As a prank, she gives it to Elphaba to wear to the party that night and Elphaba, who's really shy, arrives and realizes right away that she's been tricked. Everytime I look at her costume my heart just stops beating for a second (yes I am a loser!!) Susan Hilferty's costumes for the musical WICKED are part of a carefully crafted world, one that she envisioned "had broken off in 1911 and gone off into space" where it became its own unique culture. He looks at each play the way he’s looking at the world at that moment, so it’s something that’s constantly changing. 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 … SH: Not just a clash, the “overwhelming” of it. 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. I describe myself as a storyteller, not just a clothing designer. So in the Elphaba dress, I looked at rocks and oil spills. “Reading was my entertainment.” says Hilferty, whose interest in art and designing clothing led to her making all of her own clothes by the age of 12. That’s a good example of in-process development of an idea. What do you want people to notice or learn when they look at the dress? Obviously. Barbie would be so jealous! Archived Entry. It’s important for me to do work that’s not just entertainment but that has some kind of value to people’s lives. Given that the musical Wicked is now the fifth longest running show in Broadway history, at 16 years and counting, and has also generated numerous tours and international productions, it’s fair to say that its costumes are in the number one spot in a ranking of Susan Hilferty’s best-known designs. The joy and the thrill of working with the Karamazovs and Robert is that you get exciting ideas and images in your head, but then you also have to work with their physical skills. Hilferty will sign the deed of gift for an Elphaba costume and broom from the musical on December 17 in a special ceremony that also includes a performance by WICKED actresses Donna Vivino (Elphaba) and Tiffany Haas (Glinda). I would come in every day with sketches. Normally an actor comes to a fitting, lifts his arms and says, “Yeah, that’s O.K., I can lift my arms, but I also have to turn around and sit on a chair.” These guys go, “Well, it feels O.K.,” but then they’ll do a backflip, bring in a friend who stands on their shoulders, and cartwheel across the room. That’s a little simplistic, and not to be taken literally, since there’s still the play to deal with, but those ideas will be there. Lestat Movie. Kangasmaski Prisma. If you continue to use this site we will assume that you are happy with it. Emab Forsheda. Originally, we were going to do it with a ventriloquist’s dummy. 7 notes. Go. The process? Through the first week of previews, we tried for a total transformation, really dressing him like a woman. Are there costume or character ideas that are radically different from the first production in 1983? Hilferty's Broadway credits include the costumes for Wicked, Lestat, Spring Awakening, Radio Golf, Assassins, the revival of Into the Woods, Jitney, Dirty Blonde, and How to Succeed in Business Without Really Trying. Erin Blasco is an education specialist in the New Media Department. I'm also a birder because I love to see how color and textures are put together on birds. I was truly making it all up as I went along in those two years, I was just picking things up from anyone who would tell me. Anything will serve: newspaper clippings, magazine photos, or illustrations in books. My Africa! Image via the. For example, no matter what material you put the Marx Brothers in, you want them to still be the Marx Brothers. PC: I’m sure vaudeville skills imposed requirements on materials and construction. [Editor’s note: For an idea of who works behind the scenes at WICKED, check out this video about hair and makeup or this this video filmed backstage.]. Hilferty has collaborated often with … Then Alec saw a film about a schizophrenic with seven personalities, and he came in saying, “If he can do seven, I can do two.” Then I had the idea of literally dividing him in half, so it would be two totally separate characters built into one, two completely separate costumes that were cut in half and sewn together, half gold lame for the goldsmith and half black leather for the merchant. Video interview with Hilferty discussing the costumes from Wicked. I use museums and books all the time, constantly. I draw all of those ideas and we look at them and sort them out. SH: It’s different with every director. Washington, D.C. Email powered by MailChimp (Privacy Policy & Terms of Use). PC: Well, how about The Tempest , which you’re in the middle of right now [produced at the La Jolla Playhouse this summer]? 