A History of the Theatre

Costume Business

A History of the Theatre Costume Business is the first-ever comprehensive book on the subject, as related by award-winning actors
and designers, and first hand by the drapers, tailors, and craftspeople who make the clothes that dazzle on stage.
Readers will learn why stage clothes are made today, by whom, and how. They will also learn how today’s shops and ateliers
arose from the shops and makers who founded the business. This never-before-told story shows that there is as much drama
behind the scenes as there is in the performance: famous actors relate their intimate experiences in the fitting room, the glories
of gorgeous costumes, and the mortification when things go wrong, while the costume makers explain how famous shows were
created with toil, tears, and sweat, and sometimes even a little blood. This is history told by the people who were present at the
creation – some of whom are no longer around to tell their own story.
Based on original research and first-hand reporting, A History of the Theatre Costume Business is written for theatre
professionals: actors, directors, producers, costume makers, and designers. It is also an excellent resource for all theatregoers
who have marveled at the gorgeous dresses and fanciful costumes that create the magic on stage, as well as for the next gener-
ation of drapers and designers.

Triffin I. Morris is head of the graduate costume production program at the University of North Carolina at Chapel Hill,
Milly S. Barranger Distinguished Professor of the Practice, and costume director of PlayMakers Repertory Company. She has
worked at Radio City Music Hall, Tricorne, Eric Winterling, the Metropolitan Opera, and many others, making costumes for
Broadway shows, opera, and dance over a 20-year career. She worked on Harry Potter and the Cursed Child, Margaritaville, The
Radio City Christmas Spectacular, Beautiful: The Carole King Musical, Wicked, Cinderella, Matilda, and Shrek among many
others. She has worked with such designers as William Ivey Long, Paul Tazewell, Ann Roth, Jane Greenwood, Gregg Barnes,
and Emelio Sosa.

Gregory DL Morris has 35 years’ experience as a business journalist and historian, having reported from all 50 states, eight
Canadian provinces, and 17 countries on five continents. He earned a BS in Journalism and Education, with a distinction in all
subjects, from Cornell University. He is a second-generation native New Yorker, a member of the Overseas Press Club, and sits
on the Editorial Board of the Museum of American Financial History, a Smithsonian Affiliate.

Rachel E. Pollock is costume crafts artisan and lecturer at the University of North Carolina at Chapel Hill. She was resident
lead crafts artisan and dyer for the American Repertory Theatre at Harvard University, then worked in Los Angeles on film,
television, and opera. She has served as a crafts artisan, dyer, and milliner for such designers as Catherine Zuber, Ann Hould-
Ward, Ilona Somogyi, David Zinn, Constance Hoffman, and Julie Taymor. She has also worked as a dyer and first hand at the
Broadway production house Parsons-Meares, Ltd. on shows such as Hamilton, The Lion King, and Frozen.
A History of the Theatre
Costume Business
Creators of Character

Triffin and Gregory Morris with Rachel E. Pollock

First published 2022
by Routledge
605 Third Avenue, New York, NY 10158

and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2022 Triffin Morris and Gregory Morris

The right of Triffin I. Morris and Gregory DL Morris to be identified as authors of this work has been asserted
by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any
electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording,
or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks,

and are used only for identification and explanation without intent to infringe.

Library of Congress Cataloging-in-Publication Data

Names: Morris, Triffin (Triffin I.), author. | Morris, Gregory (Gregory DL), author. |
Pollock, Rachel (Rachel E.), author.
Title: A history of the theatre costume business: creators
of character / Triffin and Gregory Morris with Rachel Pollock.
Description: New York, NY: Routledge, 2021. |
Includes bibliographical references and index.
Identifiers: LCCN 2021012669 (print) | LCCN 2021012670 (ebook) |
ISBN 9781138484306 (hardback) |
ISBN 9781138484290 (paperback) | ISBN 9781351052344 (ebook)
Subjects: LCSH: Costume–History. | Costume design–History. |
Costume designers–History. | Clothing trade–History.
Classification: LCC PN2067 .M64 2021 (print) |
LCC PN2067 (ebook) | DDC 792.02/6–dc23
LC record available at https://lccn.loc.gov/2021012669
LC ebook record available at https://lccn.loc.gov/2021012670

ISBN: 978-1-138-48430-6 (hbk)

ISBN: 978-1-138-48429-0 (pbk)
ISBN: 978-1-351-05234-4 (ebk)

DOI: 10.4324/9781351052344

Typeset in Electra
by Newgen Publishing UK
I dedicate this book to the unsung heroes of the industry: Grace Miceli,
Michael Stanton, and Veronica Blythe. These people did incredible work
and deserve to be recognized. – Triffin

I dedicate this book to my mother, who came to New York to sing on

Broadway. She never got her big break, but went on to many other
triumphs. – Gregory
C O N T E N T S

Acknowledgments ix
An Invitation xi
Notes on Terminology xiii

INTRODUCTION
HOW COSTUMES HAVE SAVED CHOREOGRAPHY AND
CREATED CHARACTERS 1

CHAPTER 1 ORIENTATION
HOW COSTUMES BECAME A BUSINESS, AND HOW IT WORKS 15

CHAPTER 2 A STITCH IN TIME

THE EARLY DESIGNER-DRAPERS 29

CHAPTER 3 THREAD AND CIRCUSES

THE RISE AND FALL OF THE BIG RENTAL SHOPS 39

CHAPTER 4 THE COMING OF THE CONTINENTALS

LIGHTER HANDS FOR BALLET AND OPERA 55

CHAPTER 5 BROADWAY AS A BUSINESS

THE SYNDICATE, THE SHUBERTS, AND THE UNIONS 63

CHAPTER 6 THE BRITISH INVASION

THE LEGACY OF RAY DIFFEN 75

CHAPTER 7 A LEADING LADY HERSELF

BARBARA MATERA 87

CHAPTER 8 NIGHTS (AND WEEKENDS) ON BROADWAY

THE CURRENT COMMERCIAL SHOPS 101

vii
viii Contents

CHAPTER 9 THOROUGHLY MODERN MILLINERS AND MAKERS

THE MODERN ATELIER SYSTEM 119

CHAPTER 10 ANGEL WINGS AND DANCING CANDLESTICKS

CRAFT AND SPECIALTY SHOPS 133

CHAPTER 11 TINKERS AND TAILORS

OLD MACHINES SOLDIER ON AND CAN BE SPIED IN NEW SHOPS 145

CHAPTER 12 WEST OF 12TH AVENUE

COMMERCIAL SHOPS ACROSS NORTH AMERICA 157

Appendix A: Timeline of Broadway Shops with Landmark Shows 169

Appendix B: Award-Winning Broadway Shows and Shops 173
Bibliography 201
Index 205
A C K N O W L E D G M E N T S

