Frank Lloyd Wright has designed what he calls "The New Theater" for the citizens of Hartford, Connecticut. Although he is almost 80, and has never before designed a theater plant, Mr. Wright is well up on the latest developments and trends in theater planning. This understanding, as well as he imagination and perspective which have prompted some to call him "the outstanding architect of the twentieth century," are apparent in his model of the Hartford playhouses, now being shown in Fogg Museum.

The building will be low and angular; this is nothing new to those who know Mr. Wright's work. The most important and interesting part of any theater, however, is the stage. In this case the stage juts out into the orchestra in a large semicircular form, reminiscent of the Grecian theater. Thus actors and audience are brought into more intimate contact than is possible with the present "picture frame stage."

This may sound a good deal like the "theater-in-the-round" idea. In many respects it is, but actually "The New Theater" is a compromise between "theater-in-the-round" and the present proscenium stage. A lot of the new stage is still hidden from the audience--enough to allow for rapid changes of scenery. According to Mr. Wright's manifesto, which is posted near the model, scenery is built below the stage and rises on ramps to the playing area, which is equipped with a revolving disk. The "fly gallery" above the stage is completely eliminated.

I had the opportunity of discussing this theater with Jo Mielziner a few months ago. Mr. Mielziner, who designed the sets for "Mister Roberts," "South Pacific," "A Streetear Named Desire," and "Death of a Salesman," is beyond a doubt America's top scenic designer. His feeling is that "the present method of flying scenery above the stage is still the fastest, most efficient means of shifting. Modern drama is written with flying scenery in mind, and for this reason 'The New Theater' cannot be adapted by the commercial theater for quite some time."

"The New Theater" is ideal for Hartford, where it will probably be used as a community playhouse, but Broadway will not feel its influence for many years. A few elements may cause trouble even in Hartford. For example, the revolving stage may be called upon to perform more than it is functionally able to, in the matter of scene shifts. Mr. Wright's claim that the playhouse will bring "a new life for the theater" is premature at this point.