Although a good deal of his work was seen in London and New York, the name of Max Reinhardt remains for most English-speaking theatre students all-too-vaguely associated with those innovations which helped to give a new importance to the ‘totality’ of the relationship between actors, audience, stage lighting and design, movement and music, in the earlier part of this century. Even less is known here about one of Reinhardt's leading collaborators. Ernst Stern – the longest-serving, most versatile, and most professional of his designers. Yet Stern settled in England in 1933, and left his papers to the Victoria and Albert Museum, upon whose resources Hugh Rorrison has drawn in assembling this view of Stern's contribution to Reinhardt's theatre in particular, and to twentieth-Century scenography in general. Hugh Rorrison, who was a regular contributor to the original series of Theatre Quarterly, teaches in the Department of German of the University of Leeds.