinia Festival, Highland Park, Ill., opened 1972 August 27. Directed by Bill Francisco, sets by Joseph Nieminski, costumes by Virgil Johnson, lighting by Bengt Nygren. Program, reviews, 1972 |
| Box 7 | Oversize Folder 27 | Lysistrata- ½” scale painter’s elevations for changing screen and map, 1972 |
| Oversize Folder 61 | Lysistrata- Draftings, 1972 | |
| Box 13 | Photograph 1.339 | Lysistrata- ½” scale model, 1972 |
| Box 13 | Photograph 1.340 | Lysistrata- The block of Styrofoam for the broken left leg, 1972 |
| Oversize Folder 61 | Speed Gets the Poppies by Lila Levant, Goodman Children’s Theatre Touring Company, opened 1972. Directed by Garland Wright, sets by Joseph Nieminski, costumes by Alicia Finkel. Draftings, 1972 | |
| Box 1 | Folder 13 | You’re a Good Man, Charlie Brown by Charles M. Schulz, Goodman Children’s Theatre, Goodman Studio Theatre, opened 1972 June 25. Directed by Kelly Danford, sets by Joseph Nieminski, lighting by G.E. Naselius. Program, 1972 |
| Box 1 | Folder 14 | The Lamp at Midnight- by Barrie Stavis, Goodman Theatre at the Museum of Science and Industry, opened 1972 November 6. Directed by Kelly Danford, sets by Joseph Nieminski. Progress magazine with production photo on cover, 1972 |
| Box 7 | Oversize Folder 28 | The Lamp at Midnight- Set sketch, 1972 |
| Oversize Folder 61 | The Lamp at Midnight- Draftings, 1972 | |
| Box 1 | Folder 15 | Welcome Home by Edmund Hartmann, Ivanhoe Theatre, opened 1972 December. Directed by George Keathley, sets by Joseph Nieminski, costumes by Georgiana Jordan. Nieminski’s comment: Pernell Roberts was a television star in the hit series Bonanza. He had never acted on the legitimate stage. Check out his biography in the program. Program, review, 1972 |
| Box 1 | Folder 16 | Wedding Band by Alice Childress, Ivanhoe Theatre, opened 1972 May. Directed by George Keathley, sets by Joseph Nieminski, costumes by Georgiana Jordan. Nieminski’s comment: I was being paid a fee of $500 to design and paint the set, hunt for props, attend tech week when the actors are put into the show, sometimes assist in building the set, and sometimes do upholstery and slipcovers when needed. Out of the fee 2% went to United Scenic Artists union in addition to annual dues. Often it was a long stretch of time between openings and I used to dread a hit and an extension. Not only did Georgiana do costume design sketches, she also shopped for fabrics, stitched up the clothes in her basement and brought them in. Program, review, 1972 |
| Box 7 | Oversize Folder 29 | Wedding Band- [Sketch] Nieminski’s comment: [This] pen and ink sketch of the set that was asked for by the Chicago Sun-Times to accompany their review. It was never used, and I never did one again, 1972 |
| Box 7 | Oversize Folder 29 | Wedding Band- Pastel sketch showing a possible look for the front door Nieminski’s comment: It was rejected for being too elegant, 1972 |
| Box 13 | Photograph 1.341-1.342 | Wedding Band- ½” scale model, 1972 |
| Box 4 | Oversize Folder 5 | Rich Man, Poor Man, Florence G. Keller Auditorium, Bernard Horwich Jewish Community Center, opened 1973. Directed by Esther Wykell, sets by Joseph Nieminski, costumes by Hilda Bourgeois, lighting by Louis Nessler. ½” scale painter’s elevations, 1973 |
| Oversize Folder 61 | Rich Man, Poor Man- Draftings, 1973 | |
| Box 1 | Folder 17 | Jamie and the 9300- by Clifford Browder, Goodman School of Drama, Goodman Studio Theatre, opened 1973. Directed by Kelly Danford, sets by Joseph Nieminski, costumes by Julie Nagel, lighting by Kenneth Peters. Program, 1973 |
| Oversize Folder 62 | Jamie and the 9300- Draftings, 1973 | |
| Box 12 | Slide 1.97 | Jamie and the 9300- Jamie’s village apartment (model), 1973 |
| Box 12 | Slide 1.98 | Jamie and the 9300- Victor’s office (model), 1973 |
| Box 12 | Slide 1.99 | Jamie and the 9300- Hospital room (model), 1973 |
| Box 12 | Slide 1.100 | Jamie and the 9300- Jewish cemetery (model), 1973 |
| Box 12 | Slide 1.101 | Jamie and the 9300- Mrs. Winick’s (model), 1973 |
| Box 12 | Slide 1.102 | Jamie and the 9300- New York Stock Exchange (model), 1973 |
| Box 12 | Slide 1.103 | Jamie and the 9300- Nightmare sequence (model), 1973 |
| Box 12 | Slide 1.104 | Jamie and the 9300- The escape (model), 1973 |
| Box 12 | Slide 1.105 | Jamie and the 9300- God’s receptionist (model), 1973 |
| Box 12 | Slide 1.106 | Jamie and the 9300- God’s office (model), 1973 |
| Box 12 | Slide 1.107 | Jamie and the 9300- The 9300 (model), 1973 |
| Box 12 | Slide 1.108 | Jamie and the 9300- Jamie’s village apartment (set), 1973 |
| Box 12 | Slide 1.109 | Jamie and the 9300- Victor’s office (set), 1973 |
| Box 12 | Slide 1.110 | Jamie and the 9300- Hospital room (set), 1973 |
| Box 12 | Slide 1.111 | Jamie and the 9300- Jewish cemetery (set), 1973 |
| Box 12 | Slide 1.112 | Jamie and the 9300- Mrs. Winick’s (set), 1973 |
| Box 12 | Slide 1.113 | Jamie and the 9300- Victor’s office (set), 1973 |
| Box 12 | Slide 1.114 | Jamie and the 9300- New York Stock Exchange (set), 1973 |
| Box 12 | Slide 1.115 | Jamie and the 9300- Nightmare sequence (scrim drop), 1973 |
| Box 12 | Slide 1.116 | Jamie and the 9300- Story board for filmed nightmare sequence projected on drop, 1973 |
| Box 12 | Slide 1.117 | Jamie and the 9300- The escape (set), 1973 |
| Box 12 | Slide 1.118 | Jamie and the 9300- Victor’s office at night (set), 1973 |
| Box 12 | Slide 1.119 | Jamie and the 9300- Jewish cemetery (set), 1973 |
| Box 12 | Slide 1.120 | Jamie and the 9300- God’s receptionist (set), 1973 |
| Box 12 | Slide 1.121 | Jamie and the 9300- God’s office (set), 1973 |
| Box 12 | Slide 1.122 | Jamie and the 9300- The 9300 (set), 1973 |
| Box 12 | Slide 1.123 | Jamie and the 9300- The 9300 catches Jamie (set), 1973 |
| Box 12 | Slide 1.124 | Jamie and the 9300- Back at the village flat (set), 1973 |
| Box 12 | Slide 1.125 | Jamie and the 9300- The final tableau (set), 1973 |
| Box 37 | Artifact 2012.9.6 | Jamie and the 9300- ½” scale model pieces on board, 1973 |
| Box 1 | Folder 18 | Dance on a Country Grave by Kelly Hamilton, Arlington Park Theatre, Arlington Heights, Ill., opened 1973 December. Directed by Patrick Henry, sets by Joseph Nieminski, costumes by Virgil Johnson, lighting by Daniel Adams. Nieminski’s comment: The architects who designed Arlington Park Theatre must have bought themselves a new big compass, because the whole interior design, including the stage, is based on curves. This gives the set designer no point of orientation on which to build the setting. There are four sections of seating surrounding a stage which looks like an old fashioned TV tube. We took out an entire section to provide a place for the orchestra. This must have been very expensive in box office receipts. Program, review, 1973 |
| Box 7 | Oversize Folder 30 | Dance on a Country Grave- Pencil drawing of proposed solution for using natural foliage to suggest an architectural door and window. Nieminski’s comment: Not used, 1973 |
| Box 1 | Folder 19 | Suddenly, Last Summer by Tennessee Williams, Ivanhoe Theatre, opened 1973 February. Directed by George Keathley, sets by Joseph Nieminski, costumes by Costumes Unlimited, lighting by Thomas M. Guerra. Nieminski’s comment: When you look at an actual scale model, your imagination fills in a lot of the details. In a photo, the stuff that’s supposed to look like tropical foliage just looks like a sprig of old Christmas tree bough. When you look at the set during performance, your brain blocks out those audience members on the other side of the stage, but when you photograph the set, all you see is a lot of rows of empty red seats, because in arena theatre the scenery exists on the floor of the stage and above your head. Program, review, 1973 |
| Box 13 | Photograph 1.343 | Suddenly, Last Summer- ½” scale set model, 1973 |
| Box 1 | Folder 20 | Never Too Late by Sumner Arthur Long, Ivanhoe Theatre, opened 1973 March. Directed by George Keathley, sets by Joseph Nieminski, costumes by Georgiana Jordan. Nieminski’s comment: In the play the leading actor has to carry a bathtub. Everyone thought this would be no problem “because the new bathtubs are so lightweight that anyone can carry one.” Edward Andrews [was concerned about carrying the bathtub, but] took the part even though he must have read the script and knew what he had to do. We built a Styrofoam bathtub that was so unconvincing that we partially hid it in a lightweight wooden crate. The whole thing was probably heavier than a real bathtub, but Andrews carried it. Program, review, 1973 |
