Costume Design Archives - Dramatics Magazine Online

3 Tips to Improve Your Theatre Design Skills

Dylan Malloy — Tue, 20 Feb 2024 16:32:01 +0000

You’re preparing to design your first production! Any form of theatre design – scenic, light, sound, prop, makeup, or costume – requires a close read of the script. Here’s how to study a script so that your design highlights the story happening onstage.

1. Take Note of the Basics

Before you start designing, take time to understand the basic elements of a piece. For example, if you’re doing scenic design, the playwright might indicate there are multiple doors characters walk through. If you’re doing lighting design, the playwright might want a specific-colored light in a certain scene.

The earlier you note these specifications, the less chance there is for surprises halfway through the rehearsal process. Playing catch-up in the final weeks before opening night is stressful and often expensive. Some elements to look for:

Time Period & Setting: Creating a collage or vision board full of pictures from this time/place will give you an idea of the colors and textures of the world you are creating. If the play is a period piece, you may find it helpful to talk to a history teacher about what life was like in that period so you can hear even more perspectives.
Language: The playwright’s language can give you a deeper sense of the story world. Is the language poetic and lyrical, gritty and rough, or somewhere in between? If the play is experimental and less tied to reality, you will have some additional freedom in your design choices, so long as the choices you make are directly related to the story. Ultimately, an experimental comedy will likely not look the same onstage as a realistic tragedy.
Tone: Paying attention to tone is also important so your choices amplify the emotions of the story. A more optimistic, comedic tone can possibly result in brighter lighting colors, more vivid makeup, and wackier sound effects than you would use if designing for a more grounded, realistic play. You want your design choices to make the story come alive, not feel like a distraction.

Once you have a list of the basic elements in the script, you have the foundations of your design plan.

2. Study the Characters

Next, take note of each character and personality traits you associate with them (happy, sneaky, angry, kind, proud, etc.). The designs you create can subtly tie back to the personality traits the playwright explores in the script.

Say you have a character that is enthusiastic and encouraging. This character could wear yellow (a happy color), the lights could become slightly brighter when they enter the room, or they could wear makeup that emphasizes their smile. Each character changes over the course of the show, and your design choices can reflect this change to make it more poignant for the audience. For example, this enthusiastic character might become discouraged over the course of the story and start wearing bleak, bland colors. Whether the play ends hopefully or tragically (or something in between), the design should emphasize the journey of emotions being felt.

Similarly, large-cast shows may divide characters into groups, for example, different families or social classes. Take note of these groups. If these differences are important to the meaning of the story, you can use your design skills to emphasize them. For example, characters in different social classes can wear different colors or carry unique props. No matter what you notice as you read the script, if you ground your design in the characters and the arcs they follow, your design will feel cohesive with the story.

3. Discuss with the Director

Before you get to work and start designing, you’ll want to sit down with the director and share ideas. The director has also been intensively studying the script, and they might have thoughts about certain design elements. In the rehearsal room, part of the director’s job is to guide the actors towards a deeper understanding of the characters, so they’ll be especially attentive to the tone and arc of the story. Bring pictures, sketches, collages, or digital models to the conversation to share your ideas.

During your conversation, there might be some differences of opinion. Be sure to let your director know if you feel certain design choices they want are unachievable, whether it’s due to your budget, the amount of time you have, or your ability/knowledge. Being honest at the start of the process can prevent challenges down the line, and coming up with alternative ideas reminds your director that you’re a flexible team player.

No matter what, you’re now an expert on this script and have a multitude of excellent ideas to make the story world come to life!

The post 3 Tips to Improve Your Theatre Design Skills appeared first on Dramatics Magazine Online.

How to Build Your Costume Plan

Andrew Koch — Thu, 25 Jan 2024 13:46:33 +0000

Costumes can make or break the audience’s ability to believe a show – and a costume plan can make or break the costuming process. If you’re leading your show’s costume team, begin with a plan to help you stay organized before, during, and after the production.

Benefits of a Costume Plan

A costume plan (or costume plot) helps you track all the pieces in your show, from large dresses to incidentals like hats and jewelry. While it may take some work, an organized costume plan can help in every step of the process.

Before the show: Track pieces as you assign them to characters, then follow their progress throughout pre-production.
During the show: Tells the costumer exactly where any pieces are supposed to be, with ready-made checklists to run through before the show. The run crew will also know what (if any) pieces need to be set up in the wings or transported on stage between scenes.
After the show: Consult the plan to remind the crew what your company can keep after strike and what needs to be returned to another company.

How to Start a Costume Plan

You’ll first want to decide where to keep your costume plan. Some may prefer to write one by hand, but paper copies can be easily lost or hard to share. A spreadsheet made in Microsoft Excel or Google Sheets is easier to edit and share, keeping everyone up-to-date on the show’s progress.

Part of a costume plan for a production of Shakespeare’s The Tempest, created in Google Sheets

Next, determine how you’ll organize your plan. You could sort entries by scene, character, ownership status, or some other field. But you’ll want to be consistent and systematic, preventing you from losing or forgetting about pieces.