This book came about because a journalist fell in love Thanks to the family of Ray Diffen, who were
with a costume maker and found the story of the costume simultaneously protective of him and eager to have his story
industry fascinating. The ten-year process of writing, finding told. Triffin is profoundly grateful to have spoken in person
a publisher, and gathering photos has been a labor of love. with the godfather of the modern costume business in what
It was seriously thwarted by Covid-19. Research trips were turned out to be his last few months.
cancelled. Archives were closed. People were difficult to We honor the memories of others to whom we
find. Apologies to the valuable members of the community spoke who have since passed. Designer Willa Kim, who
who are not included. There are still wonderful stories to be welcomed us into her vast apartment on the Upper West
told about costume shops in New Orleans, Las Vegas, Los Side. After having us help move a few potted trees for better
Angeles, Chicago, and Philadelphia. There are craft shops, light, we sat at a coffee table strewn with plants and a Tony
milliners, wigmakers, and early New York shops that are award. Danny Geoly, keeper of the flame in the long history
missing. We offer this book as the beginning of the story, not of the big rental shops. He and Gregory sat for a few hours
the end. in a corner of the loading dock of the famous building
Thanks first and foremost to Sally Ann Parsons and he owned in Long Island City that had been the home of
William Ivey Long, who were incredibly generous with Eaves Brooks and still houses three other shops. Legendary
their time and connections early in the process. When we designer Desmond Heeley. The feisty Maria Brizzi, who
first had the idea, Sally Ann sat with us at her shop and gave us a long and elliptical interview in her home, and
enthusiastically shared memories and contacts. William trusted us with an irreplaceable photograph to scan and
was gracious enough to sit with us for several hours in his return safely.
gorgeous home telling stories. Also tailor Vincent Zullo, who Thanks as well to the people who leapt to our aid at
drove into the city from Jersey to take us to his house and out the end, as we were scrambling to gather photographs and
for lunch. permissions, notably Isabella St. Onge. Love to Marion Hose,
Thanks to those who have mentored us: Jeff Leider, Eric Steven Stratton, Ernie Smith, and Brian Russman, who
Winterling, Kathy Marshall, and Bobbi Owen. bolstered and supported when spirits were sagging.

ix
A N I N V I T A T I O N

This is the first comprehensive effort to document and relate good. And it is good. We need our readers’ help in making
the history of the theater costume business. We know that it great.
because while interviewing shop owners, designers, and If any reader notices an error or omission, please
actors, they all said it was the first time anyone had done so. enlighten us. If anyone feels left out, or slighted, alert us. If
That said, we also know that there are gaps, omissions, and anyone wants their story told, tell us.
inconsistencies. From the moment this first edition went to the
We conducted our research over ten years, and are most publisher, we began compiling material for a possible
proud that we were able to interview several legendary figures second edition. Until such time, we plan to create a website
who have since passed. In those ten years we also bought an for additions, enhancements, elaborations, and expansions.
apartment, had a baby, changed jobs, moved 500 miles, and And corrections. Pending any of that, please send leads,
bought a house. During the pandemic, travel was unsafe and ideas, stories, and constructive criticism to:
archives were closed. All of that is by way of explanation, not [email protected].
excuse. We pushed ahead, not letting great be the enemy of

xi
N O T E S O N T E R M I N O L O G Y

The terminology used in the industry can be confusing. through the shop. This person also typically fits the garment,
How a word is used can depend upon how, or where, a although there are some shops where the shop manager does
person entered the business. For example, the term “cutter” all the fittings. In fashion, this person may also be called the
can mean the person who makes the pattern (in the United patternmaker, although the process in fashion is usually quite
Kingdom) or the person who cuts the pattern out of fabric different than the one theater practitioners follow.
(in the USA). The person who cuts the pattern out of fabric Stitcher: The general term for a person who sews
could also be called an assistant or a draper’s assistant and, garments together. There are sub-categories within the
just to keep things extra confusing, almost anybody in the term. An operator is a person who operates an industrial
costume shop, from the shop manager to a stitcher, can be sewing machine. A seamstress or dressmaker generally
called upon to cut a pattern out of fabric. makes dresses. A finisher sews only by hand and is usually
The same holds true for sewing techniques. Often, completing the final steps of construction.
seams are finished by running them through a machine Tailor: Usually a person who specializes in making
that holds three or four spools of thread. It cuts the fabric jackets, vests, and pants. The process for tailoring is more
and wraps the edge with thread which keeps it from fraying. like flat patterning than draping. Old school tailors draw the
This technique can be called: overlocking (a general term pattern straight on the fabric, using very few actual paper
describing the process), serging (a reference to “serger”, patterns. This term can be confusing because in film and
which is the general name for the machine), or Merrowing television, the term “tailor” can refer to anybody who is doing
(Merrow is a company that makes industrial sergers). alterations.
In all cases, sources have been quoted using their Build vs. make: Opinions within the industry about
own preferred terminology, which has been clarified when whether a costume is “built” or “made” vary. Many drapers,
necessary. In that spirit, people quoted in the book have used designers, and others use the expression, such as, “That
the following words: costume was built at Matera’s.” In that context, the word is
Costumer: The general term used for anybody who meant to elevate what has been traditionally “women’s work”
works to make costumes. People within the industry use it (and therefore grossly underpaid) to be equal with the (well-
to describe themselves to people who aren’t familiar with paid) work that carpenters do.
the job responsibilities of the professions. When asked at a That said, some discourage the use of the word “build”
party what you do, the answer “I am a costumer” makes more because the connection to carpentry can imply that the
sense to people than “I am a draper”. The person at the party garments are hammered together and therefore of poor
then assumes “Costumer” means “Costume Designer” and quality. When a costume is “made”, it is put together
they go on to introduce the costumer as such. Costumers thoughtfully and is good quality. It fits well and meets the
spend much of their time at parties, and elsewhere, needs of both the show and the performer.
explaining the process usually followed. Draping vs. flat patterning: Draping is the process of
In addition to having difficulty helping people creating a pattern where the patternmaker lays fabric over
understand what it is costumers do, there is the sense that a dress form to figure out how the garment will look. Flat
we do what “grandma” did. She made dresses. She was also patterning is the process of creating a pattern where the
overworked and underpaid. It is interesting to understand patternmaker works from an existing pattern that is the shape
how nuances of language set expectations. of the actor’s body. Most drapers prefer one method over
Draper: Usually the team manager. The person who the other but they must be proficient in both as the garment
creates the pattern and manages the costume’s process always becomes round and the pattern is always flat.

xiii
newgenprepdf

xiv Notes on Terminology

Studio vs. shop: Similarly, the term “shop” has been a costumer is too focused on the creative elements of a
connected with the idea of factory work and the sweatshop. project and can’t make a quality garment or deliver “on
This conjures up ghoulish images of the catastrophic Triangle time”, they will not be successful. Often costume makers
Shirtwaist Factory in 1911 in which 126 young women, some settle on the idea of being an “artisan” or “craftsperson”,
only children, perished. The idea that “the show must go on” which seem to bridge the two extremes.
has meant that the costume maker is expected to stay up all Theater vs theatre: For some in the industry, these
night, going to great lengths to meet producers’ expectations terms are interchangeable. “Theatre” is the British
or make last minute changes. Theatre people in general, and spelling, -er is the American. For purposes of this book,
costumers particularly, are committed to producing excellent the term “theatre” is used to mean the industry writ large.
quality in a timely fashion. The expectation that we are It encompasses the performers, the shows, the people
underpaid to do so is falling by the wayside. backstage, the producers and of course the costume
The term “studio” carries an artistic expectation. industry. When referring to a specific building, it will be
The term can sound elitist or precious, je suis artiste. If spelled “theater”.
 I N T R O D U C T I O N
H O W C O S T U M E S H A V E S A V E D C H O R E O G R A P H Y
A N D C R E A T E D C H A R A C T E R S

