Design 2010

When I was in college I went to the head of the design department at my school, and I said, I really want to be a costume designer. She told me it would be a lot of work, and then she asked me what do you want to design? I said I've always wanted to do Cabaret, Beauty and the Beast, Into the Woods, something like Moulin Rouge. She chuckled a little, and said that's already been done, what do YOU want to do. I had no answer. At first I was a little put off by that statement, but looking back on it, it is the wisest thing anyone has ever said to me. With each show I take on I try to not look at the preconceived notions of a play or a musical, i research every possible source of inspiration and try to find inspiration in the most unlikely places. In the end the show i design is never a version of someone else's vision, it is my own. The last year has been such an amazing year for me as a designer, looking back on all the shows I have done, I have gotten to truly spread my wings. I have worked with so many wonderful collaborators who have pushed me and helped me to find my voice as a designer. I've been blessed with audiences that have loved my vision and my ideas. It is a truly wonderful feeling to have people appreciate your art. So without further ado, a design recap of 2010.

GASLIGHT

My first production with the Hapgood Theatre Company, also my first production working with the very talented Josy Miller. Gaslight was so much fun for me, but how could I not love a gothic victorian murder mystery? For Gaslight I looked at the gothic master Tim Burton, i drew a lot of inspiration from Sleepy Hollow, and Corpse Bride. i also looked at films like Sin City, 300, and the Spirit for their use of color and shadows. Gaslight was nominated for a 2010 Shellie award for best costume design of a play, and I couldn't be more proud of it.

Memoirs of a Fairytale

an original tribute that was put together in collaboration with Jeremy Messmer for the Delta Academy for the Performing Arts. We wanted to create a production that was fun and engaging, something that kids would want to be in, and that kids would want to see. This was my third collaboration with Jeremy, and I really feel it was our strongest. We looked at sixty to seventy songs, and narrowed it down to thirty six songs from all different genres, generations, and mediums to create a tribute to the childhood fantasy and the idea of Happily ever after. To create the perfect princess, over the top villains and dashing heroes, we first started pouring over pictures of Broadway musicals, fantasy films, classical Disney, and about half way through i realized we were doing it all wrong. We weren't creating their idea of a fairy tale, we were creating ours. we were looking at all of the things we had grown up with, the things we thought of as being fantastical. Most of these kids had not even seen a Disney fairy tale in the theatres, because Disney hadn't made an original fairy tale based film since Beauty and the Beast. So i went back to the inspiration drawing board, and instead, started looking at the red carpet, the couture runway. I looked at magazine editorials, and ad campaigns. I looked at pop music, and turned to Madonna, Rihanna, Katy Perry, Lady Gaga, and Britney Spears. I watched music videos. I tried to create a fantasy world that a 13 year old would look at and go this is beyond my wildest dreams, I never would have thought of that. Then to make it even more accessible, we bought everything from Macys, H&M, Ross, Forever 21, Urban Outfitters. I wanted the kids to be able to wear something they could have bought or found themselves in a way that they would never have imagined. I have never worked with a group of kids who was so excited about a show, or about getting to wear a costume. to see the surprise and shock and excitement on their faces every day when they go to get ready was truly special. I have also never seen an audience react to something in such a way, I knew that Jeremy and i had created something special when on opening night, people were buzzing before the show even started based on our set alone, and at intermission all people wanted was to go back inside and watch the second half.

How to Succeed in Business Without Really Trying.

My final show with the Delta Academy for the Performing Arts. I was so excited when they decided to do this swinging tribute to the 60s, i have always been a huge fan of all things from the 50s and the 60s, i feel like it was truly America's golden age. To be honest for this production we took a lot of inspiration from Mad Men, which if you haven't seen it, is one of the most brilliant shows on television. I decided that i wanted to paint a version of the 60s that was sleek and chic. I looked at Mad Men, and Down With Love, I also looked at The Audrey Hepburn classics, and Rock Hudson Doris Day flicks. I researched Barbie dolls that came out in the era, i also took inspiration from the pop art of the time, with its bold lines and graphic patterns. My goal was to create a chic and sexy environment that was totally classic 60s. It was so nice to see all of the girls in classy pencil skirts and blouses, and Chanel style jackets, and all the guys in suits. Teenagers these days so often don't dress up, that it was great to see them step outside of themselves and take on a different attitude.

The Cocktail Hour

My second production with the Hapgood Theatre Company, and it was another great experience. This is a piece about a WASP family in upstate New York, I had such a fun time reading the WASP handbook, and researching that way of life. It was nice to create almost a portrait of Americana. The 70s was such a garish time period that it was fun to find the sophisticated elements of the era to dress this family. I looked at a lot of Ralph Lauren, and Tommy Hilfiger, i looked over pictures of the Kennedy's' to find just the right blend. I also had the joy of getting to help with some of the set dressings, and painting the floor treatment. As a designer this was great because i was able to pick things that showcased and highlighted the costumes we were using. everything we picked enhanced everything else. it was such a joy to be a part of the design process for the entire production.

Bye Bye Birdie

My first production with South Bay conservatory. if you haven't noticed i will jump on anything that gives me the opportunity to go vintage. The funnest thing for me about this production is i was given an opportunity to throw the old conventional idea of Bye Bye Birdie out the window. South Bay Conservatory's program works with elementary and middle school kids, which proposes a challenge but is most often a joy because we get to go outside the box and design a show that fits this age group, and what is appropriate for them. For Birdie that meant getting rid of the Capri's and opting for a much sweeter whole some version of sweet apple. We took out anything that could be considered cheesy or a sight gag, and went for things that were genuine, i also went really simple with my color pallet to showcase the kids and not distract from their performance. for "put on a happy face" and Conrad's fan club i created a look reminiscent of the Mickey Mouse Club. Rosie was my pride and joy, the character is usually dressed very sexy, and career minded, I mean she was played Chita Rivera, Vanessa Williams, and Gina Gershon. those women drip sexuality. At SBC our Rosie was played by an eleven year old girl, who mature beyond her years, should not be dripping in sexuality. So I got to look at the character and re-analyze her, and found a strong confident women who wants to take care of the man she loves. So we started her off in career minded clothes, and slowly dressed her in softer more feminine clothing as the show went on, I looked to Jackie O for my inspiration, and found the perfect balance. Conrad Birdie was another character I got the chance to re-imagine. Because a 13 year old would look silly in Elvis' sexy jumpsuits, we chose to pull inspiration from some of the other rock stars of the 50s and the 60s. I looked at Bobby Darin, James Dean, and the Beatles, I also drew inspiration from Link Larkin of Hairspray fame. This production was truly special to me, because of my love of the 50s and 60s, and I was given a chance to pay tribute to a fabulous era.