| Thomas Edison and the Wonderful Why, Goodman Theatre at the Museum of Science and Industry, opened 1973 March 5. Directed by Kelly Danford, sets by Joseph Nieminski. [There are no physical materials associated with this production.] | ||
| Box 1 | Folder 21 | The Hot L Baltimore by Lanford Wilson, Ivanhoe Theatre, opened 1973 April. Directed by George Keathley, sets by Joseph Nieminski, costumes by Georgiana Jordan. Nieminski’s comment: Lanford Wilson came to Chicago to see our production and I met him. He thought that my set was very faithful to his concept. He said that he could never get anything like that in New York. I told him that I thought he was serious in his opening description of the set, and that I wanted to give him what he called for. Later in the season, when I talked to Daniel Adams, the lighting designer who lit Dance on a Country Grave, Adams described a production of The Hot L Baltimore that he saw in California. It was my set! Wilson must have gotten someone to copy it. Program, reviews, 1973 |
| Box 45 | Artifact 2012.9.19 | The Hot L Baltimore- Art Deco frog plaque from front of telephone switchboard [set prop], 1973 |
| Doctor Dan, a Pioneer in Heart Surgery, Goodman Theatre at the Museum of Science and Industry, opened 1973 April 30. Directed by Kelly Danford, sets by Joseph Nieminski. [There are no physical materials associated with this production.] | ||
| Box 1 | Folder 22 | A Streetcar Named Desire by Tennessee Williams, Ivanhoe Theatre, opened 1973 August. Directed by George Keathley, sets by Joseph Nieminski, costumes by Georgiana Jordan. Program, reviews, 1973 |
| Box 1 | Folder 23 | Father’s Day by Oliver Hailey, Ivanhoe Theatre, opened 1973 October. Directed by George Keathley, sets by Joseph Nieminski. Nieminski’s comment: For some reason, George Keathley is listed in the program as producer, but not as director. The play got such poor reviews at opening that it was immediately cancelled and replaced by Jacques Brel. Program, reviews, 1973 |
| Jacques Brel is Alive and Well and Living in Paris, Ivanhoe Theatre, opened 1973 October. Directed by [Chita Rivera], sets by Joseph Nieminski. Nieminski’s comment: The set for Father’s Day was struck and replaced by two theatrical steamer trunks from which Chita Rivera pulled the necessary props. It was a tired old concept, but what the hell. [There are no physical materials associated with this production.] | ||
| Box 1 | Folder 24 | I Do! I Do! by Tom Jones and Harvey Schmidt, Ivanhoe Theatre, opened 1973 December 6. Directed by Lucia Victor, sets by Joseph Nieminski, costume coordinator by Cynthia Cavalenes, lighting by Michael S. Hooker. Nieminski’s comment: Costume coordinator Cynthia Cavalenes snottily informed me that I bought too much fabric for the bedspread she stitched up for the set. I noticed that she didn’t match the pattern on the fabric and went downstairs to the costume room to bawl her out. She wasn’t in the room, but on the cutting table there were pattern pieces for a little plaid dress that she was making for herself. She wasn’t matching the plaids either, so I just let her be. Program, 1973 |
| Discovery by Douglas Lieberman, Goodman Theatre at the Museum of Science and Industry, opened 1973. Directed by Libby Appel, sets by Joseph Nieminski. Nieminski’s comment: Because of the limited budget, I repainted the set from Lamp at Midnight (without the gothic arches) for Discovery. The next show, Thomas Edison and the Wonderful Why got a new set, but Doctor Dan, a Pioneer in Heart Surgery, had the same platform pieces from Discovery turned on end and repainted to look like wallpaper for Dr. Dan’s office. [There are no physical materials associated with this production.] | ||
| Cinderella by Richard Rogers and Oscar Hammerstein, Ulein Performing Arts Center, Milwaukee, opened 1973. Directed by Harry Lee Rogers, sets by Joseph Nieminski, costumes by Bonnie Jean. [There are no physical materials associated with this production.] | ||
| Box 1 | Folder 25 | Da by Hugh Leonard, Ivanhoe Theatre, opened 1974 January 17. Directed by James D. Waring, sets by Joseph Nieminski, costume coordinator Cynthia Cavalenes, lighting by Michael S. Hooker. Program, review, 1974 |
| Box 1 | Folder 26 | To Be Young, Gifted and Black by Robert Nemiroff, Goodman Theatre at the Art Institute, opened 1974 February 19. Directed by Patrick Henry, sets by Joseph Nieminski, costumes by Andrea Kalish, lighting by Daniel Adams. Reviews, 1974 |
| Oversize Folder 62 | To Be Young, Gifted and Black- Draftings, 1974 | |
| Box 12 | Slide 1.126 | To Be Young, Gifted and Black- Basic setting, 1974 |
| Box 12 | Slide 1.127 | To Be Young, Gifted and Black- Close up of actors, 1974 |
| Box 52 | Artifact 2012.9.7 | To Be Young, Gifted and Black- ½” scale model piece on board, 1974 |
| Box 1 | Folder 27 | Dark at the Top of the Stairs by William Inge, Ivanhoe Theatre, opened 1974 March 28. Directed by George Keathley, sets by Joseph Nieminski, costumes by Robert Berdell, lighting by Michael S. Hooker. Reviews, 1974 |
| Box 1 | Folder 28 | Separate Tables by Terence Rattigan, Ivanhoe Theatre, opened 1974 May 16. Directed by George Keathley, sets by Joseph Nieminski, costumes by Jessica Hahn, lighting by Michael S. Hooker. Program, review, 1974 |
| Box 1 | Folder 29 | The Boys in the Band by Mark Crowley, The Happy Medium, opened 1974 May 27. Directed by Harry Lee Rogers, sets by Joseph Nieminski, costumes by Bonnie Jean, lighting by Michael S. Hooker. Reviews, 1974 |
| Box 1 | Folder 30 | Guys and Dolls by Jo Swerling and Abe Burrows, Thunder Bird Dinner Theatre, Grand Rapids, Mich, opened 1974. Directed by Harry Lee Rogers, musical direction Daryl Wagner, sets by Joseph Nieminski, costumes by Bonnie Jean. Program, review, 1974 |
| Box 1 | Folder 30a | Guys and Dolls- ½” scale painter’s elevation, “Save A Soul Mission” interior drop scrim [reproduction], 1974 |
| Box 7 | Oversize Folder 31 | Guys and Dolls- ½” scale painter’s elevation, Times Square drop, 1974 |
| Box 1 | Folder 31 | The Sea Horse by Edward J. Moore, Ivanhoe Theatre, opened 1974 June. Directed by George Keathley, sets by Joseph Nieminski, costume coordinator Cynthia Cavalenes, lighting by Michael S. Hooker. Nieminski’s comment: For this production I designed a welded steel and neon tubing outline of a juke box that would not block sightlines, and that lit up and played music from a hidden speaker. Six years later I used it in the Goodman Studio Theatre for a Tennessee Williams play called A Perfect Analysis given by a Parrot. In Chicago, props are often shared between theatres. It’s a wonder that the audience doesn’t recognize them. Program, review, 1974 |
| Box 1 | Folder 32 | The Resistible Rise of Arturo Ui by Berthold Brecht, Goodman Theatre at the Art Institute, opened l975. Directed by William Woodman, sets by Joseph Nieminski, costumes by John David Ridge, lighting by Gilbert V. Hemsley, Jr. Program, reviews, study guide, 1975 |
| Box 4 | Oversize Folder 6 | The Resistible Rise of Arturo Ui- Booklet of original artwork for slides: Hand tinted photographs covered with acetate with applied press type lettering and cropped to a 35mm slide format, 1975 |
| Box 8 | Oversize Folder 32 | The Resistible Rise of Arturo Ui- Full size sample of the lettering used on the projections. Nieminski’s comment: It was used to check the legibility from seats in the auditorium. Scene 14: Two side walls of garage, Scene 14: Garage door roll drop, Final scene: The convention in Soldier’s Field (set rendering) Nieminski’s comment: Designed to suggest the Nuremburg Rallies, 1975 |
| Box 8 | Oversize Folder 33 | The Resistible Rise of Arturo Ui- 1” scale painter’s elevations: Scene 2: Merchandise Mart, Scene 3: Dogsborough’s saloon, Scene 5: Dogsborough’s saloon bar profiles, Dogsborough’s country house window, Scene 16: Rosehill Cemetery Tomb, Proposed emblem for the Cauliflower Trust Nieminski’s Comment: Not used, 1975 |
| Oversize Folder 62 | The Resistible Rise of Arturo Ui- Draftings, 1975 | |
| Box 12 | Slide 1.128 | The Resistible Rise of Arturo Ui- Arturo Ui’s hotel room, 1975 |
| Box 12 | Slide 1.129 | The Resistible Rise of Arturo Ui- Givola’s flower store, 1975 |
| Box 12 | Slide 1.130 | The Resistible Rise of Arturo Ui- Arturo Ui’s suite at the Stevens Hotel, 1975 |
| Box 12 | Slide 1.131 | The Resistible Rise of Arturo Ui- Rosehill Cemetary Nieminski’s comment: Misspelled and the critics caught it, 1975 |
| Box 12 | Slide 1.132 | The Resistible Rise of Arturo Ui- “Austria yields to Nazi cajoling…”, 1975 |
| Box 37 | Artifact 2012.9.8 | The Resistible Rise of Arturo Ui- ½” scale model pieces on board, 1975 |