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. The whole of My Children! SH: No. Author's note : This interview was conducted in New York City in January 1992, just prior to a new production at the Manhattan Theatre Club of Fugard 's play, Boesman and Lena. I guess we’ve done five shows now. The hat used to actually collapse down to a flat hat that was then pulled out and extended to a pointed hat. In this interview Susan Hilferty explains how “Every single show I do starts from a different place.” But regardless of its starting point, they are all a response to the text. In fact, you’re on your way to South Africa for the first production there of A Place with the Pigs . Aksi Kamisan. She puts her head back, so there's a lot of physical requirements for the hat—it gets beaten up and passed around. Also, it’s very hard to make a lot of your design decisions unless you do them first on paper. Hilferty will sign the deed of gift for an Elphaba costume and broom from the musical on December 17 in a special ceremony that also includes a performance by WICKED actresses Donna Vivino (Elphaba) and Tiffany Haas (Glinda). The Duke was a man in the other productions. Her portfolio – therefore – stretches to over 300 productions with one of her most famous (Wicked) earning her a Tony award in 2004 for her costume designs. St. James Theatre New York City Buried Child … And, Susan Hilferty who describes herself as “a storyteller whose medium just happens to be clothes” is the costume designer. I'm doing Rigoletto for the Metropolitan Opera, which we're setting in 1960 Las Vegas. SH: I think it’s essential for a designer to be able to draw, simply as a way to communicate. It moves. Lestat (Broadway) – Susan Hilferty. You thought, “Why didn’t we just cast a woman in this part? That’s another theme that runs through everything. On the right, Marcie Dodd in "WICKED," photographed by Joan Marcus. 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. Then it was a life-size dummy. Website by tinymill.com. 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. Ethyl is such a find, he’s such a great stage presence. SH: Oh no no no. It cries. Interview. This is Hilferty’s invaluable “image library”, where the designer finds pictures that spark her imagination. As with dancers, your job is not only to come up with a whole visual idea, but also to enhance their movement and physicality. PC: Yes, and it’s delightful. And since then, Robert is not only one of the directors I work most with, but also one of my best friends. That it’s not just been a power struggle, but a rape, taking advantage by force. You don’t need to be a Michelangelo, but you do need to be able to communicate. Where did he start from? You’ve worked with director Robert Woodruff enough now so that you probably have it down? I do big pieces and small pieces. SH: Athol is a South African. I didn’t know any other designers; I’d never seen another designer’s portfolio, or another designer’s resume. Previously, the courtesan was very seductive, very female; now the courtesan is a man. Between 12th and 14th Streets After the first discussions, in which he talked about his gut-level reactions to the play, Doug immediately came up with several set ideas, and I started bringing in pictures. It still takes my breath away when I see his hair. Hilferty grew up in a big family in Arlington, Massachusetts, where her greatest source of joy was the library. Are they jetsetters, living on their yacht in topsiders and cashmere sweaters? Did you have to have Avner the Eccentric in baggy pants? I recently lost a friend who was a great costume designer. Young Vic Theatre London La Traviata 2018. You can find the first part of the interview here. I thought taking the test was a big secret, that you weren’t allowed to talk anybody about it, me with my girl scout background. We didn’t know who was going to play the merchant. It scares people to think that they can’t be good designers unless they are great drawers, but there are some fine designers who don’t draw very well. In each of the choices, there is a balance of Turkish and contemporary. What you call a traditional witches hat actually comes from local dress from European villages—even some villages in Wales still wear these pointed hats. It wasn't a far stretch to have the witch with a pointy hat. I actually change my style of drawing depending on the play and the production; I start drawing in a certain way, and that helps me to identify how I feel about the play or the production. It reveals the violence … You’re all sitting around looking at pictures, discussing them, getting some of these feelings and ideas you’ll want to explore. Lestat Queen Of The Damned. AN APPOINTMENT KEPT: An Interview with the Playwright. You don’t fool around with their basic feel. The whole dress weights