Natasha, Pierre & The Great Comet of 1812
For this production, I draped a spencer for Marya Dmitrievna and a tunic for Balaga. In addition to my work as a draper, I handwove a belt for Balaga based off of traditional Irish crios weaving. The images here show final production photos with the completed and trimmed pieces, as well as fittings in which we tested different sleeve cuts and proportions. Director: Micheal Baxter Costume Designer: Anabel Weiland Balaga: Drew Bates Marya Dmitrievna: Elise Cogan Photography: Philip Hamer
The Drowning Girls
The Drowning Girls depicts drowned brides from the early 1910s up until the early 1920s. All three wedding dresses were built for the show, largely out of reclaimed materials. We sourced wedding dresses, vintage fabrics, and even tablecloths and upholstery fabrics to give the costumes a lived-in and worn look. When creating these dresses, I had to keep in mind that the performers would be changing onstage, with minimal time and help to do so. All three costumes have hidden zippers and closures. Each dress was built fully, in its 'pristine' state, and then weathered to reflect the length of time each woman had been dead for, using a variety of tools and techniques, such as cutting, sanding, spraypainting, and drybrushing. Alice: Sadie Gingold, ‘26 (she/her) Bessie: Grace Erickson, ‘27 Margaret: Samantha King, ‘27 (she/her) Alice Understudy: Ainsley Hammond, ‘26 (she/her) Bessie Understudy: LF Peck, ‘28 (she/they) Margaret Understudy: Nina Romano, ‘27 (she/her) Director: Zachary Stefaniak, 26’ (he/him) Assistant Director: Carmen Rose Del Vecchio, ‘26 (she/her) Scenic Designer, Props Head: Jillian Staible, ‘28 (she/her) Costume Designer: Elisabeth Mainusch, ‘27 (she/her) Wig, Hair, & Makeup Designer: Moustapha Barry, ‘27 Lighting Designer: Kinsey Moore, ‘27 (she/her) Sound Designer: Sylvie Griffin, ‘29 (she/her) Production Stage Manager: Teagan Fasching, ‘28 (she/her) 1st Assistant Stage Manager: Violet Hill, ‘28 (she/her) 2nd Assistant Stage Manager: Kiera Hunter, ‘29 (they/she) Lead Carpenter: Kadan Brown, ‘29 (he/him) Technical Director: Tennessean Laforest, ‘28 (he/they/she) Assistant Scenic Designer/Scenic Artist: Max Florida, ‘26 (he/him) Assistant Costume Designer: Bria Trachsel, ‘27 Crafts Head: Ally Rigby, ‘29 Wardrobe Head/Draper: Savannah Richey, ‘26 (she/her) Assistant Wig, Hair, & Makeup Designer: Teagan Karetski-Smythe, ‘28 (she/her) Assistant Lighting Designer: Hailey Nicholls, ‘28 Head Electrician/Programmer/LX Board Op: Aster Tovar, ‘28 (they/she) Assistant Head Electrician/Programmer: Eve Garty, ‘27 Sound Board Operator: Clare Brady, ‘29 (she/her)
The Spitfire Grill
This 90s style house dress was quickrigged for both changes into and out of this look. In order to accommodate this, I created a hidden zipper that was covered by a false front button placket and secured with a snap. The length of the original design was extended by a few inches so another costume could be underdressed beneath this look. Director: Jenny Wintzer Costume Designer: Ariana Lapentti Photography: Philip Hamer Shelby: Remi Mark
The Last Days of Judas Iscariot
This piece underwent many different variations, originally including a sheer layer, no appliques, and less dye. A veil was created to match the dress and was outfitted with a lace trim as well as discreet fasteners. Director: Adam Flores Costume Designer: Ivan Nguyen Henrietta: Fabiola Davila Photography: Philip Hamer
A Bright Room Called Day
This silk cut bias cut was created for a 20s starlet character. The original design featured a diamond-shaped insert on the bodice front, but evolved into the more streamline cut featured in the production photos. Director: Gregory Almanza Costume Design: Tiana Osborne Photography: Philip Hamer Paulinka: Piper Murray
Denim Tailored Blazer
I created this tailored women’s blazer as a study on tailoring techniques. All of the pad stitching on the lapels and collar, the installation of the upper and lower collar, the lining installation, as well as the pick stitching around the lapels was all sewn by hand. The pockets are fully functional, and the sleeves feature vents with bound buttonhole closures.
Our Town
A green a-line pinafore dress. This costume was intended to create a sense of child-like proportions in the actor to emphasize the youth of their character. Director: Gad Guterman Costume Designer: Evelyn Weaver Rebecca Gibbs: Ainsley Hammond Photography: Philip Hammer