| Box 1 | Folder 33 | Our Town by Thornton Wilder, Goodman Theatre at the Art Institute, opened 1975 October 3. Directed by George Keathley, sets by Joseph Nieminski, costumes by James Edmund Brady, lighting by Gilbert V. Hemsley, Jr. Nieminski’s comment: The Goodman Theatre at the Art Institute had a plaster dome cyclorama at the back of the stage. It created the impression of the sky, or could be used as a neutral back wall. Our Town called for the typical brick back wall of the average Broadway stage, so we created one out of lightweight vacuum formed plastic. The bricks were made out of varied thickness plywood and sprinkled with kitty litter to give them texture. We also vacuum formed a section of real radiator to make a lightweight copy of it. Program, review, 1975 |
| Box 8 | Oversize Folder 34 | Our Town- 1” scale painter’s elevation for a section of the back wall with radiators, 1975 |
| Oversize Folder 62 | Our Town- Draftings, 1975 | |
| Box 12 | Slide 1.133 | Our Town- Nieminski’s comment: The ladders represent the kids in windows on the second story of their houses, while a church service goes on upstage, 1975 |
| Box 12 | Slide 1.134 | Our Town- The graveyard, 1975 |
| Box 1 | Folder 34 | The Last Meeting of the Knights of the White Magnolia by Preston Jones, Goodman Theatre at the Art Institute, opened 1976 February 19. Directed by Harold Stone, sets by Joseph Nieminski, costumes by John David Ridge, lighting by F. Mitchell Dana. Reviews, 1976 |
| Box 5 | Oversize Folder 7 | The Last Meeting of the Knights of the White Magnolia- Poster, 1976 |
| Box 8 | Oversize Folder 35 | The Last Meeting of the Knights of the White Magnolia- Set rendering, 1” scale painter’s elevations, 1976 |
| Oversize Folder 63 | The Last Meeting of the Knights of the White Magnolia- Draftings, 1976 | |
| Oversize Folder 78 | The Last Meeting of the Knights of the White Magnolia- Draftings, 1976 | |
| Box 12 | Slide 1.135 | The Last Meeting of the Knights of the White Magnolia- Painter’s elevation, 1976 |
| Box 12 | Slide 1.344 | The Last Meeting of the Knights of the White Magnolia- [unidentified], 1976 |
| Box 30 | Artifact 2012.9.9 | The Last Meeting of the Knights of the White Magnolia- ¼” scale white study model, 1976 |
| Box 1 | Folder 35 | Design for Living by Noel Coward. Goodman Theatre at the Art Institute, opened 1976 October 7. Directed by William Woodman, sets by Joseph Nieminski, costumes by James Edmund Brady, lighting by Pat Collins. Nieminski’s comment: The painter’s elevations are the property of the designer. They are works of art and should be treated with respect. They should be returned by the painter in the same condition in which they are received. Some painters think that the elevations are only seen by them and are only for their information. They will match colors directly on them, spatter paint on them and otherwise disrespect them. The quality of work from these artists on the scenery itself is often commensurate with their behavior toward the elevations. Reviews, 1976 |
| Box 1 | Folder 35a | Design for Living- Painter’s elevations [reproductions], 1976 |
| Box 8 | Oversize Folder 36 | Design for Living- 1” scale painter’s elevation, pencil sketches, 1976 |
| Oversize Folder 63 | Design for Living- Draftings, 1976 | |
| Box 12 | Slide 1.136 | Design for Living- Act I, 1976 |
| Box 12 | Slide 1.137 | Design for Living- Act II, 1976 |
| Box 12 | Slide 1.138 | Design for Living- Act III, 1976 |
| Box 1 | Folder 36 | A Long Day’s Journey into Night by Eugene O’Neill, Goodman Theatre at the Art Institute, opened 1976 November 12. Directed by George Keathley, sets by Joseph Nieminski, costumes by Virgil Johnson, lighting by F. Mitchell Dana. Program, reviews, 1976 |
| Oversize Folder 64 | A Long Day’s Journey into Night- Draftings, 1976 | |
| Box 12 | Slide 1.139 | A Long Day’s Journey into Night- The setting, 1976 |
| Box 12 | Slide 1.140 | A Long Day’s Journey into Night- The setting, 1976 |
| Box 12 | Slide 1.141 | A Long Day’s Journey into Night- The final moments, 1976 |
| Box 55 | Artifact 2012.9.10 | A Long Day’s Journey into Night- ½” scale model pieces on board, 1976 |
| Box 1 | Folder 37 | Hogan’s Goat by William Alfred, Asolo Theatre, Sarasota, Fla., opened 1976. Directed by William Woodman, sets by Joseph Nieminski, costumes by Flozanne John, Lighting by Martin Petlock. Programs, reviews, 1976 |
| Box 1 | Folder 38 | Hogan’s Goat- Floor plan, 1976 |
| Box 8 | Oversize Folder 37 | Hogan’s Goat- 1” scale painter’s elevation. Nieminski’s comment: All the scenery was covered in black velour so the elevations were done on velour paper, 1976 |
| Oversize Folder 64 | Hogan’s Goat- Draftings, 1976 | |
| Box 1 | Folder 39 | Streamers by David Rabe, Goodman Theatre at the Art Institute, opened 1977 March 31. Directed by Gregory Mosher, sets by Joseph Nieminski, costumes by Marsha Kowal, lighting by Pat Collins. Reviews, 1977 |
| Box 1 | Folder 39a | Streamers- Poster [reproductions], 1977 |
| Oversize Folder 64 | Streamers- Draftings, 1977 | |
| Box 12 | Slide 1.142 | Streamers- Basketball action, 1977 |
| Box 12 | Slide 1.143 | Streamers- The stabbing, 1977 |
| Box 37 | Artifact 2012.9.11 | Streamers- ½” scale model piece on board, 1977 |
| Box 1 | Folder 40 | The Sea Gull by Anton Chekhov, Goodman Theatre at the Art Institute, opened 1977 November 17. Directed by Gregory Mosher, sets by Joseph Nieminski, costumes by Virgil Johnson, lighting by Pat Collins. Reviews, 1977 |
| Box 9 | Oversize Folder 38 | The Sea Gull- ¼” scale painter’s elevation for cloud backdrop Nieminski’s comment: The scenic artist, Mary Rausher, masked the edges of the clouds by sweeping sawdust over the areas on the drop that she wanted to keep clear. She applied the paint by spraying it through the nozzle of a garden sprayer. When the paint was dry, the sawdust was vacuumed up, 1977 |
| Oversize Folder 64 | The Sea Gull- Draftings, 1977 | |
| Box 12 | Slide 1.144 | The Sea Gull- Act I, 1977 |
| Box 31 | Artifact 2012.12.1a-b | The Sea Gull- ½” scale model of Act I gazebo with painter’s elevation for scrim curtain for Treplev’s play, 1977 |
| Box 31 | Artifact 2012.12.2 | The Sea Gull- ½” scale model piece on board, 1977 |
| Box 1 | Folder 41 | Don Juan by Molière, translated by Christopher Hampton, Goodman Theatre at the Art Institute, opened Thursday, 1977 May 12. Directed by William Woodman, taking over for Michael Montel, sets by Joseph Nieminski, taking over for John Jensen, costumes by Virgil Johnson, lighting by Gilbert V. Hemsley, Jr. Nieminski’s comment: When set designer John Jensen saw the interpretation of his elevations that scenic artist Dick Oates gave him, he left the show. I was asked to replace Jensen. Later, all of the painted scenery was struck and the show was played against rented black drapery. Reviews, 1977 |
| Box 9 | Oversize Folder 39 | Don Juan- 1” scale painter’s elevation for the commander’s tomb Nieminski’s comment: Not used, 1” scale painter’s elevation for tombstone profiles, 1” scale painter’s elevation for railing profile with painted drapery, 1977 |
| Oversize Folder 78 | Don Juan- 1” scale painter’s elevation for profile flats comprising a forest scene Nieminski’s comment: Not used, 1977 | |
| Oversize Folder 65 | Spectrum ’77, a State Farm Insurance Industrial Show, opened 1977. Sets by Joseph Nieminski. Nieminski’s comment: Annual corporate meetings involved slide shows accompanied by speakers and sometimes entertainment such as dancers and singers. The Plexiglas speaker’s podiums left and right pivoted and swung downstage center for the speakers. The floor lit up in the colors of the spectrum. Draftings, 1977 | |
| Box 13 | Photograph 1.345 | Spectrum ’77, a State Farm Insurance Industrial Show- ½” scale model, 1977 |
| Box 1 | Folder 42 | Joplin by Kathleen Lombardo, St. Nicholas Theatre, opened 1977 January 27. Directed by Steven Schachter, sets by Joseph Nieminski, costumes by Julie A. Nagel, lighting by Robert Shook. Program, review, 1977 |
| Box 1 | Folder 42a | Joplin- Draftings [reproductions], 1977 |
| Box 1 | Folder 43 | Otherwise Engaged by Simon Gray, Goodman Theatre at the Art Institute, opened 1978 May 12. Directed by William Woodman, sets by Joseph Nieminski, costumes by James Edmund Brady, lighting by F. Mitchell Dana. Nieminski’s comment: I copied the furniture for the set rendering from a Baker catalog. Production manager Philip Eickhoff took it to the Merchandise Mart and showed it to them. They were so pleased that they lent their furniture to the theatre for the production. Program, review, 1978 |