Costume makers like to say that stage clothes are haute Sharaff, directed and choreographed by Jerome Robbins, at
couture that works for a living, and many actors are quick the Winter Garden and Broadway Theaters).
to credit costumes with helping them inhabit a role. Chita “I just flipped over my purple dress,” Chita said. “The
Rivera went a step further, literally, recalling her iconic underskirt had all these various shades of pink and purple.
costumes for West Side Story (1957–1959, designed by Irene I was almost afraid when I saw it the first time; it was so

Ice show in process at Michael-Jon (Courtesy of Stephen Stratton)

DOI: 10.4324/9781351052344-1 1
2 Introduction

personal, so emotional. Irene taught me how to use it. She

told me, ‘don’t flip it too often because all the emotion is
underneath. That is for you, not all for them.’ ”
That was the haute couture part. The working-for-a-
living part came soon after. “Jerry was doing his ballet on
Broadway at the same time he was doing West Side Story,”
Chita recalled. Jerome Robbins’ Ballet: U.S.A. or, the Perils
of Everybody (1958, Alvin Theater) was also designed by
Irene Sharaff.
“At one point he could not remember a portion of
the choreography,” Chita continued. “He knew I had a
good memory, so he asked me to remind him of some
of the steps. I showed him some, but there were a few
I could not find. So I asked him if I could come back the
next day with my skirt.”
Chita’s instincts were spot on. “I went back with the
skirt the next day and that skirt choreographed the number!
I put on the skirt and my body remembered the steps. They
were his steps and my feet but it was the costume that
brought them to life. It’s the most amazing thing when the
Chita Rivera (Everett Collection/Shutterstock.com)
costume comes alive.”

Chita Rivera in West Side Story (1957), designed by Irenen Sharaff (Billy Rose Theatre Division, The New York Public Library. “Chita
Rivera and Carol Lawrence in the stage production West Side Story.” The New York Public Library Digital Collections. 1957. https://
digitalcollections.nypl.org/items/5223fbf0-1e32-0135-1057-6f46c9b3679b)
 Introduction 3

While all actors are aware of their costumes, and Broadhurst Theater). She has earned three Tony Awards,
most are quick to credit the designers, Chita was unique in two Drama Desk, and one Theatre World.
speaking eagerly and knowledgeably in differentiating and “Flossy’s design for the Spider Woman was awe-
appreciating the work of the drapers specifically. inspiring,” said Chita. “I was intrigued by the way it was
“I’ve been around for a long time,” Chita said with draped and fitted. It was designed for the character, and
a laugh, “and have had a lot of fittings. The drapers were fitted to me, of course, but it was not just a matter of me
always very interesting characters to me. They were usually going into the fitting and coming out looking great. It also
very quiet, and I always marveled at how they had to fit so had to fit the character. All of the elements of the design
many things. The costume on the actor, of course, but also meant something, and that all had to work.”
the design and character. They have to speak the language The Zipprodt designs for Chicago (1975–1977,
of the body, and also see the vision of the designer. Frankly directed by Bob Fosse, 46th Street Theater) were arresting
I don’t know how they do it sometimes. for a different reason. “They were so skimpy!” Chita
“Often when I have been in fittings I have thought exclaimed. “I was a little nervous about showing so much
about what the drapers might be thinking,” Chita added. skin … and how close the rest of the costumes fit … and
“They are the people who take care of the designs of the those two stars on my chest. But I looked at Gwen [Verdon,
Patricia Zipprodts and Theoni Aldredges and Irene Sharaffs who played Roxy Hart opposite Chita’s Velma Kelly] and
of the world. I always thought that they have a double job she looked great in her outfit so I felt okay, this can work.”
to do.” And it did. “Those costumes fit our bodies and they fit
the show,” Chita stated emphatically. “They were exactly
what it was all about: deception and fraud. Glamour too,
“I WOULD HEAR THE AUDIENCE GASP”
but fraud.”
Chita won Tony and Drama Desk Awards for her title role She fondly remembers costume parades as part of the
in Kiss of the Spider Woman (1993–1995, Florence Klotz, rehearsal phase of a show, lamenting that the practice has

Chita Rivera and the panther (Peter Cunningham Photography)

4 Introduction

fallen out of fashion. “I always loved the dress parades; they wants: something running. Something red and gold and
were extraordinary, like a rehearsal with an orchestra. They glittery. And you have to hold still until he gets over this idea.’
were important, very eloquent and very personal.” And I was, I was the perfect piece of … whatever he wanted! It
Chita’s acting and dancing have been equated to made me laugh so hard.”
forces of nature. That said, she appreciates the magic Chita’s Broadway debut was in the original Guys and
that can be made on stage as much as she appreciates Dolls (1953–1955, Alvin Colt, 46th Street Theater). She
wielding raw power. “There are times that the star, and was not part of the opening night cast, but Chita became
the choreographer, and the designer, and the draper, and good friends with the designer. “I loved Alvin, and I loved
the director all get together and come up with something his clothes. He was very tall and thin. And he was warm
spectacular.” and comfortable to be around.”
She recalled in particular a moment in Merlin (1983, Colt helped Chita get some work early in her career.
designed by Theoni V. Aldredge, Mark Hellinger Theater). In those days, individual companies that sold consumer
“Oh, that cape! I was the evil queen and I would move my goods would sponsor their own productions that among
arms around inside my cape to make all sorts of shapes and actors were called industrial shows. That practice extended
movements. At one point I would disguise my arms inside to early television when single-sponsor shows were
the cape and move them higher. Up through the floor common. Detergent manufacturers usually sponsored day-
would come two small dancers [behind the cape]. When time dramas targeted to homemakers. Today those shows
they were in place, I would move to the right and the cape are still known as soap operas.
moved by itself to the left. I would hear the audience gasp. “Alvin took me to one industrial show,” Chita recalled.
It all starts from the mind of the designer, Theoni, but it “We did all sorts of those things. There were ones in
took all of us working together to make the magic of the New York and Los Angeles. The ones for the car companies
movement.” would travel all over. Well, this one wanted a Marilyn
Aldredge was also the designer of the other show for Monroe type, which is so not me, but I had just done a
which Chita won Tony and Drama Desk Awards, The Marilyn impression on the Shoestring Review [1955].
Rink (1984, Martin Beck Theater). “The dress I wore was “I told Alvin I could not do it, and he said, ‘Let’s just
remarkable,” Chita said. “It was a sort of blue, I’m not sure go.’ When we got there, there were all these beautiful
the exact color, but it was magical. I had to wear it when blondes on the stage, and here comes this dark-haired
my character was about 16 or 17, and the same dress had to Puerto Rican … I got up there and said, ‘I’m sorry, Alvin
go through so many lighting changes and time, in the play. made me do it.’ They said, ‘Just read, Chita.’
“The designer and the draper had to create and fit the “As soon as I was finished, Alvin grabbed me and said,
dress that would make the audience believe I was whatever ‘Come with me.’ We went downstairs and he put a blonde
age I was through the show. It worked and it added to the wig on me and fixed my makeup. Then he shoved me back
play very effectively but very subtly. I got through the whole out on stage. I read exactly the same way as I had the first
damn show in that same dress!” time, and I got the job. Alvin got me that job because he
believed in me.
“That is the secret of the drapers and designers and
“SOMETHING RED AND GOLD AND GLITTERY”
wardrobe people,” Chita stated. “We are all artists, but I tell
Not so subtle was a publicity shot for Merlin. “I had on a the kids about the drapers. They know things we actors
huge, magnificent gold crown, and a red cape,” said Chita. don’t know. And they see things we don’t see.”
“I was nothing but glitter and material and color. And then
they brought in this panther. A real, live, black panther.
“SKILL AND SENSIBILITY”
The trainer dropped a 20-pound piece of meat on the table.
I will never forget the sound it made, plop! “My favorite element of design is collaborating with
“I was supposed to go up to the panther,” she continued, talented builders,” said Paul Tazewell, who won a Tony
“touch it, and say ‘nice kitty.’ Oh, and I was supposed to look Award for his costume design for Hamilton (2015 to
as if I’m not afraid of this real-life panther, because, after all, present, Richard Rodgers Theater). “As we try to get at
I’m the evil queen. The first time I tried to touch it the cat the vision, it is perceived and amplified. The creative
made this sound,” she gave a highly creditable growl snarl. and energizing place comes from passion. There is also a
“And I bolted. I must have run four or five steps when the logistical side that enables the passion and the vision to live
trainer stopped me and explained, ‘You are exactly what he with the budget and the time and the level of talent.”
 Introduction 5