about 10 Kg. I tell stories through clothes. by Susan Hilferty on October 1, 2000 Dear Reader: In this, our annual education issue, Susan Hilferty, the chair of the NYU Tisch School of the Arts Department of Design for Stage and Film, offers a daring suggestion for undergrad students contemplating grad school: Don’t rush into anything. It's actually very moving. Lestat Musical. After seeing numerous applicants coming in for interviews woefully unprepared artistically and … The idea that her interest in theatre and visual art might be combined through costume design (Hilferty minored in fashion design) began to take root. So, the House of Atreus is in the center of the stage. PC: What basic skills are important for a designer? Where did you start from? I find it exciting that theater and the arts are recognized in this way as part of our whole culture, because this represents theater and literature. Her costumes have appeared on the stages of BAM’s Next Wave Festival, Second Stage, Manhattan Theatre Club, and the Roundabout Theatre . The world is always changing. I only write from a very personal response to a face, to a story, to an incident that I’ve witnessed or been told about, or even a little newspaper cutting. We used the word “stupid” as a compliment. But as a director, ideas have already happened before we go into rehearsal, and he had to separate himself from those ideas in order to respond to his clothes as an actor. 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. “Being a theater designer, the text could be a piece of music, a piece of choreography, a play—but the text is the trigger.” I knew Denslow was trying to make a village or community out of the world where they have pointed-toe shoes and pointy hats. In Sylvanie Gold’s interview for the New York Times, Hilferty provides sketches and the thought-process behind her imagination for the costume designs in the article What Befits a Legendary Queen. Since everybody plays at least three or four characters, with not a lot of time for changes, and since these are not performers who do big acting transitions between one character and the next, the costume choices are big. Since then, Fugard's old friend and collaborator, the ac-tress Yvonne Bryceland, has died. Scenic and Costume Designer Susan Hilferty has outfitted the stage with this indistinguishable desert-esque backdrop filled at its center with an enormous frontage of The House of Atreus. Designs sets and costumes for theatre; costumes for opera, dance, film, and circus. There’s a feel that’s old, new, and funny. I just finished doing three plays by a South African writer who also writes about the underdog in a very different way. I can’t believe pink. #threadbanger #wicked #costume #susan hilferty #interview. Gershwin Theatre New York The Oresteia 2019. Susan Hilferty doing a costume fitting with Laura Dysarczek. We started with a few ideas: the idea of a busy marketplace. Then he responds to those images and we keep going on from there. SH: The only radical changes have happened when actors have changed. 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. Well, pink. Paul Cooper: Let’s jump right in. Actors normally are used to doing a total transformation, to becoming a character. PC: You’ve also worked a lot with Athol Fugard. I'm on my way in a couple weeks to go to London to see the V&A Museum. I’m always curious about those repeats. There's an exhibit there which is specifically a costume exhibit. 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. The Elphaba dress, hat, and broom are currently on display in American Stories. So in my artwork, there’s a wide range. I’m very curious about Comedy of Errors (produced by Lincoln Center Theater this summer and first developed at the Goodman Theatre in Chicago). 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. It’s hard; it’s a struggle because it’s always totally different. I don’t know if I would go over to South Africa to originate a play, even one of his, I’m not sure about that, but in this situation, where the play has originated outside South Africa, I feel no hesitation about it. Susan Hilferty Interview by Downstage Center Downstage Center. Lestat's On Park. What should a policeman be like in this stage world? In South Africa they don’t have professional designers the way we have here or in Europe. When did you get together? Sponsored Content Tony-Winning Costume Designer Paloma Young on Loving Regional Theatre, Her Surprising Connection to Susan Hilferty, and More By Playbill Staff Oct 13, 2020 As a graduate student at Yale, you’re assigned design responsibility for shows at the Yale Rep. It’s a difficult situation for directors, since they don’t get to choose their collaborators. I’d never worked with Robert