| Box 9 | Oversize Folder 40 | Otherwise Engaged- Set rendering, 1978 |
| Oversize Folder 65 | Otherwise Engaged- Draftings, 1978 | |
| Box 12 | Slide 1.145 | Otherwise Engaged- Setting, 1978 |
| Box 12 | Slide 1.146 | Otherwise Engaged- Actors on the set, 1978 |
| Box 56 | Artifact 2012.9.13 | Otherwise Engaged- ½” scale model pieces on board, 1978 |
| Box 1 | Folder 44 | The Night of the Iguana by Tennessee Williams, Goodman Theatre at the Art Institute, opened 1978 April 6. Directed by George Keathley, sets by Joseph Nieminski, costumes by Marsha Kowal, lighting by Robert Christen. Program, review, 1978 |
| Box 9 | Oversize Folder 41 | The Night of the Iguana- ½” scale painter’s elevation for the backdrop (2 pieces), ½” scale painter’s elevation for side profile masking flats Nieminski’s comment: We reused the sky drop from The Sea Gull, so I had to copy the old Sea Gull painter’s elevation in the new scale, then work over it with the new Night of the Iguana paint job, 1978 |
| Oversize Folder 65 | The Night of the Iguana- Draftings, 1978 | |
| Box 12 | Slide 1.147 | The Night of the Iguana- Setting, 1978 |
| Box 12 | Slide 1.148 | The Night of the Iguana- Entrance of the Germans, 1978 |
| Box 1 | Folder 45 | Native Son adapted for the stage by Paul Green and Richard Wright, Goodman Theatre at the Art Institute, opened 1978. Directed by Gregory Mosher, sets by Joseph Nieminski, costumes by Christa Scholtz, lighting by Pat Collins. Program, review, 1978 |
| Oversize Folder 65 | Native Son- Draftings, 1978 | |
| Box 12 | Slide 1.149 | Native Son- Setting, 1978 |
| Box 12 | Slide 1.150 | Native Son- Native Son, 1978 |
| Box 12 | Slide 1.346 | Native Son- Final scene with Gregory Mosher directing, 1978 |
| Box 1 | Folder 46 | A Christmas Carol by Charles Dickens, adapted by Barbara Field, Goodman Theatre at the Art Institute, opened 1978. Directed by Tony Mokus, sets by Joseph Nieminski, costumes by James Edmund Brady, lighting by Robert Christen. Nieminski’s comment: In a production of The Sea, actor Lenny Baker, playing a draper, had to cut some fabric. He was so out of control that he was afraid he’d cut himself, so he asked the prop man Jim Swank for rubber scissors. Now, who makes rubber scissors and why? Well, someone found these and presented them to Jim. I thought they were so funny that I put them in the Fezziwig Warehouse where they stayed until the show closed. Program, reviews, 1978 |
| Box 1 | Folder 46a | A Christmas Carol- Poster [reproductions], 1978 |
| Oversize Folder 66 | A Christmas Carol- Draftings, 1978 | |
| Box 12 | Slide 1.151 | A Christmas Carol- Counting house, 1978 |
| Box 12 | Slide 1.152 | A Christmas Carol- Scrooge’s hallway, 1978 |
| Box 12 | Slide 1.153 | A Christmas Carol- Scrooge’s room, 1978 |
| Box 12 | Slide 1.154 | A Christmas Carol- Belle and young Scrooge, 1978 |
| Box 12 | Slide 1.155 | A Christmas Carol- The Ghost of Christmas Present, 1978 |
| Box 12 | Slide 1.156 | A Christmas Carol- At the Cratchit’s, 1978 |
| Box 12 | Slide 1.157 | A Christmas Carol- At Nephew Fred’s, 1978 |
| Box 13 | Photograph 1.347-1.349 | A Christmas Carol- [unidentified], 1978 |
| Oversize Folder 79 | Artifact 2007.45a | A Christmas Carol- Floor Plan, Goodman stage with arrangement of sets (folds in half) , 1978 |
| Box 14 | Artifact 2007.45b | A Christmas Carol- Wood supports- Proscenium Arch and Grand Teaser, 1978 |
| Box 27 | Artifact 2007.45c | A Christmas Carol- Wood supports- Stage left, Proscenium wall, 1978 |
| Box 27 | Artifact 2007.45d | A Christmas Carol- Wood supports- Stage right, Proscenium wall, 1978 |
| Box 27 | Artifact 2007.45e | A Christmas Carol- Wood supports- Stage left, Tormentor, 1978 |
| Box 27 | Artifact 2007.45f | A Christmas Carol- Wood supports- Stage right, Tormentor, 1978 |
| Box 25 | Artifact 2007.45g | A Christmas Carol- Trip drops- Stage left, Trip Drop, 1978 |
| Box 25 | Artifact 2007.45h | A Christmas Carol- Trip drops- Stage right, Trip Drop, 1978 |
| Box 25 | Artifact 2007.45i | A Christmas Carol- Trip drops- Center, Trip Drop, 1978 |
| Box 26 | Artifact 2007.45j | A Christmas Carol- Models- Traveling Unit with windows and signs, 1978 |
| Box 29 | Artifact 2007.45k | A Christmas Carol- Models- Cratchit’s House, 1978 |
| Box 17 | Artifact 2007.45l | A Christmas Carol- Models- Fred’s House (top detached), 1978 |
| Box 51 | Artifact 2007.45l | A Christmas Carol- Models- Fred’s House (floor), 1978 |
| Box 28 | Artifact 2007.45m | A Christmas Carol- Models- Scrooge’s House, 1978 |
| Box 51 | Artifact 2007.45n | A Christmas Carol- Models- Ghost of Christmas Present, 1978 |
| Box 54 | Artifact 2007.45o | A Christmas Carol- Models- Graveyard, 1978 |
| Box 49 | Artifact 2007.45p | A Christmas Carol- Models- Fezziwig Warehouse, 1978 |
| Box 18 | Artifact 2007.45q | A Christmas Carol- Models- Counting House, 1978 |
| Box 51 | Artifact 2007.45q | A Christmas Carol- Models- Counting House doorway, 1978 |
| Box 54 | Artifact 2007.45r | A Christmas Carol- Models- Dicken’s Study, 2.75” x 6.5” x 7.75”, 1978 |
| Box 53 | Artifact 2007.45s | A Christmas Carol- Models- School Yard Gate, 3.5” x 11.5” x 9.5”, 1978 |
| Box 53 | Artifact 2007.45t | A Christmas Carol- Models- Young Scrooge Desk, 2.75” x 4.5” x 6.5”, 1978 |
| Box 38 | Artifact 2012.9.14.1 | A Christmas Carol- Prop scissors from the Fezziwig Warehouse set, 1978 |
| Box 56 | Artifact 2012.9.14.2 | A Christmas Carol- 1” scale model of the production, 1978 |
| Box 56 | Artifact 2012.9.14.3a-b | A Christmas Carol- 1” scale model pieces on board, 1978 |
| Box 38 | Artifact 2012.9.14.4 | A Christmas Carol- 1” round 10th anniversary button, 1978 |
| Box 1 | Folder 47 | Dracula’s Dilemma by Dean Button, Goodman School of Drama / DePaul University, Goodman Theatre at the Art Institute, opened 1979 March 18. Directed by Dean Button, sets and costumes by Joseph Nieminski, lighting by Kristine Bick. Program, 1979 |
| Box 9 | Oversize Folder 42 | Dracula’s Dilemma- Costume sketches, 1979 |
| Oversize Folder 67 | Dracula’s Dilemma- Draftings, 1979 | |
| Box 12 | Slide 1.158-1.165 | Dracula’s Dilemma- [unidentified] , 1979 |
| Box 1 | Folder 48 | Sir Gawain and the Green Knight, Goodman Theatre at the Art Institute, opened 1979. Directed by Estelle Spector, set and costumes by Joseph Nieminski, lighting by Kristine Bick. Reviews, 1979 |
| Box 5 | Oversize Folder 8 | Sir Gawain and the Green Knight- Painter’s elevation, costume sketch, 1979 |
| Box 9 | Oversize Folder 43 | Sir Gawain and the Green Knight- 1” scale painter’s elevation for scrim curtain and evergreen tree bottom roll drop, 1979 |
| Oversize Folder 67 | Sir Gawain and the Green Knight- Draftings, costume plot, 1979 | |
| Box 12 | Slide 1.166 | Sir Gawain and the Green Knight- Christmas at Camelot, 1979 |
| Box 12 | Slide 1.167 | Sir Gawain and the Green Knight- Beheading the knight, 1979 |
| Box 12 | Slide 1.168 | Sir Gawain and the Green Knight- Taking Gringolet, 1979 |
| Box 12 | Slide 1.169 | Sir Gawain and the Green Knight- First temptation, 1979 |
| Box 12 | Slide 1.170 | Sir Gawain and the Green Knight- First hunt, 1979 |
| Box 12 | Slide 1.171 | Sir Gawain and the Green Knight- Second temptation, 1979 |
| Box 12 | Slide 1.172 | Sir Gawain and the Green Knight- Second hunt, 1979 |
| Box 12 | Slide 1.173 | Sir Gawain and the Green Knight- Confronting the knight, 1979 |
| Box 12 | Slide 1.174 | Sir Gawain and the Green Knight- The knighting, 1979 |
| Box 12 | Slide 1.175 | Sir Gawain and the Green Knight- Final tableau, 1979 |
| Box 13 | Photograph 1.350 | Sir Gawain and the Green Knight- John Newcome as Sir Gawain, 1979 |
| Box 1 | Folder 49 | Holiday by Philip Barry, Goodman Theatre at the Art Institute, opened 1979. Directed by Tony Tanner, sets by Joseph Nieminski after Sandro LaFerla left the production. Review, 1979 |
| Box 12 | Slide 1.176 | Holiday- Act I living room, 1979 |
| Box 12 | Slide 1.177 | Holiday- Act II play room, 1979 |
| Box 1 | Folder 50 | The Pearl Fishers by Georges Bizet, Chicago Opera Theatre, Athenaeum Theatre, opened 1979 May 25. Stage director Angelo Karas, conductor Robert Frisbie, sets by Joseph Nieminski, costumes by Maggie Bodwell, lighting by Geoffrey Bushor. Nieminski’s comment: This was Chicago Opera Theatre’s foray into a more major scale opera. When it is performed in large opera houses, it is done in several scenes or locations, in order to “grand-it-up,” but this production was done on a single unit setting in order to conserve budget. The litter which carried Leila to her wedding was decorated with gumdrop “jewels,” a play on the city of Kandy, where she originated. Program, 1979 |
