Well all right, I’ll try it. I had heard about the union, the test, that it was the way to prove your mettle. 7 notes. Explore ANNIE's N.Y.C. It’s actually a huge struggle every time. Itslearning Kristelig Gymnasium. PC:   You’ve worked a lot with Bob Woodruff? The court: should it be hot or cold, is it contemporary or future, are they military or civilian? In a special ceremony, Tony award-winning costume designer Susan Hilferty signed the deed of gift for an Elphaba costume and broom from the musical Wicked, based on the novel by Gregory Maguire, to the museum’s popular culture collections. Paul Cooper:   Let’s jump right in. PC:   How do you start to hook that into design? I guess we’ve done five shows now. (The production was developed with the Flying Karamazov Brothers and Avner the Eccentric.). There’s a feel that’s old, new, and funny. Photo by Joan Marcus. In Susan Hilferty’s bustling studio workshop on West 24 th Street in New York, you will find shelves overflowing with books and drafting tables covered in papers. Originally, we were going to do it with a ventriloquist’s dummy. I wish I had even a smidge of the amount of talent this woman has! [Editor's note: Costumes in WICKED work hard; this video explains costume maintenance.]. SH:   Oh no no no. Then he responds to those images and we keep going on from there. The way his mind works is always changing. PC:   You seem to work with people over and over again. When did you get together? It’s very strange to be in a school situation working with professionals. Public television station WNET has teamed up with the upcoming Broadway revival of ANNIE! You have the sense that whatever power Prospero has, for good or evil, in the end Ariel and Caliban, the inhabitants of the island, will have suffered, will have been taken advantage of. #threadbanger #wicked #costume #susan hilferty #interview. For example, some of the doubling has changed for this production:   Luce (the kitchen maid engaged to Dromio) used to be doubled with the Courtesan, but Karla Burns now doubles Luce with the Duke of Ephesus. On the left, the Elphaba costume on display in the museum. Her iconic bubble dress was painstakingly made – it has 33 individual petals, all hand sewn. Susan Hilferty doing a costume fitting with Laura Dysarczek. Obviously, we had a lot of other ideas—we didn’t come into rehearsal totally cold—but whether these ideas were going to work was a very open question. I’m very excited to come down to Washington to spend the day in the museums down there. So in Comedy , at the same time that we were creating characters, we wanted the integrity of the vaudeville personae to be maintained—that’s what they do on stage, that’s who they are, that’s the major reason for wanting them in this production. What I hope is that they see beyond this—not just a beautiful dress that's created by really accomplished artisans, but that they also get into the story of a young woman who rose above her troubles and becomes a powerful voice for the underdogs of the world. The Tony award-winning costume designer spoke to us about how it also took a village to create the costumes, what it feels like to have her work in the museum, and more. Most of the performers, especially in the original company, were “new vaudevillians”; their work is very presentational, with performers always breaking the fourth wall, always addressing the audience as well as the other performers. So, the House of Atreus is in the center of the stage. Hamlet 2020. Wonderland is currently in previews and opens at the Marquis Theatre, Broadway, on 17 April. They just have different personalities and different ways of working. That it’s not just been a power struggle, but a rape, taking advantage by force. Image via the. His new play, Playland, of which he had the first draft with him during the interview, opened at the Market Theatre in Johan-nesburg in July and … Then it was a life-size dummy. I tell stories through clothes. Erin Blasco is an education specialist in the New Media Department. SH:   I had to get to know all of them very well to figure out their individual needs in this balance. Alec didn’t join rehearsals until the second week, playing Angelo, the goldsmith. You don’t need to be a Michelangelo, but you do need to be able to communicate. So it was a combination of his baggy pants and a new character; the fabric is a raw silk with a stripe and it’s got sheen and a lot of movement in it, so when he moves around you’re very conscious of the baggy-pants idea behind it. In previous productions the Duke was in a tail coat. I didn’t know any other designers; I’d never seen another designer’s portfolio, or another designer’s resume. For example, Avner didn’t want to be Avner on stage, but he is Avner on stage. Even though he may have thought as a director that something was going to work, as an actor he had to respond directly. Putting those costumes together must have been an amazing process—not just the emotional requirements of working with such a wonderfully eclectic group of people, but also the visual and technical requirements of designing costumes that could accommodate the physical antics of the cast. Designs sets and costumes for theatre; costumes for opera, dance, film, and circus. Have you now developed a specific way of working together? It is quite a hefty thing to swing around every night! Since then, Fugard's old friend and collaborator, the ac-tress Yvonne Bryceland, has died. PC:   I’m sure vaudeville skills imposed requirements on materials and construction. Susan Hilferty's sketch for the Elphaba costume, A black sicklebill, a large bird of paradise that reminded us a bit of Elphaba's costume. I describe myself as a storyteller, not just a clothing designer. In the case the costume is in, it's just steps away from the ruby slippers, Kermit the frog, and other iconic American history artifacts. No one is totally in a period, there’s always a bizarre combination—hopefully never overwhelming—of contemporary images, like Avner’s derby, or a turban with baggy shorts, or a paisley rayon shirt and leopardskin shoes. Five questions with Susan Hilferty, costume designer for "WICKED" By Erin Blasco, November 30, 2012 Caves, oil spills, and museums might not sound like the most likely sources of inspiration when it's your job to design costumes for a musical. Between 12th and 14th Streets One of the feelings you may get in this production is of civilized man raping primitive cultures. And I would describe it as a brutal facade which should feel like an oven or a reliquary in that you should have the sense constantly that it might explode, and it does. I can’t believe pink. SH:   Each costume had to meet certain technical requirements from the very beginning. It cries. Can you tell us about it? I put together his memorial service, and what was the most moving was that the size of our community of people who work at putting something on the stage—it’s a very small community, but one that’s impassioned. Anything will serve: newspaper clippings, magazine photos, or illustrations in books. 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