Woodruff or the Flying Karamazov Brothers before; none of us really knew what we were getting into. Have you now developed a specific way of working together? National Day Sweden. Hamlet 2020. If they’re policemen, they’re in pink, reflective glasses and a fake nose. I always tell my students that drawing is a tool. It’s like designing a dance piece in a lot of ways. I really don’t believe that all directors can work with all designers; I believe in the idea of collaboration, and you really must have people you can work with, people you can respond to. I’ll aways work with Robert [Woodruff] or with Sharon [Ott] or Athol [Fugard]; these are directors I’ll be working with for the rest of our careers, because they are very rewarding, very complete collaborations. Have there been significant changes in ideas from one production to the next? SH: It was fun being able to reduce things. Born in Arlington, Massachusetts, Hilferty had little exposure to the arts as a child. SH: I start drawing. PC: You’ve done the show three times now: in Chicago, in Los Angeles at the Olympic Arts Festival, and now in New York. 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. The reason I went to Yale was I wanted to do scenery. SH: That was one of those lucky, perfect marriages, totally out of the blue. Even though he may have thought as a director that something was going to work, as an actor he had to respond directly. It doesn't mean anything by itself, though it's beautiful. And the same with the K’s. An interesting fact; if you look at the [William Wallace] Denslow illustrations of the [Wonderful] Wizard of Oz, everybody in Oz wears pointed hats. Post Date : Tuesday, Mar 17th, 2009 at 1:32 am; Category : Theater; Do More : Both comments and pings are currently closed. And Turkey… Circus was never an important idea, although vaudeville, the idea of presentation, was—of course. By now I know what they can do, but when we first started, I had to learn that from going to rehearsal. Robert Jess Roth's direction is in the first act is too jarring and confusing to make sense to those new to the story, while he gets things together to run a rather smooth second act. Alec didn’t join rehearsals until the second week, playing Angelo, the goldsmith. On the left, the Elphaba costume on display in the museum. Comments Off on Modern Designers Project- Susan Hilferty. It’s very important to him that his plays be done there; that is his audience, the people he’s really writing for… I have strong emotional and political reasons for being in theatre. PC: You seem to work with people over and over again. Lojackgis. It is quite a hefty thing to swing around every night! For example, Avner didn’t want to be Avner on stage, but he is Avner on stage. toggle search form. Intricate black and white costumes dress the Red Queen in Hilferty’s … This season’s Comedy of Errors (Lincoln Center Theater Company ) and Coastal Disturbances (Second Stage) suggest the range of costume designer Susan Hilferty’s creative talents. We now have Ethyl Eichelberger doing the Courtesan, doubling that wonderfully with the Abbess. I am soo sad I never got/probabaly will get to see this show, but i would give anything to make … Read interviews with luminaries of the stage - actors, writers, directors, designers from Broadway, Off-Broadway and beyond. The costumes by Susan Hilferty are intriguing, and lighting by Kenneth Posner is superb - they create the right atmosphere for many of the scenes. Wonderland is currently in previews and opens at the Marquis Theatre, Broadway, on 17 April. Susan Hilferty (costume designer) has an incredible eye. It's actually introduced in the story when Glinda gets as a gift from her grandmother, a hat she thinks is really ugly. My relationship with him has developed over the years; I’ve become his “eyes” in the theatre when he’s performing as well as directing. I'm a member of many museums. You’ve denied being a political writer, though you’re often called that. Mayer invited Jones--along with costume designer Susan Hilferty, and lighting designer Kevin Adams--to come on board in August 2011 and the designs were due in December. Lestat's San Diego. Comments are closed. Set design by Susan Hilferty (Photo: Scott Suchman) But I would say ultimately, the design really focuses on the House of Atreus. Then Robert (Woodruff) had the idea of Alec playing both parts. I didn’t know the East side from the West side, and I didn’t have any friends in the theatre. Explore ANNIE's N.Y.C. When they’re part of the band they wear red, and dark glasses, and fake noses. DESIGN & VISION: An Interview With Costume Designer Susan Hilferty by Paul Cooper on December 31, 1985 This season’s Comedy of Errors (Lincoln Center Theater Company) and Coastal Disturbances (Second Stage) suggest the range of costume designer Susan Hilferty’s creative talents. Her iconic bubble dress was painstakingly made – it has 33 individual petals, all hand sewn. A few years later, already a member of the union, she attended Yale School of Drama, augmenting her experience as a costume designer with studies in set design. SH: Athol hadn’t really worked with designers up until then. If you look at the witch in those illustrations, it's completely different from our story. SH: Working on Tempest began with Doug (Stein) and Robert and myself getting together and talking: nothing specific, no specific visual ideas, just talking about the play. For the intensive research and visualisation … You can find the first part of the interview here. But in looking at her extensive career of more than 300 designs in New York, around the U.S. and in … PC: What did that mean to you practically? It’s very strange to be in a school situation working with professionals. In the sequence when she climbs up everyone’s shoulders, stands in the hands of Jeff Raz, and then holds on to the railing for a good few minutes, she certainly can’t be wearing a dress. 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. Awash in rust or years of blood, Hilferty’s castle face has majestic windows and doors that sweep or burst open depending upon the moment, making the home as much a character in the bloody … Well all right, I’ll try it. Nancy Missimi who runs the shop, was amazing in her ability to produce them on no notice at all. I think I managed to get quite a bit of stupid into the production, with, of course, a great deal of help from the company. So by the time I went to New Haven, I was a lot of raw talent, even though I had already been working professionally for a couple of years. Broadway credits include Wicked (Tony Award, Drama Desk and Outer Critics Circle awards); Present Laughter (Tony nomination, Drama Desk and Outer Critics Circle award nominations); Annie; Spring Awakening (Tony nomination); Hands On A Hardbody; Wonderland; Lestat (Tony nomination); … “We didn’t have a television,” she says. With juggling, for instance, you cannot have a loose-fitting sleeve; for juggling fire, certain fabrics are out. So I was lucky enough to be assigned to do A Lesson From Aloes . I’m a museum and library junkie. SH: Each costume had to meet certain technical requirements from the very beginning. Shakespeare Theatre Company Washington D.C. Photo by Joan Marcus. Being at Yale was a tremendous experience in terms of really developing as a designer, both in sets and costumes. In previous productions the Duke was in a tail coat. (The production was developed with the Flying Karamazov Brothers and Avner the Eccentric.). Glinda feels badly and steps in and they become friends because Glinda apologizes for her prank. In all of Fugard’s years working in the theatre, he had designed almost all of his pieces by himself, more telling people what to do than really collaborating and getting someone to respond. One of the feelings you may get in this production is of civilized man raping primitive cultures. It just happens. [Editor's note: Costumes in WICKED work hard; this video explains costume maintenance.]. PC: Can you remember something specific that came up during the course of a rehearsal that you and the shop had to adapt to? Witness a day in the life of the WICKED wardrobe department! Susan Hilferty: The original Chicago production was one of the scariest experiences of my life. Susan Hilferty is a costume designer, mainly designing for stage productions such as Wicked and Spring Awakening, as well as film, opera and concert tours (including Taylor Swift’s Speak now tour) both in America and abroad. The dresses I wear (as Elphaba) are made from such luxurious materials. So we reduce the power of the policemen to a sound, and flashing light, and a car. At the time, she thought “a set designer was somebody who did big paintings, someone who illustrated the play.” A latent interest in theatre was ignited during a year abroad in London where she saw such productions as The Tempest at the National, Rosencrantz and Guildenstern at the Young Vic, The Rocky Horror Show, Sizwe Bansi, and Equus. It just makes the process of communication much easier…. PC: So the images are about the clash of technological civilization versus the “primitive” island? But the timing never really worked so we abandoned that idea. … But that didn’t work, it was just too overwhelming. My mother called while I was doing the test and asked, “What are you doing?” and I said, “Oh, nothing, ma,” because I really thought you were not supposed to talk about it. PC: Had you worked with Greg Mosher before? 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