| Box 9 | Oversize Folder 44 | The Pearl Fishers- Proposed ½” scale painter’s elevation for overture scrim “Ceylonese Fishing Boats Returning to Shore” Nieminski’s comment: Not realized due to budget restrictions, 1979 |
| Oversize Folder 67 | The Pearl Fishers- Draftings, 1979 | |
| Box 37 | Artifact 2012.9.15 | The Pearl Fishers- ½” scale paper model of sacrificial altar on board, 1979 |
| Box 1 | Folder 51 | A Christmas Carol by Charles Dickens, adapted by Barbara Field, Goodman Theatre at the Art Institute, opened 1979. Directed by Tony Mokus, sets by Joseph Nieminski, costumes by James Edmund Brady, lighting by Robert Christen. Program, correspondence, 1979 |
| Box 2 | Folder 1 | Appleseed, a Play of Peace by Ed Graczyk, Goodman Theatre at the Art Institute, opened 1980. Directed by Estelle Spector, sets and costumes by Joseph Nieminski, lighting by Brian Faul. Nieminski’s comment: This was the last Children’s Theatre production to play at the Goodman Theatre. Program, 1980 |
| Box 5 | Oversize Folder 9-15 | Appleseed, a Play of Peace- Costume renderings, 1980 |
| Box 10 | Oversize Folder 45 | Appleseed, a Play of Peace- Set rendering, 1980 |
| Oversize Folder 68 | Appleseed, a Play of Peace- Draftings, costume plot, 1980 | |
| Box 13 | Photograph1.351 | Appleseed, a Play of Peace- ½” scale model of Johnny Appleseed figure, 1980 |
| Box 2 | Folder 2 | Character Lines by Larry Ketron, St. Nicholas Theatre, opened 1980 March 18. Directed by James Wise, sets by Joseph Nieminski, costumes by Jordan Ross, lighting by Rita Pietraszek. Program, reviews, 1980 |
| Oversize Folder 68 | Character Lines- Draftings, 1980 | |
| Box 12 | Slide 1.178 | Character Lines- Setting, 1980 |
| Box 12 | Slide 1.179 | Character Lines- Entrance suggesting upper story, 1980 |
| Box 12 | Slide 1.180 | Character Lines- Cluttered corner, 1980 |
| Box 12 | Slide 1.181 | Character Lines- Window over sink, 1980 |
| Box 12 | Slide 1.182 | Character Lines- Bathroom window, 1980 |
| Box 12 | Slide 1.183-1.189 | Character Lines- Shots with actors, 1980 |
| Box 34 | Artifact 2012.9.16 | Character Lines- ½” scale model, 1980 |
| Box 2 | Folder 3 | An Enemy of the People by Henrik Ibsen, adapted by Arthur Miller, Goodman Theatre at the Art Institute and later at the Zellerbach Theatre, Philadelphia, Pa., opened 1980 January 18. Directed by Gregory Mosher, sets by Joseph Nieminski, costumes by Jessica Hahn, lighting by Robert Christen. Nieminski’s comment: The Goodman production was played on a raked floor, with the side walls adjusted to the rake. In Philadelphia a flat floor was used. Since the set was symmetrical, the problem of the angled bottoms of the side walls was solved by turning the set upside down. Goodman guide to An Enemy of the People (with essay by J. Nieminski), 1980 |
| Box 10 | Oversize Folder 46 | An Enemy of the People- 1” scale painter’s elevation for waterfall backdrop Nieminski’s comment: Since the elevation was drawn in pencil, scenic artist Mary Raucher drew on the drop with thick lecturer’s chalk, in order to duplicate the technique. Then, she sprayed the drop with clear latex to seal it, 1980 |
| Oversize Folder 68 | An Enemy of the People- Draftings, 1980 | |
| Box 2 | Folder 4 | Of Mice and Men by John Steinbeck, Milwaukee Repertory Theatre, Milwaukee, Wis., opened 1980 April 18. Directed by Sharon Ott, sets by Joseph Nieminski, costumes by Colleen Muscha, lighting by Rachel Budin. Program, press clippings, 1980 |
| Box 10 | Oversize Folder 47 | Of Mice and Men- Preliminary floor plan, 1980 |
| Box 13 | Photograph 1.352-1.357 | Of Mice and Men- ½” scale model showing the scenes set up, 1980 |
| Box 35 | Artifact 2012.9.17.1a-9b | Of Mice and Men- ½” scale model of set, 1980 |
| Box 39 | Artifact 2012.9.17.10 |
Of Mice and Men- ¼” scale white paper preliminary model of the set
Nieminski’s comment: Find the mouse, 1980 |
| Box 2 | Folder 5 | A Perfect Analysis Given by a Parrot by Tennessee Williams, Goodman Studio Theatre, opened 1980 November 8. Directed by Gary Tucker, sets by Joseph Nieminski, costumes by Ellen Ryba, lighting by Robert Christen. Nieminski’s comment: This and the following two one-acts were presented together in an evening called Tennessee Laughs. This is the one-act where I recycled the juke box from Sea Horse at the Ivanhoe. Program, 1980 |
| Box 2 | Folder 5a | A Perfect Analysis Given by a Parrot- Set sketch [reproductions], 1980 |
| Box 2 | Folder 5b | The Frosted Glass Coffin by Tennessee Williams, Goodman Studio Theatre, opened 1980 November 8. Directed by Gary Tucker, sets by Joseph Nieminski, costumes by Ellen Ryba, lighting by Robert Christen. Set sketch [reproductions], 1980 |
| Box 2 | Folder 5c | Some Problems for the Moose Lodge by Tennessee Williams, Goodman Studio Theatre, opened 1980 November 8. Directed by Gary Tucker, sets by Joseph Nieminski, costumes by Ellen Ryba, lighting by Robert Christen. Set sketch, prop artwork [reproductions], 1980 |
| Box 2 | Folder 6 | A Christmas Carol by Charles Dickens, adapted by Barbara Field, Goodman Theatre at the Art Institute, opened 1980. Directed by Tony Mokus, sets by Joseph Nieminski, costumes by James Edmund Brady, lighting by Robert Christen. Program, 1980 |
| Box 2 | Folder 7 | The Front Page by Ben Hecht and Charles MacArthur, Goodman Theatre at the Art Institute, opened 1981 October 2. Directed by Michael Maggio, sets by Joseph Nieminski, costumes by William Ivey Long, lighting by Jennifer Tipton. Program, 1981 |
| Box 2 | Folder 8 | The Front Page- Correspondence, 1981 |
| Box 6 | Oversize Folder 16 | The Front Page- 1” scale painter’s elevations for the center mural and the mural over the window. Nieminski’s comment: The figures in the murals were inspired by the murals of Edwin Howland Blashfield in the Elks National Memorial building in Chicago. Motifs over the window were taken from the United States Capitol building, 1981 |
| Box 10 | Oversize Folder 48 | The Front Page- Set sketch, 1981 |
| Oversize Folder 68 | The Front Page- Draftings, 1981 | |
| Box 12 | Slide 1.190-1.192 | The Front Page- Model shots, 1981 |
| Box 12 | Slide 1.193-1.204 | The Front Page- Shots with actors, 1981 |
| Box 12 | Slide 1.205-1.206 | The Front Page- Painter’s elevations of murals, 1981 |
| Box 13 | Photograph 1.358-1.374 | The Front Page- ½” scale model, 1981 |
| Box 16 | Artifact 2016.15 | The Front Page- ½” scale model of the set Nieminski’s comment: For two years it [the model] was shown in Europe by the United States Information Agency as part of a State Department Touring Exhibit of American Theater, 1981 |
| Box 46 | Artifact 2012.9.21 | The Front Page- “GENTS” for the toilet door [set piece] Nieminski’s comment: It’s [gents sign] specified in the script, but a real one could not be found, 1981 |
| Box 2 | Folder 9 | Nasty Rumors and Final Remarks by Susan Miller, St. Nicholas Theatre, opened 1981 April 29. Directed by Elinor Renfield, sets by Joseph Nieminski, costumes by Jordan Ross, lighting by Dan Kobayashi. Nieminski’s comment: [In the play] an actress suffers a stroke and lands in a coma (symbolized by the white surround of her hospital room with her bed presumably in the audience). Her ghost or soul wanders the hospital and says goodbye to her visiting family, lovers and friends. Program, 1981 |
| Oversize Folder 69 | Nasty Rumors and Final Remarks- Draftings with set sketch, 1981 | |
| Box 42 | Artifact 2012.9.18.2 | Nasty Rumors and Final Remarks- ½” scale model of the set, 1981 |
| Box 43 | Artifact 2012.9.18.2a | Nasty Rumors and Final Remarks- ½” scale model piece on board, 1981 |
| Box 2 | Folder 10 | The Incredible Murder of Cardinal Tosca by Alden Nowlen and Walter Learning, Northlight Theatre, opened 1981. Directed by Mark Milliken, sets by Joseph Nieminski, costumes by Kaye Nottbusch, lighting by Robert Shook. Nieminski’s comment: The gas fixture globes on the morgue set walls were made of cut down two liter plastic soft drink bottles, as these are cheap and won’t break in the backstage jostling of the scene shift. Program, 1981 |
| Oversize Folder 69 | The Incredible Murder of Cardinal Tosca- Draftings, 1981 | |
| Box 33 | Artifact 2012.9.25.1-8 | The Incredible Murder of Cardinal Tosca- ½” scale model pieces for the various scenes, 1981 |
| Box 2 | Folder 11 | Strider by Mark Rosovsky, Woodstock Opera House, Woodstock, Ill., opened 1981 June 13. Directed by Frank Galati, musical direction Les Stahl, sets by Joseph Nieminski, costumes by Julie Jackson, lighting by Robert Shook. Programs, reviews, 1981 |
| Oversize Folder 69 | Strider- Draftings, 1981 | |