Your costume plan may change throughout the production, and that’s okay! Your plot should reflect the current status of the costumes, even if they’ve shifted from your initial idea.

7 Must-Haves in Your Costume Plan

Now that you’ve decided where to begin, knowing what to include on your spreadsheet is just as important. Be sure to record each of the following pieces of information in your plot:

1. Scene Information

Some costume pieces may need to be worn for some scenes in a show, but not others. Joseph’s coat in Joseph and the Amazing Technicolor Dreamcoat, for example, needs to be brought on stage by one character, worn by a different actor, removed by another, and then used again at the end of the show – all by different actors, depending on the director’s blocking.

Dividing the show into scenes and marking costumes accordingly can help you track where pieces need to be, particularly if they’ll be used in multiple scenes and places during the run. It can also help you see when and where any quick-changes occur.

If the script doesn’t list individual scenes (or those listed in the script aren’t working for you), talk to your director and stage manager. They can help you divide the script into more-manageable scenes.

2. Character Name

Who’s wearing the costume? Note any situations in which pieces switch between characters or are used as props. You could list the actor’s name instead, but that might be cumbersome (especially if multiple actors are playing the same role, such as if the show is double-cast or an understudy takes the stage). If you’re so inclined, you could color-code your plan. Assign a color to each character or just to principal characters and ensemble groups.

3. Ownership

Is the piece borrowed or did your team construct it? Pieces made by your crew will be easier to spot in spreadsheet form, allowing you to start assigning them early in the production process. This column will also help you easily determine whether you’re allowed to make significant alterations to a piece.

4. Status

Is the piece stage-ready, or does it still need alterations? (And have you started it at all?) You can also use your spreadsheet as a way to assign and track progress on any alterations.

5. Color Notes

Good costume design uses colors to help the audience easily identify characters or traits. Colors can help the audience distinguish characters from each other, or (alternatively) suggest how characters are related. You might include a column in your plan that tracks what primary colors are associated with each character and their costume(s).

6. Transition Notes

Indicate whether the actor will need help changing out of the costume and into another, as in a quick-change. You’ll want to assign costume team members or run crew to help actors with quick-changes, though you might not be able to anticipate all of them until you’ve run through the show a few times.

7. Type of Item

You might also think about your costumes as smaller segments – for example: tops, bottoms, shoes, and accessories. This will help you make sure you have a full costume for each character.

With a comprehensive costume plan, you can keep your whole cast and crew up to date with your design as it comes together.

Andrew Koch is a writer and editor from Cincinnati. He thanks his wife for sharing her custom-built costume plan for this article.

The post How to Build Your Costume Plan appeared first on Dramatics Magazine Online.

How to Costume a Show Without Sewing

Andrew Koch — Mon, 24 Oct 2022 20:04:32 +0000

There’s no doubt that sewing is a key part of costuming a show. A beginner seamster or seamstress can get by with just a bit of sewing. (We’ve got some tips here.) But you may not have the time or ability to learn how to sew ahead of your production. These five no-sew options and alternatives will help you costume a show with minimal sewing.

Step 1: Look into your archive

Instead of creating something new, try something old! Dig into any wardrobe or costume stash that your program has to find pieces that could be adapted for your show. Look for items that will need the least amount of work and fit in with your overall costume design. For these, and the other steps we’ll discuss, you can use no-sew tools like iron-on hem tape or stick-on velcro to make alterations as necessary.

Repurposing old costumes is obviously most successful when your program has done a show before. But pieces from a show with a similar setting might do. Leather jackets from Grease would be a natural fit in a later production of All Shook Up, or suits from The Great Gatsby in Guys and Dolls.

You can also think ahead to future shows by making or acquiring simple pieces that can easily be adapted to other shows. My wife, for example, once created simple circle skirts in several colors for Jacob’s wives in a community theatre production of Joseph and the Amazing Technicolor Dreamcoat. Those same skirts—worn just a bit differently—were then used by Gaston’s “Silly Girls” in a production of Beauty and the Beast the next summer.

Step 2: Bring pieces from home

You may be able to ask actors to tap into their own closets. This will obviously depend on your costume plan, but the cast might already have (or be able to purchase for minimal cost) certain pieces that make sense for your show. Many people already own well-fitting staples like pants, dress shirts, and high heels. Using these instead of making or purchasing costumes will save everyone time and money, and put your actors more at ease.

Step 3: Ask other programs for help

One great thing about the theatre community is that it’s collaborative. Contact other local programs to see if anyone has done the same show as you recently, and would be willing to loan you some costumes. You might even do a costume exchange.

Bonus tip: Also ask about easy-to-move set pieces and props that the other program might already have.

Step 4: Go thrift-shopping

If your program, actors, and theatre contacts don’t have what you need, turn to your local thrift store. There among the racks of secondhand clothing might be just the pieces you need to costume your show—common pieces like jeans and plain-colored dresses, or offbeat items like leather jackets, vests and sweatshirts. You are also more likely to find pieces from the actual time period of the show, like a matching skirt and jacket from the 1940s for a production of 42nd Street.