As a designer, I want to find a builder, draper, or tailor, who

makes my job easier and is fun to work with.”
When Hamilton moved from the Public to Broadway,
there was also a shift in the building of the costumes.
There had been a few complications, but “I had the
opportunity to change who would build certain costumes
and who would make our lives as a costume team easier.
In particular I shifted [the costumes for] my principals to
where they are currently built because of my trust in those
shops, their track record for quality and delivering on time.
That is especially important for a production that is going
to run for a long time.”
In large part that reputation comes from its history,
both the lineage of the shop owner, and also the history of
the owner or the builders. “Kathy [Marshall] at Tricorne
came out of Matera’s,” Tazewell noted. “She has that level
of skill and that sensibility. Donna [Langman] I know
from grad school. We built clothes in the shop there
together. When I think to adjust the fit of a costume we
are fitting together, she’s already on top of it. We have a
Paul Tazewell is best known for his design for Hamilton,
for which he won the Tony Award for best costume design of great shorthand in fittings from that direct connection.” So
a musical in 2016. Film and television works include The much of the process of building a costume is “subtle design
Wiz! Live (2015) for which he won a prime-time Emmy sensibility,” he added. “And always: the ability to deliver in
Award in 2016, The Immortal Life of Henrietta Lacks
a timely manner.”
(2017), and Elaine Stritch at Liberty (2002). Originally
from Akron, Ohio, Tazewell studied fashion design at Pratt Tazewell met Langman when he was a graduate
Institute in Brooklyn, before shifting his focus to costume student at New York University Tisch School of the Arts
design at North Carolina School of the Arts in Winston-
Design Program. “I had a graduate assistantship in the
Salem. He earned a Master of Fine Arts degree in costume
design at New York University (Lev Radin/Shutterstock.com) undergraduate NYU department where Gregg Barnes
was running the costume shop with Kitty Leach at the
time. While I was working with Gregg, I also would
Time is usually considered to be a limit factor, but it assist him with outside projects and Donna was newly
can also be an advantage. “When we originated Hamilton starting her business as a costume shop. That was when
at the Public [Theater in New York],” said Tazewell, “we and how we met. She was not attending NYU, she was
did not quite have a commercial budget. The commercial a professional by then.” Some of the other projects
producers were involved but were not putting in everything Tazewell did with Barnes included fabric painting for
[that they could]. I arrived at the design during Glimmerglass Opera, in central New York State near
development and dressed the actors for a staged reading. Cooperstown.
I was able to pull from stock and put clothes on bodies and
see how it worked.”
“BLOWN AWAY BY WHAT SHE TOOK FROM
At that point, Tazewell noted, “It was not clear if we
THE SKETCH”
were going to go with a full 18th century look or something
more contemporary and have the actors in jeans and Tazewell draws on those legacies himself. “I am so
sneakers.” fortunate to have entered the business at a time when there
When it was decided to go with the period look, were shops like Matera’s and Parsons-Meares and Michael-
Tazewell had to find shops, particularly tailors, that could Jon,” he said, noting that among that trio of shops, only
build to the budget. “Dress makers can also tailor,” said Parsons-Meares is still in operation. “Those were the main
Tazewell, “but it is a different kind of talent. In the same shops when I started. I learned from them the old school
way it would be a challenge for a men’s tailor to make [style] of creating costumes, how they engineered tricky
women’s clothes. They are different talents and different clothing. I had many things built at Matera’s, most notably
sensibilities, not only in the building but also in the fitting. the costumes which they made for The Color Purple on
6 Introduction

Broadway. That was also where I first worked with Artur “SHARED EXPERIENCES, CAPABILITIES, AND
of Artur & Tailors. Just after I graduated from NYU I also ABILITY TO DELIVER ON TIME”
worked in a couple of shops as a fabric painter.”
As noted, there is the creative process, and there is also
Even before working with the shops in New York City,
the logistical process. Shop owners differ widely on what
Tazewell came up through regional theater, studying both
is called the bidding process by which designers divide a
designers and drapers. “I learned how to navigate a costume
show among different shops. Some say it’s mostly collegial,
shop in regional theater,” he said. “I was resident costume
with most designers working with their regular shops, and
designer at the Arena Stage [in Washington, D.C.] for eight
knowing which ones have certain specialties or capabilities.
years. That shop and those makers were at the top of their
Others say it can be highly competitive and can get
game. They had a fully staffed costume department as well
aggressive at times.
as an excellent prop department with its own soft-goods
Tazewell indicated that range is valid. “I will
prop master. The Arena Stage was very well known for
imagine the collaborative process, but sometimes it
their stagecraft abilities. I really value the amount of time
really does come down to pennies. I try to make it as
I worked in regional theater.”
friendly as possible, but it can get tricky. I get along with
Two other companies with similar full-scale costume
and value all of the shops, especially the ones that I use
shops Tazewell cited are “the Guthrie [in Minneapolis] and
regularly. The Costume Industry Coalition is the first
the La Jolla Playhouse [near San Diego]. The Guthrie had
time that the shops have all gotten together with the goal
a full-scale shop with a dyer, and milliners. It is very rare to
of supporting each other.”
find that kind of operation in regional theater anymore. We
He added quickly that the bidding process is just that,
are losing many of these departments around the country
a process, with accommodations up and down the chain
because of the cost of maintaining a staff of artisans. It is a
from producers to designers to shops. “I will go to the
great loss to the theater communities.”
general manager or producers with an idea, and sometimes
The process is a little easier, at least logistically,
they will say no, they cannot afford that. Then I have to
at the Public Theater in New York. “I designed On the
decide, do I keep the one dress and compromise other
Town for them, which went to Broadway,” said Tazewell
elements, or change all of it.”
(1998–1999, Gershwin Theater). “In the Broadway
Tazewell also noted that there is competition among
production I designed a dress for the dream ballet that
designers as well. “We are all vying for the same job,
stylistically was a 1930s ball gown: soft, off the shoulder,
and there can be some animosity when you don’t get
ombre.”
the show.”
The gown was built by Kathy Marshall while she was
There has been much speculation about how
at Matera’s. “In muslin I saw that she had interpreted my
costumes will be built in the future. It has been suggested
design by creating an intricate pattern of seams that swirled
that Broadway was already evolving from a few big shops to
around the body,” said Tazewell. “The dress was a bias cut
a greater number of smaller ones, with some out of town.
dress, and it also swirled around the body and ended in
It is also thought that the pandemic has accelerated that
tassels of feathers. I was just blown away that she could take
process, given the large overhead of the big spaces. Few
from my sketch what I had subconsciously imagined. Now,
envision a system like “the living rooms of London,” but do
I know how to drape. I have done it. But I never would
envision something with a lower cost structure.
have been able to imagine that or do it.”
Tazewell, for one, believes there need to be at least a
Tazewell also designed the televised staging of
few big shops to support large and complex productions.
The Wiz Live! Tricorne and Eric Winterling built a
“If I have a beaded dress that has to be Broadway worthy,”
significant amount of the clothes, as well as Parsons-
said Tazewell, “my choices are limited. If I want a Bob
Meares, Donna Langman, By Barak, Marion Hose, and
Mackie look there are only certain shops that can do that.
Artur & Tailors.
Tricorne knows that process. Eric [Winterling] knows that
“Eric added greatly to the interpretation of the
process. I tend to lean on the ability of the shops for the
sketches with his own expertise,” said Tazewell. “Eric was
quality of the finished clothes. Their ability to do what they
the draper who built all of the costumes for Queen Latifah
are supposed to do. I try to remove the personality, but I do
[who played the Wiz] and Evilene for Mary J. Blige. There
tend to work with same group. It comes back to shared
were also a lot of other costumes that were made in his
experiences, their capabilities, and their ability to deliver on
shop as well by the rest of his crew. The whole shop was
time.” In the shops there can be a sense that the designers’
building The Wiz.”
 Introduction 7