| Oversize Folder 70 | Knock on Wood, the Carpenter’s Story by Arnold Sundgaard, Arie Crown Theatre, McCormick Place, opened 1981 September 1. Directed by John Allen, sets by Joseph Nieminski, costumes by Jessica Hahn, lighting by Robert Christen. Draftings, 1981 | |
| Box 12 | Slide 1.207-1.209 | Knock on Wood, the Carpenter’s Story- Goodman carpenter Tim Brault posing for carving of the newel post, 1981 |
| Box 42 | Artifact 2012.9.18.4 | Knock on Wood, the Carpenter’s Story- ½” scale set model pieces on board, 1981 |
| Box 2 | Folder 12 | Betrayal by Harold Pinter, Goodman Theatre at the Art Institute, opened 1981 January 16. Directed by Andre Ernotti, sets by Joseph Nieminski, costumes by Christa Scholtz, lighting by Paul Gallo. Program, reviews, 1981 |
| Box 2 | Folder 12a | Betrayal- Poster [reproduction], 1981 |
| Oversize Folder 70 | Betrayal- Draftings, 1981 | |
| Box 12 | Slide 1.210-1.211 | Betrayal- Actors, 1981 |
| Oversize Folder 77 | Anna Christie by Eugene O’Neill, St. Nicholas Theatre, 1981 November, [the theater closed before the show opened]. Sets by Joseph Nieminski, costumes by Virgil Johnson, lighting by Robert Christen. Nieminski’s comment: St. Nicholas Theatre acquired a set of eight plaster capitols of no particular order, two of which I used in the bar in Anna Christie. When the St. Nicholas closed, the capitols moved to the Court Theatre and I used them again in Misalliance, Much Ado about Nothing and You Never Can Tell. Preliminary Drafting, 1981 | |
| Oversize Folder 78 | Anna Christie- Painter’s elevation, 1981 | |
| Box 21 | Artifact 2016.14.1-7 | Anna Christie- 1” scale model, 1981 |
| Box 2 | Folder 13 | A Christmas Carol by Charles Dickens, adapted by Barbara Field, Goodman Theatre at the Art Institute, opened 1981. Directed by Tony Mokus, sets by Joseph Nieminski, costumes by James Edmund Brady, lighting by Robert Christen. Program, review, 1981 |
| Box 2 | Folder 14 | An Italian Straw Hat by Eugene Labiche, the Outdoor Court Theatre at the University of Chicago, opened 1982. Directed by Richard S. Kordos, sets by Joseph Nieminski, costumes by Nancy Missimi, lighting by Robert Shook. Program, 1982 |
| Box 2 | Folder 14a | An Italian Straw Hat- ¼” scale paper model piece [reproductions], 1982 |
| Box 6 | Oversize Folder 17 | An Italian Straw Hat- ¼” scale floor plan, 1982 |
| Oversize Folder 70 | An Italian Straw Hat- Draftings, 1982 | |
| Box 12 | Slide 1.212-1.214 | An Italian Straw Hat- Act I Fadinard’s apartment, 1982 |
| Box 12 | Slide 1.215-1.219 | An Italian Straw Hat- Act II milliner’s shop, 1982 |
| Box 12 | Slide 1.220-1.225 | An Italian Straw Hat- Act III Baroness of Champigny’s house, 1982 |
| Box 12 | Slide 1.226-1.230 | An Italian Straw Hat- Act IV Beauperthuis’ apartment, 1982 |
| Box 12 | Slide 1.231-1.232 | An Italian Straw Hat- Act V A square, 1982 |
| Box 12 | Slide 1.233-1.236 | An Italian Straw Hat- Horses and carriages between the acts, 1982 |
| Box 2 | Folder 15 | You Never Can Tell by George Bernard Shaw, Court Theatre, opened 1982 September 30. Directed by Nicholas Rudall, sets by Joseph Nieminski, costumes by Jessica Hahn, lighting by Linda Buchanan. Nieminski’s comment: Fireplace for the first act was borrowed from the set of The Incredible Murder of Cardinal Tosca at Northlight Theatre. Program, 1982 |
| Box 10 | Oversize Folder 49 | You Never Can Tell- 1” scale painter’s elevations for Acts I and II sets, full size hand painted stencil sample to show color, 1982 |
| Oversize Folder 70 | You Never Can Tell- Draftings, 1982 | |
| Box 12 | Slide 1.237-1.242 | You Never Can Tell- Act I, Scene i a dentist’s operating room, 1982 |
| Box 12 | Slide 1.243-1.246 | You Never Can Tell- Act I, Scene ii the terrace of the Marine Hotel, 1982 |
| Box 12 | Slide 1.247-1.252 | You Never Can Tell- Act II, Scenes i and ii the Clandon’s sitting room, 1982 |
| Box 2 | Folder 16 | A Christmas Carol by Charles Dickens, adapted by Barbara Field, Goodman Theatre at the Art Institute, opened 1982. Directed by Tony Mokus, sets by Joseph Nieminski, costumes by James Edmund Brady, lighting by Robert Christen. Program, reviews, 1982 |
| Box 2 | Folder 17 | What I Did Last Summer by A.R. Gurney, Jr., Northlight Repertory Theatre, opened 1983 November 6. Directed by Michael Maggio, sets by Joseph Nieminski, costumes by Kaye Nottbusch, lighting by Robert Shook. Program, 1983 |
| Oversize Folder 71 | What I Did Last Summer- Draftings, 1983 | |
| Box 32 | Artifact 2012.9.26 | What I Did Last Summer- ½” scale model of set, 1983 |
| Box 2 | Folder 18 | Blackbird by Pamela Blake, Commons Theatre, DePaul University, opened 1983 May 5. Directed by Patrick Murphy, sets by Joseph Nieminski, costumes by Virgil Johnson, lighting by Robert Shook. Program, correspondence, 1983 |
| Oversize Folder 71 | Blackbird- Draftings, 1983 | |
| Box 42 | Artifact 2012.9.18.5 | Blackbird- ½” scale model pieces on board, 1983 |
| Box 2 | Folder 19 | The Seagull by Anton Chekov, Commons Theatre, DePaul University, opened 1983 December 8. Directed by Bella Itkin, sets by Joseph Nieminski, costumes by Hedvig Ander, lighting by Eric Fielding. Program, 1983 |
| Box 6 | Oversize Folder 18 | The Seagull- Act I set sketch, 1983 |
| Oversize Folder 71 | The Seagull- Draftings, 1983 | |
| Box 2 | Folder 20 | The Dining Room by A.R. Gurney Jr., Goodman Theatre at the Art Institute, opened 1983. Directed by Michael Maggio, sets by Joseph Nieminski, costumes by Marsha Kowal, lighting by Robert Christen. Program, review, 1983 |
| Box 6 | Oversize Folder 19 | The Dining Room- Painter’s elevation, 1983 |
| Box 10 | Oversize Folder 50 | The Dining Room- Set rendering, poster, 1983 |
| Oversize Folder 72 | The Dining Room- Draftings, 1983 | |
| Box 13 | Photograph 1.375-1.377 | The Dining Room- [unidentified] , 1983 |
| Box 2 | Folder 21 | A Christmas Carol by Charles Dickens, adapted by Barbara Field, Goodman Theatre at the Art Institute, opened 1983. Directed by Tony Mokus, sets by Joseph Nieminski, costumes by James Edmund Brady, lighting by Robert Christen. Program, reviews, 1983 |
| Box 10 | Oversize Folder 51 | The Importance of Being Earnest by Oscar Wilde, Commons Theatre, DePaul University, opened 1984. Directed by Bill Burnett, sets by Joseph Nieminski, costumes by Katherine Wagner, lighting by Robert McGarvie. Full size color sample of Act I stencil pattern, full size color rendering of Act I stained glass transoms, 1” painter’s elevation of Act II floor treatment, 1984 |
| Oversize Folder 72 | The Importance of Being Earnest- Draftings, 1984 | |
| Box 13 | Photograph 1.378 | The Importance of Being Earnest- Act I, 1984 |
| Box 2 | Folder 22 | What the Butler Saw by Joe Orton, Northlight Repertory Company, opened 1984 May 19. Directed by Michael Maggio, sets by Joseph Nieminski, costumes by Kerry Fleming, lighting by Robert Shook. Program, reviews, 1984 |
| Oversize Folder 72 | What the Butler Saw- Draftings, 1984 | |
| Oversize Folder 72 | The Wit and Wisdom of Benjamin Greenfield, Costume Collection, Chicago Historical Society, opened 1984. Costume curator, Elizabeth Jachimowicz, designer Joseph Nieminski. Draftings, 1984 | |
| Box 2 | Folder 23 | Misalliance by George Bernard Shaw, Court Theatre, opened 1984 February 23. Directed by Nicholas Rudall, sets by Joseph Nieminski, costumes by Nancy Missimi, lighting by Rita Pietraszek. Nieminski’s comment: The plane crash was suggested by having a shadow cross the translucent ceiling of the conservatory followed by an offstage sound effect. Then the chandelier was rigged to sway. Program, 1984 |
| Oversize Folder 73 | Misalliance- Draftings, 1984 | |
| Box 12 | Slide 1.253 | Misalliance- Setting, 1984 |
| Box 12 | Slide 1.254 | Misalliance- Looking stage right, 1984 |
| Box 12 | Slide 1.255 | Misalliance- Looking stage left, 1984 |
| Box 12 | Slide 1.256 | Misalliance- At night, 1984 |
| Box 12 | Slide 1.267 | Misalliance- With actors, 1984 |
| Box 13 | Photograph 1.379-1.384 | Misalliance- 1” scale model, 1984 |
| Box 41 | Artifact 2012.9.18.6 | Misalliance- 1” scale model pieces on board Nieminski’s comment: Misalliance used the capitols inherited from the defunct St. Nicholas Theatre plus borrowed brackets from the Goodman Theatre. The plaster dome in the niche was purchased from Decorator Supply Corporation. For the model, the radiator grate was suggested with perforated paper, a craft supply used for embroidery projects since Victorian time. The architectural details in the model were formed with Super Sculpey over cardboard. Balsa wood moldings were employed, 1984 |
