Natalie Lunn (1937–2013)
As an artist and technician, Natalie tirelessly spun gold out of straw, working with tiny budgets and tight deadlines. When the Carriage House theater burned down shortly after her arrival at Bard, Natalie took command, rallying a small army of students to turn the former dining commons at Preston Hall into a “temporary” theater. A set was constructed from odds and ends borrowed from faculty or purchased at junk yards (among Natalie’s favorite haunts), and costumes were made from whatever she could commandeer, dye, and adjust in time for the performance. Natalie was a force of nature, fueled by enthusiasm, talent, ingenuity, and raw stubbornness.
Natalie Anne Lunn was born in Mineola, New York on November 1, 1937 to Natalie Maxwell Lunn and James Snow Lunn. A clue to her future might be recognized in the 4H certificate she was awarded at the age of five for “sewing, cooking, textile, and felt craft.” Natalie graduated from the Northfield School for Girls, and she received a BA in Philosophy from Wellesley College. But her heart belonged to the theatre. She spent two years at Southampton College as the Technical Director/Designer and was hired by Bard College in 1972.
Over the course of her career, she designed costumes and/or sets for companies from Provincetown to Tuscany: including work with the Harvard Opera Guild, the Orleans Arena Theater, Pro Danza Italia/USA, and the Center for the Performing Arts at Rhinebeck.. Her singular contributions to the theater community of the mid-Hudson Valley were recognized with a special citation from the Dutchess County Executive’s Arts Awards in 1995 and the Rodney Plimpton Distinguished Service Award from the Center for the Performing Arts at Rhinebeck in May 2013.
Natalie is survived by her brother, artist James Perry Lunn; her sister, Sarah (Sally) Weinenger; her nieces, Melissa and Katherine; her nephew, Jonathan; three great-nephews; a great niece; and hundreds of loving friends and colleagues. A memorial is planned for August 24, 2013.
REMEMBRANCES
Tristan Golas '01Natalie taught so much more than theater. She taught ethics, philosophy, art history, professionalism, and a whole host of others useful things about life. And she did all of that while patiently and calmly helping to birth the designs of so many artistic egos - students, professors and visiting designers alike. She knew so much, and was endlessly curious and willing to find a creative solution to make a theatrical vision work. Being her friend beyond that felt like such an enormous privilege to this eighteen year old, and that feeling has never worn off. I owe her for nearly every employable skill I have, and I haven't done theater in years - an education from Natalie was so much more than anything her paycheck from Bard could possibly have covered. Whether sitting in her office, at her diningroom table, or beside her at the computer laying out a program at 4:00am, she was the consummate teacher, and an amazing friend.
Merry Grissom '94
Working in the costume shop for most of my years at Bard, I spent a great deal of time with Natalie. At the time, I didn't realize what a profound impact she was having on me, but I knew that she was, indeed, a force to be reckoned with!
I remember countless hours in her office and the costume shop. Jelly jars and Parliaments, with Ginny wandering through for a pat on the head from time to time.
I remember the first time I met with her about a job in the costume shop. She looked me up and down and said: Do you ski?
after a long pause:
Um, I know HOW to ski - I haven't gone for years.
Do you play sports?
I used to play lacrosse and field hockey. And basketball when I was younger.
Can you drive stick shift?
Um...yes.
She nodded and said "Okay." I stood there for a moment at a loss, and seeing the look on my face she said: I needed to know how your hand/eye coordination is.
She tossed me some fabric and told me to sew a few seams. I looked at the machine and said I've never used this kind of machine. How do you thread it?
(tossed over her shoulder offhandedly) Guess.
Yup. She told me to guess. I don't remember how that particular set of seams got finished, but she did hire me in the end.
I remember that everything always came down to the wire. We were always still sewing right up to opening curtain, whether it was dance or drama, but somehow she made it happen, and did an amazing job, every time. Mostly I remember her sitting up in her office as hordes of students milled in and out throughout the day. Asking questions, chatting, bitching, sometimes crying, often laughing. She was tough - Natalie is still one of the few people I've met in life who could be counted on to tell you the truth as she saw it (sometimes even if you hadn't asked her for it!) But although her exterior was gruff, she was the undisputed mother hen to hundreds of us. In all my years at Bard, she definitely had her crabby days, but underneath that no-nonsense manner of hers, she was kind and patient with me.
She made a big difference in my college years, and my life, and I will miss her.
Jacquie Lowry '73
I was in my senior year (and thus a part of the "small army of students" that turned Preston into a theatre) when Natalie arrived at Bard. Actually we started using Preston the year before the theatre burned down - as part of Bill Driver's clever finagling to commandeer whatever space that he could for use by the Drama-Dance Department. I was one of the directors as part of a one-act festival in Preston and I believe David Martin's production of Ondine was done in Preston that year. But it was definitely an adjunct space. When the Coachhouse Theatre burned, Preston became our only Theatre and Natalie indeed helped to transform it. My Senior Project, Happy Days by Samuel Beckett, was the first production there and Natalie created a brilliant set from cardboard boxes and burlap - better than one could hope for.
We all knew that Natalie was someone special when she arrived that year. She drove an old Bentley (that I believe she called Agatha) that soon expired as I recall. Strike nights were events that some foolish students tried to get out of. Natalie made them fun (as she made all tech work) and established the Bitter-Enders club. She really could spin gold out of straw. One of my early memories of her that first fall was in the courtyard in front of the theatre, watching her weld together pieces of pipe for a set. Her apartment in Tewks quickly became the hang-out, located as it was on the way between the theatre and main campus. There was always something to eat and, lord knows, plenty to drink. Nat was always a reason to return for visits to Bard. It feels as if someone has cut one of the precious strings that tie me to that time and place. I shall miss her deeply.
Philip Milano
The year was 1977, the place Bard College.Such a beautiful, uncluttered campus then. I resided only several doors away from Natalie in Tewksbury, and was taking a theater course with a very animated/enthusiastic teacher(and pretty good guy) named Eugene Kalish. He was putting on a play titled 'Playboy Of The Western World' and cast me in the roll of Philly Cully, an Irish tavern bloke. Natalie was quite involved with the sets, and for some reason she was always suspicious of me? I'm sure it was because I was several years older than most of the students having taken a five year hiatus from school with gainful employment shortly after graduating James Madison High School in Brooklyn. And yet I know she liked me. I've thought of her every time I drove through the Bard campus since leaving the school. She was a character. Bye Natalie.
Noel Phillips
I will remember Natalie enlisting me to help finish Henry V's costume at the Center for Performing Arts in Rhinebeck. Curtain time was in 15 minutes. Henry was pacing the floor. Somehow I managed to move the snaps into the right places. Just in time. Henry donned his yellow-gold tunic, and the show began. I'll never forget the smile on Natalie's face as the actors walked backstage. The camaraderie at the Center was palpable.
Post Date: 07-22-2013