assistants are mostly involved once construction begins, designers and costume makers has always turned out to
but Tazewell relies on the experience of his from the start. be part and parcel of creating the character. The happiest
“I ask my associates to take on a lot of responsibility on the place to be is with the costume people. Whenever I was
front end,” he said, “especially for things like colors and in a show I was always drawn downstairs with the costume
fabrics.” department.”
When Broadway and most regional theaters were Grey won the Tony Award in 1967 for his role as the
closed by the pandemic, there was concern about how Emcee in Cabaret (1966–1969; Broadhurst, Imperial,
shops of all sizes will survive. “The shop system that we Broadway theaters) designed by Patricia Zipprodt and built,
had before the pandemic was great,” said Tazewell. “My he recalled, at Brooks Costume Co. He reprised the role
druthers would be to maintain some larger shops because when the show was remounted (1987–1988, Imperial,
their process is much more cohesive. Even before the Minskoff theaters) and again on film in 1972, for which
pandemic with smaller shops all over, it was becoming a Grey, co-star Liza Minnelli, and director Bob Fosse won
challenge to get where you needed to be. It was tougher to Academy Awards. The film costumes were designed by
get actors out of rehearsal to travel to the shop for fittings.” Charlotte Flemming.
He stressed that he was by no means disparaging In the outré “Money (Makes the World Go Round)”
the small shops currently in business; indeed, he uses number in the film, on several occasions Grey and
several of them regularly. He was saying the process Minnelli drop coins down the front of his trousers. Having
would be more difficult if the current bigger shops were the coins slip onto the floor would be very hazardous, and
to disperse. even having them rattling around in his pants would have
Tazewell suggested one way of addressing that could been an unsettling distraction.
be for the shop to come to the theater. “But then they are While not a full-scale “trick,” the term drapers use for
going to charge for shop time. There will have to be some a costume that has to perform a special maneuver such as a
give and take. I’ve designed shows in London and the quick change, there was a pouch sewn to the inside of the
process is much easier in New York. I’m so grateful that the trousers and to the bottom front of the shirt. In another case
productions I have designed have had a hand in keeping of form following function, the costume had baggy trousers
shops afloat [through Broadway and most live theater going and a too-tight vest. Aesthetically those added to the
dark during the pandemic]. They have my thanks for doing shabbiness of the overall look, but they also helped ensure
such beautiful work. that there was a clear path for the coins to fall into
“There are fewer talented builders going into theater the pouch.
costume,” Tazewell lamented. “Perhaps they are going to
film or television. I rely on talented people and value the
relationship between the builder and designer very much.
I know other designers feel the same way. I’m hopeful that
anyone who has talent and is willing to stay in the business
will have the opportunity to do so.”

“THE HAPPIEST PLACE”

“The part of the creation of the character that I always

depend upon is the costume,” said Joel Grey, actor. “It’s
also the part that I have no doubt about. The building of
the costume is essential to the building of the character.
On every show I ever did, I was always lucky enough to
work with designers and tailors who would help make
the character magical, specific and always enhancing the
psychology of the character.
“Every experience I have had with costumes in all of
my shows has always been positive,” Grey continued. “I’ve
Joel Grey (Everett Collection/Shutterstock.com)
never had a problem with a costume and working with the
8 Introduction

William Ivey Long is a six-time Tony Award-winning costume

designer. He has designed costumes for more than 70 Broadway
productions, and has been nominated for 15 Tony Awards.
Long has also served a term as chairman of the board for The
American Theatre Wing. His Broadway credits include: Cabaret Susan Hilferty has designed more than 300 productions
(2014 and 1998 revivals), Cinderella (Tony Award), Pal Joey, around the world. She is best known for Wicked (Tony,
Young Frankenstein, Curtains, Grey Gardens (Tony Award), Outer Critics Circle, and Drama Desk Awards and Olivier
The Producers (Tony, Drama Desk, Outer Critics Circle nomination), Present Laughter (Tony nomination), Hands
Awards), La Cage Aux Folles, Hairspray (Tony, Drama Desk, on a Hardbody, Spring Awakening (Tony nomination),
Outer Critics Circle Awards), Crazy for You (Tony, Outer Critics Lestat (Tony nomination), Annie (2013 revival), and Into
Circle Awards); Guys and Dolls (Drama Desk Award), and the Woods (Tony and Drama Desk nominations, Hewes
Nine (Tony, Drama Desk, Maharam Awards). Long earned an Award). She also designs for major opera companies in
undergraduate degree in history from the College of William the U.S. and Europe, as well as for film, dance, the circus,
and Mary, was a Kress Fellow at University of North Carolina and pop star concerts. Hilferty’s many awards include the
at Chapel Hill, and then earned a Master of Fine Arts degree USITT Lifetime Achievement Award, Irene Sharaff Award
in stage design from Yale University School of Drama (Debby for Lifetime Achievement, an OBIE for Sustained Excellence
Wong/Shutterstock.com) in Design, the Lilly Award, and the Ruth Morley Design
Award from the League of Professional Theatre Women. In
addition, she is chair of the Department of Design for Stage
and Film at NYU’s Tisch School of the Arts (Lev Radin/
As Grey recalled from the film Cabaret, “I understand Shutterstock.com)
that Bob was not in sync with the German designer, and
rumor had it that he sent Gwen Verdon back to the states to
make it more to his vision. I always thought it was kind of
amusing when the gorilla face turned out to look just a bit There was a similar story for Chicago (1996–1997;
like Gwen.” designed by William Ivey Long; Richard Rodgers, Shubert,
Fondly recalling the Emcee’s tailcoat for the original Ambassador theaters). “We started at City Center, and they
1966 Broadway production of Cabaret, “It was a beat-up had a small budget,” Grey said. “So I brought some
one from stock, worn by any number of actors in different personal clothes in for rehearsal. William redesigned the
shows over the years. Frayed, a button missing – I wore the show for when we opened on Broadway and he liked what
costume in rehearsal to get a feel of the character and it just I had taken from my closet.”
got worse and worse until it was exactly ready for opening Perhaps the most famous costume affinity on
night. And that is what I wore.” Broadway was between designer Theoni V. Aldredge and
draper Barbara Matera. Matera’s shop built the clothes
 Introduction 9

for The Grand Tour (1979, Palace Theater) designed by

Aldridge. “I’ve been so blessed having been able to work
with both of them,” said Grey.