| Box 2 | Folder 24 | Candida by George Bernard Shaw, Goodman Theatre at the Art Institute, opened 1984 January 13. Directed by Munson Hicks, sets by Joseph Nieminski, costumes by Nan Cibula, lighting by Robert Christen. Program, review, 1984 |
| Oversize Folder 73 | Candida- Draftings, 1984 | |
| Oversize Folder 78 | Candida- Painter’s elevation, 1984 | |
| Box 12 | Slide 1.258-1.263 | Candida- With actors, 1984 |
| Box 47 | Artifact 2016.16.1-16 | Candida- ½” scale white paper model, 1984 |
| Box 2 | Folder 25 | Quartermaine’s Terms by Simon Gray, Northlight Theatre, opened 1984 November 7. Directed by B.J. Jones, sets by Joseph Nieminski, costumes by Kaye Nottbusch, lighting by Rita Pietraszek. Program, review, 1984 |
| Oversize Folder 73 | Much Ado about Nothing by William Shakespeare, Court Theatre, opened 1984 October 11. Directed by Marc B. Weiss replaced by Nicholas Rudall, sets by Joseph Nieminski, costumes by Julie Jackson, lighting by Robert Shook. Nieminski’s comment: The director was a New York lighting designer making his directing debut. When we first met at the theatre he handed me a book on Francesco Guardi for inspiration. At lunch at the University cafeteria he drew a rough floor plan of the set on a napkin. Back at the theatre we walked the stage as he described the set again in case I didn’t get it. There was nothing left for me to do except to trace a pencil around his ideas. Later in rehearsal he dictated to the actors. They hated him and complained to artistic director Nicholas Rudall. He replaced him. Draftings, 1984 | |
| Box 13 | Photograph 1.385-1.389 | Much Ado about Nothing- Model, 1984 |
| Box 24 | Artifact 2012.9.27a | Much Ado about Nothing- ½” scale pieces of the model, 1984 |
| Box 44 | Artifact 2012.9.27b-h | Much Ado about Nothing- ½” scale pieces of the model, 1984 |
| Box 2 | Folder 26 | A Christmas Carol by Charles Dickens, adapted by Gregory Mosher and Larry Sloan, Goodman Theatre at the Auditorium Theatre, opened 1984. Directed by Gregory Mosher, sets by Kate Edmunds, costumes by Christa Scholtz, lighting by Duane Schuller. Program, invitation, 1984 |
| Box 2 | Folder 27 | Heartbreak House by George Bernard Shaw, Court Theatre and later Murray Theatre, Ravinia Festival, Highland Park, Ill., opened 1985 September 28. Directed by Nicholas Rudall, sets by Joseph Nieminski, costumes by Jessica Hahn, lighting by Rita Pietraszek. Programs, 1985 |
| Box 11 | Oversize Folder 52 | Heartbreak House- ½” scale pencil elevation for Acts I and II at Murray Theatre, 1985 |
| Oversize Folder 74 | Heartbreak House- Draftings, 1985 | |
| Box 50 | Artifact 2012.9.24a-b | Heartbreak House- ½” scale white paper model of the reversible portion of the set, 1985 |
| Box 12 | Slide 1.264-1.277 | The Elephant Man by Bernard Pomerance, Commons Theatre, DePaul University, opened 1985. Directed by Todd Schmidt, sets by Joseph Nieminski, costumes by Frances Maggio. Actors, 1985 |
| Box 40 | Artifact 2012.9.18.8 | The Elephant Man- ½” scale model pieces on board, 1985 |
| Box 2 | Folder 28 | A Christmas Carol by Charles Dickens, adapted by Larry Sloan, Goodman Theatre at the Art Institute, opened 1985. Directed by Sandra Grand, sets by Joseph Nieminski, costumes by Christa Scholtz, lighting by Robert Christen. Program, production meeting schedule, 1985 |
| Box 3 | Folder 1 | Arms and the Man by George Bernard Shaw, Court Theatre, opened 1986 February 16. Directed by Nicholas Rudall, sets by Joseph Nieminski, costumes by Nancy Missimi, lighting by Robert Shook. Nieminski’s comment: Costumes and props are often pulled and recycled, but it is rare that scenery from one show is used for an entirely different play. The first act of my Theatre School production of The Importance of Being Earnest was raped and pillaged for Arms and the Man because the elements in Earnest looked exotic. The pillars from Act II of Earnest made a guest appearance in Quartermaine’s Terms. Program, 1986 |
| Oversize Folder 74 | Arms and the Man- Draftings, 1986 | |
| Box 19 | Artifact 2012.9.28a-x | Arms and the Man- ½” scale model pieces Nieminski’s comment: Drapery on a model is best achieved by painting it because finding a gossamer fabric that will drape at ½” scale is impossible. Even the fabric in the Thorne Miniature Rooms at the Art Institute had to be tortured into shape at twice the scale. Perfect scale carpets were found in copies of Architectural Digest. They were given a coat of wool flocking to enhance their texture, 1986 |
| Box 3 | Folder 2 | Strider by Mark Rozovsky, Commons Theatre, DePaul University, opened 1986 November 6. Directed by Joseph Slowik, sets by Joseph Nieminski, costumes by Renee S. Liepins, lighting by Paul Miller. Program, 1986 |
| Oversize Folder 74 | Strider- Draftings, 1986 | |
| Box 12 | Slide 1.278 | Strider- Setting, 1986 |
| Box 12 | Slide 1.279-1.292 | Strider- Actors, 1986 |
| Box 13 | Photograph 1.390-1.392 | Strider- Model, 1986 |
| Box 13 | Photograph 1.393 | Strider- Production, 1986 |
| Box 42 | Artifact 2012.9.18.3 | Strider- ½” scale model piece on board, 1986 |
| Oversize Folder 74 | Merrily We Roll Along by Stephen Sondheim, University Theatre, University of Wisconsin at Madison, opened 1986. Directed by William Woodman, sets by Joseph Nieminski, costumes by Kaye Nottbusch. Nieminski’s comment: This set was built badly by a student with an attitude and her boyfriend. A lot of it ended up in the dumpster rather than on stage. Draftings, 1986 | |
| Box 3 | Folder 3 | A Christmas Carol by Charles Dickens, adapted by Larry Sloan, Goodman Theatre at the Art Institute, opened 1986. Directed by Sandra Grand, sets by Joseph Nieminski, costumes by Christa Scholtz, lighting by Robert Christen. Program, reviews, 1986 |
| Box 3 | Folder 4 | Ah, Wilderness! By Eugene O’Neill, Commons Theatre, DePaul University, opened 1987 December 3. Directed by Joseph Slowik, sets by Joseph Nieminski, costumes by Janet C. Messmer, lighting by Paul Miller. Program, review, draftings, 1987 |
| Box 11 | Oversize Folder 53 | Ah, Wilderness!- Prop calendar, 1987 |
| Oversize Folder 75 | Ah, Wilderness!- Draftings, 1987 | |
| Box 12 | Slide 1.293 | Ah, Wilderness!- Act I, Scene i, 1987 |
| Box 12 | Slide 1.294-1.296 | Ah, Wilderness!- Act I, Scene i with actors, 1987 |
| Box 12 | Slide 1.297 | Ah, Wilderness!- Act I, Scene ii, 1987 |
| Box 12 | Slide 1.298-1.299 | Ah, Wilderness!- Act I, Scene ii with actors, 1987 |
| Box 12 | Slide 1.300 | Ah, Wilderness!- Act II, Scene i, 1987 |
| Box 12 | Slide 1.301-1.305 | Ah, Wilderness!- Act II, Scene i with actors, 1987 |
| Box 12 | Slide 1.306 | Ah, Wilderness!- Act II, Scene ii, 1987 |
| Box 12 | Slide 1.307-1.309 | Ah, Wilderness!- Act II, Scene ii with actors, 1987 |
| Box 12 | Slide 1.310-1.311 | Ah, Wilderness!- Act II, Scene iii with actors, 1987 |
| Box 12 | Slide 1.312 | Ah, Wilderness!- Family portrait, 1987 |
| Box 12 | Slide 1.313 | Ah, Wilderness!- Set change, 1987 |
| Box 12 | Slide 1.314 | Ah, Wilderness!- Crew, 1987 |
| Box 48 | Artifact 2012.9.23 | Ah, Wilderness!- ½” scale model pieces on board, 1987 |
| Box 3 | Folder 5 | A Christmas Carol by Charles Dickens, adapted by Larry Sloan, Goodman Theatre at the Art Institute, opened 1987. Directed by Michael Maggio, sets by Joseph Nieminski, costumes by Christa Scholtz, lighting by Robert Christen. Program, reviews, correspondence, publicity flyer, 1987 |
| Box 3 | Folder 6 | A Christmas Carol by Charles Dickens, adapted by Larry Sloan, Goodman Theatre at the Art Institute, opened 1988. Sets by Joseph Nieminski, Julie Jackson, lighting by Robert Christen. Invitation, reviews, 1988 |
| Box 3 | Folder 7 | Camino Real by Tennessee Williams, Theatre School, DePaul University, Blackstone Theatre, opened 1989. Directed by Joseph Slowik, sets by Joseph Nieminski, costumes by Lisa Cuneen. Program, 1989 |
| Oversize Folder 75 | Camino Real- Draftings, 1989 | |
| Box 13 | Photograph 1.394-1.395 | Camino Real- Crucifix from religious shrine, 1989 |
| Box 42 | Artifact 2012.9.18.7 | Camino Real- ½” scale model pieces on board, 1989 |
| Box 3 | Folder 8 | A Christmas Carol by Charles Dickens, adapted by Tom Creamer, Goodman Theatre at the Art Institute, opened 1989. Directed by Steve Scott, sets by Joseph Nieminski, costumes by Julie Jackson, lighting by Robert Christen. Program, reviews, 1989 |
| Box 3 | Folder 9 | Moon for the Misbegotten by Eugene O’Neill, Missouri Repertory Theatre, Helen F. Spencer Theatre, Kansas City, Mo., opened 1990. Directed by William Woodman, sets by Joseph Nieminski, costumes by Baker S. Smith, lighting by Robert Christen. Program, 1990 |
| Oversize Folder 75 | Moon for the Misbegotten- Draftings, 1990 | |