“I’VE NEVER BEEN LET DOWN BY A COSTUME”

He is legendary for his roles in Cabaret and Chicago, but

younger audiences know Grey also as the original Wizard
in Wicked (2003 to present, Susan Hilferty, Gershwin
Theater). He remembered the long gray coat that was
emblematic of his character. “That number absolutely
depended on that coat! I always had my opinions. I was
always talking about the character. It’s remarkable the care
that the designers and the costume makers take in the
fittings. I’ve never been let down by a costume.”
Another show in which Grey wore mostly his own
clothes, at least originally, was The Normal Heart (1985,
designed by Santo Loquasto, off Broadway). “I wore mostly
my own clothes when we opened at the Public Theater,”
said Grey. “Santo was one of the giants, and is still an angel.
He designed the clothes for the revival of Hello Dolly
[2017–2018, Schubert Theater].”
The clothes he wore in The Normal Heart “were Bernadette Peters wearing a gown designed by Bob Mackie
(Lev Radin/Shutterstock.com)
also the most comfortable costumes I ever wore,
but to be fair, at one point I was on stage in just my
underwear,” Grey added with a laugh. At the other end
Cabaret with the legendary number “Willkommen” to
of the volume scale, “the most costumes I ever had for
open the show, was a good sport about playing straight
one show was George M. [1968–1969, Palace Theater]
man for Kermit the Frog in a few sketches, and then
the show after Cabaret. Freddy Wittop, the designer, was
closed with a rousing reprise of “Razzle Dazzle” from
brilliant.”
Chicago, complete with a glittering swallowtail coat. Not
Grey had the unusual experience of working with
all the stars who appeared on The Muppet Show quite got
designer Martin Pakledinaz for two different shows at the
the Vaudeville zeitgeist of the whole thing, but Grey
same time: first, on stage as Moonface Martin in Anything
clearly relished it.
Goes (2011–2012, Stephen Sondheim Theater), and also
“Working with the Muppets was great fun,” he said.
backstage as co-director of The Normal Heart (2011, John
“The Razzle Dazzle coat was wonderful. It was built in
Golden Theater). Grey won a Drama Desk Award for his
London.” The show was produced in England, so most
direction. After its run at the Public, the show had revivals
of the stars’ costumes, other than ones they brought
in Los Angeles, London, and again off Broadway. The 2011
themselves, were built in London.
production is listed as “original” because technically it was
the Broadway debut.
“I loved Marty,” said Grey. “He was an adorable guy. “THE STAGE WAS LIKE A BOWLING ALLEY”
He was so gifted, and I relied a great deal on him for that
“I was star-struck going to Barbara Matera’s for the first
production of Normal Heart because I was in Anything
time,” said Bernadette Peters, actor, winner of three Tony
Goes at the same time.” That did not quite mean it was
Awards and the same number of Drama Desk Awards. “She
“anything goes” for The Normal Heart, though. “I also left
had a little atelier at first and then a larger shop. She made
a lot of the costume decisions to George [C. Wolfe, co-
the most gorgeous gowns and period clothes first for George
director],” Grey added.
M. [1968–1969, Freddy Wittop, Palace Theater], and then
There was usually a sense of humor underlying
for Dames at Sea. I remember the beautiful beading for my
Grey’s roles, but rarely so much so as on The Muppet
clothes in George M.”
Show (1976, Episode 103). He camped up a Muppet
10 Introduction

Equity card in hand, Peters began her stage career that look, but not on me, because I am not flat chested.
in 1958 at age nine in This is Goggle, directed by Otto Patricia was able to fake it for me: she had the costumes
Premenger. She first appeared on Broadway the next narrowed toward the waist.”
year playing a small part in Most Happy Fella (costume The signature quick change, one of the best-known
designed by Ruth Morley, City Center). It is common for quick changes in Broadway history, was also courtesy of
ensemble costumes to be pulled from stock and altered to Zipprodt: the transformation of the witch during Into the
fit the actor, and that is what happened in this case, much Woods (1987–1989, Martin Beck Theater). “Oh, I can’t tell
to the young actor’s dismay. you how that was done,” Peters said with a smile in her voice.
“I was only on stage for two or three scenes,” she “I would have to kill you! I have to take that secret to the grave.
recalled. “In one scene I had a party dress, and I loved All that matters is that I went from ugly to beautiful.”
it because it had a corset and a bust, which I didn’t Given her range and experience, Peters collaborates
have yet. My mother thought that was horrible, so she well with designers and drapers for most of her costumes,
took the costume and sewed down the chest! I was so but she made special mention of the continued
disappointed.” collaboration on and off stage for the iconic red gown in
As a young adult working her way up in the theater, Hello Dolly (2017–2018, Santo Loquasto, Shubert Theater).
Peters got to start at the top with her first sets of custom- “Oh, the famous red dress! I loved it of course, I love
made clothes for two different productions in 1968, both that period, but I had no idea what a big deal it was for
made at Matera’s. the audience. The fitting was so much fun. They put the
Dames at Sea was off Broadway, and for which Peters bodice on, and then the sleeves, and then started to put
won her first Drama Desk Award. “Peter Harvey designed jewels on, the red rhinestones. And I was saying oh, yes,
both the scenery and the costumes,” said Peters. “It was give me those, and let’s put this here and that there …
very pastiche, very tongue-in-cheek. I played Ruby, who I just had jewels everywhere: across the front and then a big
was supposed to be Ruby ‘Keelah,’ from ‘Utah.’ You know, necklace and choker. Santo loved it.
the line, ‘You’re going out there a chorus girl, but you’re “When the time came for the Broadway Cares Equity
coming back a star!’ The first outfit I had in the show was a Fights Aids fund raising, I started buying stuff on eBay from
little romper. It was like a onesie with shorts. that period and putting them on, so they could auction
“We were on this tiny stage at the Bowery Lane them off. I told Santo that I had a very discerning eye, and
Theater [in Greenwich Village, New York],” Peters a lot of insight on costumes. He told me after they started
continued. “The stage was long and thin. It was like a doing those auctions that he loved the things I was putting
bowling alley with seats on either side and at one end. The on the dress. I said to him, I told you I have good things!”
proscenium arch was about a foot wide and we had these Another instance of Peters collaborating on a costume
huge Busby Berkeley-type production numbers. So they came in Annie Get Your Gun (1999–2001, William Ivey
had to push the arch out a little and up a little.” Long, Marquis Theater). “I found a pair of old boots that
Peters has also had several experiences with complex were too big, but they gave me the ideal klumpy feeling
costumes, either quick changes or something mechanical. for the ‘You Cain’t Get a Man with a Gun’ number.
The first was in Sunday in the Park with George (1984– They really helped me with the character. I left them
1985, Patricia Zipprodt and Ann Hould-Ward, Booth for my replacement, that wonderful country singer Reba
Theater). “The dress had mechanical legs. It was hot and McEntire. They were big on me but they fit her better.”
uncomfortable. I had to stand still on stage and the dress The co-title character of the show was also an
was remote controlled from off stage. It would open and important costume element for playing Annie Oakley, but
legs would come down to hold it. It was just so big and in an unexpected way. “I don’t like guns,” said Peters. “But
bulky and bizarre. But it almost always worked. I would I am nearsighted, so that was helpful in sighting down the
dance out of it and then dance back into it.” rifle because you are supposed to squint at the sight closer
to you.”

KEEPING SECRETS, DISTRIBUTING RHINESTONES

A BEADER FROM HEAVEN
Peters first had a chance to work with legendary designer
Patricia Zipprodt in Mack and Mabel (1974, Majestic The eye Peters has for costumes could almost be
Theater). “The show was done in a 1920s look, and I love considered prescient. “I remember going into the shop and
 Introduction 11

I walked by the fittings for the young girl in A Little Night collaborative with some great designer but all the while
Music. I love that period too, and I thought the costumes regretting the pizza you ate the night before.”
were so beautiful. In 2010 I got to go into the show and got That said, Lane added quickly that he appreciated the
to wear those clothes.” challenge for the drapers: “they are trying to make everyone
The elegant ivory dress Peters wore in A Little Night comfortable—the actor and the designer—and trying to
Music (2009–2011, David Farley, Walter Kerr Theater) that make the costume fit.”
had a curved row of buttons down the bodice, which Peters He found two excellent fits at his first fitting. It was
wore for the powerful, bittersweet ‘Send in the Clowns’ a great suit, designed by Ann Roth, and the start of a
number, was a particular favorite. In a melancholy coda, beautiful friendship. “The first time I worked with her was
Peters said she believes that at the end of the run the clothes my Broadway debut,” Lane said. “It was in 1982 for Present
were “packed up and dumped. It was so sad. That is why Laughter [1982–1983, Circle in the Square] with George
I take the clothes if I can. I know some designers like to keep C. Scott. Ann and I worked together again just recently on
them, but if they are just going to get dumped then why not?” Gary: A Sequel to Titus Andronicus [2019, Booth Theater].
An earlier costume Peters managed to retain is We’ve had a very long relationship.”
from Song and Dance (1985–1986, Willa Kim, Royale Lane recalled “being rather timid, almost star-struck.
Theater). The iconic look for Peters was an elaborate Here was this famous designer examining me, well really the
jacket, “which I still have!” she exclaimed. “It was costume, but examining me as if through a jeweler’s loupe.”
wonderful work, but I remember it was in a strange shop Roth had found an antique suit. “She said it looked
with turtles in a tank.” like something my character would have inherited from his
One role that was pure enjoyment was playing herself as father and had cut down,” said Lane. “It was his one suit. It
a guest star on The Muppet Show, Peters recalled fondly. “It was plain brown and old, as from another period.”
was like being in fantasy land. I sang a duet with Robin, the Because it was a found suit, perhaps from one of the
little frog, and he was just so adorable, they had to remind me many high-end consignment stores in the area, once fitted,
not to kiss the puppet, because that would leave lipstick on a pattern had to be made and several exact replicas had to
the fabric and that is hard to remove! I had to stop myself.” be created to last the run of the show, as well as for the
The clothes she wore on the show were from her own understudies.
wardrobe, designed by Bob Mackie. “I had a flowered top and
skirt for one song and dance number with the big Muppets,”
Peters noted. “I love Bob, he makes my gowns for my
concerts. I asked him to make me a flowery little collection
for me to wear at my concerts. He has his own shop. He
makes clothes for Carol Burnet, and Cher, and me.”
In the 1981 film Pennies from Heaven, Mackie had to
recreate a Ginger Rogers dress for Peters. “It was a gorgeous
long beaded dress with a fur collar,” she said. “Bob told me,
‘The original film was in black and white, so I had to guess
at the color of the dress. I chose gold.’ The beader who was
working on the dress while he and I were talking overheard
him and said, ‘It was silver.’ She had made the original.”

“THERE IS RESEARCH, AND A BACK STORY”

“I don’t know if I really want to talk about fittings,” said

Tony Award-winning actor Nathan Lane with a laugh. “It’s
like trying to recall an awkward first date. Fittings for an
actor are when you are at your most vulnerable. You stand
there in your underwear feeling embarrassed. I sort of dread
them. You’re trying to think about character motivation Nathan Lane (Everett Collection/Shutterstock.com)
and why he dresses the way he does and be open and
12 Introduction

hair was standing straight up,” Lane said, “it was purple or
blue. I thought about him and tried to think about how that
would work for my character.
“In the end it was a wonderful costume,” Lane
continued. “People saw the remnants of his performance
costume. He was dragging around, along with his bag and
his horn. Ann told me afterwards that it was one of her
favorite designs.”
Lane also fondly recalled a suit Ann Roth designed
for him as Walter Burns in Front Page (2016–2017,
Broadhurst). “It was such a great looking suit. Just
gorgeous.”
Another major designer who Lane called “a great
collaborator” is William Ivey Long. “Most of the time
I go with his vision, but I do remember one time in The
Producers [2001–2007, St. James] we were talking about
what my character Max [Bialystock] would wear. My model
was how Mel [Brooks, who wrote the music and lyrics, and
book with Thomas Meehan] looked in the 2,000-year-old-
man shtick with Carl Reiner. He had a cape and a three-
Ann Roth in New York, 2006. Roth has been nominated piece suit. And a hat worn in the very European way with
for four Academy Awards for costume design and won in
one side up and the other side down. William took it from
1997 for The English Patient. She was also nominated
for three Emmy Awards and six Drama Desk Awards for there and filled in the rest with a red vest and a cravat. It
design, winning the latter in 2016 for Shuffle Along. Roth was a great look.”
was honored with the Irene Sharaff Lifetime Achievement
Award in 2000, and the American Theater Hall of Fame
Lifetime Achievement Award in 2011. She has earned AN INSPIRED IMPROVISATION
nine Tony nominations, starting with Best Producer of
a Play for Slow Dance on the Killing Ground in 1965; Another successful collaboration Lane had with Long was
the rest for costume design for both musicals and straight
plays including The Book of Mormon in 2011 and the
the revival of Guys and Dolls (1992–1995, Martin Beck).
revival of To Kill a Mockingbird in 2018. She won the “That was a very bold look. Some critics called it almost
Tony in 2013 for The Nance (Featureflash Photo Agency/ cartoonish, but they were forgetting the subtitle: ‘A musical
Shutterstock.com)
fable of Broadway.’ So, of course, Lieutenant Brannigan
looked almost like Dick Tracy.
“William was also very bold in the color scheme for
“During the fitting Ann gave me this long, detailed Nathan Detroit,” Lane added. “In the first act he was in
explanation of the suit and how it worked for the very traditional pinstripes with just a blue tie. In the second
character,” Lane recalled fondly. “It was wonderful. A very act it was double stripes…”
comfortable costume. Just like an actor creating a role That escalation was to reach its zenith in the double
itself, there is research and a back story.” wedding at the end. “William designed this double-breasted
Their friendship had evolved into a collaboration, white suit with gray and black stripes,” said Lane. “It was
much in the way certain designers work well with certain very bold. In the end he went back to a more traditional top
shops, their owners, and some of their drapers. hat and tails. But the white wedding suit was already made
“The play Gary had evolved,” said Lane, “and before [by Vincent Zullo] and fitted so I wore it to the opening
the fitting Ann and I had a conversation, so I had a lot of night party.”
input to the clothes. The information in the script was that As with many actors, Lane is an avid theatergoer
the character was a street clown in this raggedy costume. himself, and he recalled a couple of shows designed by
We wanted people to see that. He had almost been Long. “He did some great ones for Hairspray [2002–
hanged!” 2009, Neil Simon Theater], and Cinderella [2013–2015,
Lane described thinking about the British drag clowns Broadway Theater]. That tattered dress that turned into a
who have done a version of Cinderella. “In one scene his ball gown on stage was very impressive.”
 Introduction 13