| Oversize Folder 78 | Moon for the Misbegotten- Painter’s elevation, 1990 | |
| Box 23 | Artifact 2016.13a | Moon for the Misbegotten- ½” scale model pieces of the set. Nieminski’s comment: The missing board on the front porch allows the fire curtain to descend, 1990 |
| Box 20 | Artifact 2016.13b-g | Moon for the Misbegotten- ½” scale model pieces of the set. Nieminski’s comment: The missing board on the front porch allows the fire curtain to descend, 1990 |
| Box 3 | Folder 10 | A Christmas Carol by Charles Dickens, adapted by Tom Creamer, Goodman Theatre at the Art Institute, opened 1991. Directed by Steve Scott, sets by Joseph Nieminski, lighting by Robert Christen. Program, invitation, 1991 |
| Box 3 | Folder 11 | The Cocktail Hour by A.R. Gurney, Jr., Missouri Repertory Theatre, Helen S. Spencer Theatre, Kansas City, Mo., opened 1992. Directed by William Woodman, sets by Joseph Nieminski, costumes by Vincent Scassellati, lighting by Rob Murphy. Nieminski’s comment: This play calls for an elegant suburban look. Most theatrical furniture is well used and not particularly elegant so we rented pieces for this production. Reupholstering a sofa is not easy so we found a sofa we liked and matched the other fabrics on the set to it. Paint color is the easiest of the elements to mix so that came last based on the other elements we found. This show is about an author asking his family’s permission to use them as characters in a play. Finally we realize that the play is the one we’re watching. All the detail on the walls of the set is painted illusion. At first we accept that as conventional reality. Then we realize it is scenery for the play. Program, correspondence, samples, 1992 |
| Box 6 | Oversize Folder 20 | The Cocktail Hour- Fabric swatches, 1992 |
| Box 11 | Oversize Folder 54 | The Cocktail Hour- 1” scale painter’s elevations, 1992 |
| Oversize Folder 76 | The Cocktail Hour- Draftings, 1992 | |
| Box 13 | Photograph 1.395a | The Cocktail Hour- [unidentified] , 1992 |
| Box 3 | Folder 12 | Broadway Bound by Neil Simon, Missouri Repertory Theatre, Helen S. Spencer Theatre, Kansas City, Mo., opened 1992. Directed by George Keathley, sets by Joseph Nieminski, costumes by Baker S. Smith, lighting by Kathy A. Perkins. Nieminski’s comment: It was a fun challenge to design these three plays in the same stage space. Moon for the Misbegotten is an exterior with a complete farmhouse on stage. I used the smallest elements I could and still keep them in relation to the human form. The suburban living room in The Cocktail Hour used elements that were slightly larger than life. Broadway Bound needs a combination interior / exterior two story house. In the set the second story bedrooms are behind the living and dining room instead of above them. That allows you to get light where you need it. Programs, correspondence, 1992 |
| Oversize Folder 76 | Broadway Bound- Draftings, ½” scale painter’s elevations on print of draftings, 1992 | |
| Box 13 | Photograph 1.396-1.398 | Broadway Bound- Built-in cabinet, 1992 |
| Box 13 | Photograph 1.399-1.400 | Broadway Bound- Cabinet built for the set, 1992 |
| Box 3 | Folder 13 | The Gigli Concert by Tom Murphy, Court Theatre and later Dock Street Theatre, Charleston, S.C. (Spoleto Festival U.S.A.), opened 1992 February 21 in Chicago and 1992 May 23 in Charleston. Directed by William Woodman, sets by Joseph Nieminski, costumes by Nanette Acosta, lighting by Robert Christen. Program (Spoleto), review, 1992 |
| Oversize Folder 77 | The Gigli Concert- Draftings, 1992 | |
| Box 13 | Photograph 1.401-1.412 | The Gigli Concert- Interior of the Dock Street Theatre, Charleston, S.C., 1992 |
| Box 15 | Artifact 2016.12.1-5 | The Gigli Concert- ½” scale model of the set at the Spoleto Festival, 1992 |
| Box 22 | Artifact 2016.12.6 | The Gigli Concert- ½” scale model of the set at the Spoleto Festival, 1992 |
| Box 3 | Folder 14 | Savage in Limbo by John Patrick Shanley, Blackstone Theatre, opened 1992 December 3. Directed by James Ostholthhoff, sets by Joseph Nieminski, costumes by Lisa Marie Harrison, lighting by Richard B. Adams. Program, 1992 |
| Oversize Folder 77 | Savage in Limbo- Draftings, 1992 | |
| Box 3 | Folder 15 | A Christmas Carol by Charles Dickens, adapted by Tom Creamer, Goodman Theatre at the Art Institute, opened 1992. Directed by Steve Scott, sets by Joseph Nieminski, lighting by Robert Christen. Program, reviews, invitations, 1992 |
| The House of Blue Leaves by John Guare, Court Theatre, opened 1992. Directed by Philip Killian, sets by Joseph Nieminski, costumes by Frances Maggio, lighting by Rita Pietraszek. [There are no physical materials associated with this production.] | ||
| Box 3 | Folder 16 | A Christmas Carol by Charles Dickens, adapted by Tom Creamer, Goodman Theatre at the Art Institute, opened 1993. Directed by Chuck Smith, sets by Joseph Nieminski, lighting by Robert Christen. Program, 1993 |
| Box 3 | Folder 17 | A Christmas Carol by Charles Dickens, adapted by Tom Creamer, Goodman Theatre at the Art Institute, opened 1994. Directed by Chuck Smith, sets by Joseph Nieminski, lighting by Robert Christen. Program, 1994 |
| Box 3 | Folder 18 | A Christmas Carol by Charles Dickens, adapted by Tom Creamer, Goodman Theatre at the Art Institute, opened 1995. Directed by Chuck Smith, sets by Joseph Nieminski, lighting by Robert Christen. Program, 1995 |
| Box 3 | Folder 19 | A Christmas Carol by Charles Dickens, adapted by Tom Creamer, Goodman Theatre at the Art Institute, opened 1996. Directed by Henry Godinez, sets by Joseph Nieminski, lighting by Robert Christen. Program, invitation, reviews, 1996 |
| Box 3 | Folder 20 | A Christmas Carol by Charles Dickens, adapted by Tom Creamer, Goodman Theatre at the Art Institute, opened 1997. Directed by Henry Godinez, sets by Joseph Nieminski, lighting by Robert Christen. Program, reviews, 1997 |
| Box 3 | Folder 21 | A Christmas Carol by Charles Dickens, adapted by Tom Creamer, Goodman Theatre at the Art Institute, opened 1998. Directed by Henry Godinez, sets by Joseph Nieminski, lighting by Robert Christen. Program, reviews, 1998 |
| Box 3 | Folder 22 | A Christmas Carol by Charles Dickens, adapted by Tom Creamer, Goodman Theatre at the Art Institute, opened 1999. Directed by Henry Godinez, sets by Joseph Nieminski, lighting by Robert Christen. Program, reviews, 1999 |
| Box 3 | Folder 23 | A Christmas Carol by Charles Dickens, adapted by Tom Creamer, Goodman Theatre at the Art Institute, opened 2000. Directed by Henry Godinez, sets by Joseph Nieminski, lighting by Robert Christen. Review, 2000 |
| Box 3 | Folder 24 | Alice in Wonderland adapted by Coulter Martens, Merle Reskin Theatre, opened 2001. Directed by Anne Wakefield, sets by Joseph Nieminski, lighting by Jenna MacDanold. Theatre School Annual Report with photo of the production on cover, 2001 |
| Box 6 | Oversize Folder 21 | Alice in Wonderland- ⅜” painter’s elevations, 2001 |
| Box 11 | Oversize Folder 55 | Alice in Wonderland- Set rendering, 2001 |
| Oversize Folder 77 | Alice in Wonderland- Draftings, 2001 | |
| Box 42 | Artifact 2012.9.18.1 | Alice in Wonderland- ⅜” scale model piece on board, 2001 |
| Box 3 | Folder 25 | A Christmas Carol by Charles Dickens, adapted by Tom Creamer, Goodman Theatre at the Art Institute, opened 2001. Directed by Henry Godinez, sets by Todd Rosenthal. Reviews, invitation, 2001 |
| Box 3 | Folder 26 | A Christmas Carol by Charles Dickens, Goodman Theatre at the Art Institute. Notes, invitations, sketches from productions of A Christmas Carol, undated |
| Box 6 | Oversize Folder 22 | Notes from productions of A Christmas Carol, undated |
| Box 3 | Folder 27 | Nutcracker, Arie Crown Theatre, McCormick Place Convention Center, undated. Choreography and production supervision Ruth Page, designer Joseph Nieminski. Nieminski’s comment: I was asked to design a new scrim to replace the worn existing one. The original scrim was very plain due to production costs. This led to a proposed redesign of the second act using soft scenery and finally to a redesign of the whole production. When a new design was to be realized it was given to another designer. When the Joffrey Ballet came to Chicago with their Nutcracker, Ruth Page’s version closed. Program, undated |
| Box 11 | Oversize Folder 56 | Nutcracker- Proposed scrim rendering, undated |
| Box 11 | Oversize Folder 57 | Unidentified production. Painter’s elevations, undated |
| Box 13 | Photograph 1.413 | Unidentified production. Photograph, undated |
| Box 45 | Artifact 2012.9.20 | Unidentified production. Framed silver dollar bill, undated |