Another costume that Lane noted were the clothes he

wore in Love! Valor! Compassion! (1995, Jess Goldstein,
Walter Kerr Theater).
“In the script it says the character enters serving drinks,
naked. Well, I told them, that is not going to happen.
We can’t inflict that on the audience, or on me. Besides,
I said, it’s not funny. It’s just shocking. And where do we go
from there?
“So off the top of my head I started to improvise
an outfit: an apron, high heels, sweat socks, a hat, and
sunglasses.”
The improvisation turned out to be inspired.
“When I made my entrance the audience had a big
reaction. Then I turned around and they saw that I was not
wearing anything under the apron and the laughs just went
through the roof. That may have been the largest laugh Kristin Chenoweth (Ovidiu Hrubaru/Shutterstock.com)
I got in the whole show.”
The point, Lane stressed, “is that it is about
collaboration. Designers have their ideas, and they been done in a long, long time or never been done before.
do want feedback on how the actor is creating It’s hard for me to remember when I felt more the character
the character.” The draper becomes part of that than when I walked onstage in Wicked and I had on that
collaboration, especially in cases where the designer has blue ball gown as Glinda. It was effervescent; it was the
found some vintage item that helps create the character, character through and through and automatically
rather than just adorn it. everybody knew who the character was. Susan Hilferty won
One period piece won’t last through more than the Tony that year as well she should. It was a most, most
a few shows, so the draper has to create a pattern from exceptional costume.”
the garment, the reverse of the usual process. Often it is Chenoweth added that while the Glinda clothes
important for the look and feel that the period construction were all beautiful and powerful, they also had their
be recreated. Sometimes it has to be altered slightly to challenges.
allow for movement, ventilation, or durability. “There have always been difficult costumes because
Lane has also worked with Jane Greenwood several I don’t think any costume is necessarily easy, you want
times, including The Lisbon Traviata (off Broadway, it to look perfect every time. It’s so funny … there was
1989) and Waiting for Godot (2009, Studio 54). a beautiful costume and also a difficult costume in
“In the first act of Traviata I wore a very comfortable Wicked—when Galinda, with a ‘Ga,’ goes to school when
outfit, all black, loose fitting black velvet with bedroom she’s younger. I remember being pretty layered with like
slippers and a very fancy black dressing gown.” The original a dress and a skirt and a bow-tie and sleeves and a bow
was an actual vintage robe, but Greenwood designed and a different brooch and a purse. There just was a lot
replicas that were made in multiples for Lane and his to it, and you wanted to make sure you had everything
understudy. “It was a very physically demanding role, and tucked in properly to show off what Susan had designed.
we found that I would sweat so much that the gowns were But was it very comfortable? No. No it wasn’t,” she said,
not going to last very long. I was on stage most of the show, laughing.
only going off briefly,” said Lane. “I was able to change As much of a signature look as the Glinda dresses
robes [when I went off stage] so I wasn’t so bedraggled.” were, Chenoweth said that when she thinks about
costumes that really helped inhabit the role, “I always
go back to On the Twentieth Century [2015, American
NEVER MORE IN THE CHARACTER
Airlines Theater] with William Ivey Long. [He]
Tony and Drama Desk Award-winning actor Kristin worked with me from the very beginning. There are
Chenoweth noted that most of her costumes have been three succinct but very special, unique looks for Lily
complex constructions “because the characters have been Garland. At the opening she is Mildred Plotka, before
so specific and unique. And a lot of them have either not she becomes a big star, and he really, really nailed that.
14 Introduction

That honestly helped me when we had a five-second Keeping that professional tone, Chenoweth said that
change on stage, a surprise change and very magical there has not been a lot of high drama and dysfunction in
one actually. All of the clothes I wore for the whole run any of her fittings or even, for that matter, for her shows.
really helped me feel like the character.” “There have been some zippers and pins, and hook and
Long and Chenoweth have worked together on eyes that maybe were a little bit dramatic in the beginning,
several shows. “I feel extremely lucky to know William,” but once you got them you got them down, they’re there for
she said. “Every show I’ve done with him he has had a function.”
strong influence and collaboration with me because he She speaks from personal experience. “I did make
wants me to feel like the character and I think that’s the my own costume,” said Chenoweth. “I want to say it was
secret to his success. His design and his dream along with school dress-up day and I wanted to be a poodle skirt girl
how the actor is going to feel and what the actor feels like from the fifties. I borrowed my dad’s shirt, and a white little
the character would wear. He’s dressed me in many shows shirt and a scarf from my mom and I made a poodle skirt.
but On the Twentieth Century was an especially strong And I remember cutting out the poodle on felt fabric and
influence together. I’m very thankful for him and honestly gluing it on the felt skirt. I wouldn’t say I was necessarily
my dresser Mo. She is in every Broadway show I’ve done, amazing, but the skirt looked alright. I’m just glad there are
and she makes sure to dress me perfectly and makes sure professionals that do this kind of thing.”
the designer is happy too.” The first time Chenoweth had a costume built for her
was for Animal Crackers at Paper Mill Playhouse. It was a
revelation. “I’d never had a fitting where I went into a room
A FITTING FITTING
where I was alone,” she said. “They made the costumes,
Chenoweth recalled one instance where collaboration and the shoes.”
with a designer came surprisingly early in the process. It was also her first time to work with William Ivey
“Bruce Pask came to my house and wanted to show me Long. “So, my very first show in New York, which was off
the renderings for the character of Fran in Promises, Broadway, was with William Ivey Long,” Chenoweth said
Promises [2010–2011, Broadway Theater]. I always with a touch of wonder. “I just remember feeling really
thought that was a fitting, even though it wasn’t. It special and I remember him wanting to make me feel
was him showing me what he saw for the character, comfortable. And I’d never had my feet drawn and received
which was, I thought, incredibly accommodating my own shoes from anything before. And so that job, that
and collaborative and very professional and of course show—Animal Crackers. Boy, would I love to see those
everything went smoothly.” costumes, and shoes now.”
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