However, know that this will likely be the most time-consuming option. There’s no guarantee the shop will have what you need (and certainly no guarantee that the piece will be the right size for your actor). Plan on making several stops to get everything you need, and accept that you still might need to make some alterations.

Step 5: Rent costumes

When all else fails, seek out costume shops in your area that offer rentals. Costume availability and cost will vary by location, and you’ll probably need to request items well ahead of your show. Make sure you understand the shop’s terms and conditions. Some will allow you to make simple alterations to pieces, but you’ll likely need to reverse them before returning.

If you can, focus on costume shops that cater specifically to theatre companies, and avoid novelty shops, Halloween stores, and sites like Amazon. Though convenient and cheap, costumes from these sources will look cheap under stage lights, especially if they’re intermingled with other, handmade costumes.

Andrew Koch is a writer and editor from Cincinnati. An inexperienced seamster, his costuming philosophy has always been to sew as little as possible.

The post How to Costume a Show Without Sewing appeared first on Dramatics Magazine Online.

2022 Thespy Winner Brooke Gustafson

Natalie Clare — Fri, 16 Sep 2022 17:18:53 +0000

Meet Brooke Gustafson! At last summer’s International Thespian Festival, she won the 2022 International Thespian Award for Excellence in Costume Construction. Below, she tells us more about her theatrical background and how she’s planning to build a career in theatre.

Brooke Gustafson
Metrolina Christian Academy
Troupe 8868 | Indian Trail, NC
Meg’s Ballgown from Little Women by Louisa May Alcott

Tell readers the most important steps you took on your way to winning the 2022 Thespy Award for Costume Construction.

Shockingly enough, I found the research element of costume construction to be the most beneficial and important to my future success. For the months leading up to the actual construction process, I remember spending a majority of my free time researching on Pinterest or reading dissertations. These readings ranged from deep dives into the 1860s lifestyles and clothing, character analysis, or pictured examples of clothing from that era. Whenever I attempt to create art, my goal is to learn as much as I can throughout the process and grow into a better thespian. The same was applicable as I presented to the judges. I strived to research facts that wouldn’t only teach me something new, but also the judges. As for the actual submission process and presentation, I presented to multiple friends and family members in order to gain their advice and options.

Scene from Cinderella featuring Brooke’s costume construction.

How long have you been doing costume construction? Is there an interesting origin story about how you came to the craft?

I’ve been sewing for around two years now. The origin story is actually quite fun. It all started in 2020 when the world shut down for COVID. I began sewing masks for individuals and businesses at the beginning of quarantine. From there, I immediately fell in love with sewing and thought, Hey, how hard could costuming a show be? That summer, I costumed a production of Cinderella on my own and learned just how much goes into costuming. Since then, I’ve costumed all of my high school shows and my summer drama club shows, and created my own business doing alterations and custom creations for people.

Is there one costume you loved/hated working on?

One costume that I had a strong love/hate relationship with was the iconic “16 going on 17” dress for Leisl from The Sound of Music. It was made from a gorgeous champagne-colored silk satin that shined on stage. I designed the dress based off the dress from the movie; however, since it was a stage production and we didn’t have historically accurate undergarments, we couldn’t have her skirt fly up like it does in the movie. I tried many different arrangements, but it was difficult to get the correct amount of flow required for the dance yet ensure the skirt didn’t fly up. I thoroughly enjoyed the challenge because it was the first time I had to connect a dress design to the dance sequence in order to create a seamless performance.

What’s next in your theatre career?

I’m so excited to be attending Elon University this fall for a double major in Arts Administration and Theatre Studies. I plan to work professionally in the industry for five to 10 years, and then eventually start my own drama studio using the skills I learned in the industry and my education to prepare high school students for success.

What would you like to say that we didn’t ask you about?

I’d just like to encourage everyone to pursue some new experience or challenge. Whether it be a scholarship application, competition, audition, job, or new hobby, everything you work towards gives you insight for the future. Even if the outcome isn’t what you expected, you can gain wisdom from your attempts. That includes attending your State or International Thespian Festival. Utilize every opportunity and challenge you come across along the way. Audition for that play, compete in the Thespys, attend your favorite workshops. The experiences, connections, and knowledge I gained at these festivals will stay with me forever.

View all of the 2022 Thespy Award winners, and get ready for ITF 2023! Watch for deadlines to be updated soon at itf.schooltheatre.org.

Natalie Clare is a freelance writer and regular contributor to Dramatics. Visit her work at nataliecwrites.com.

The post 2022 Thespy Winner Brooke Gustafson appeared first on Dramatics Magazine Online.

Costuming for Everyone

Allison Dolan — Mon, 28 Dec 2020 15:00:52 +0000

IN HER FREE TIME, Shirlee Idzakovich, a professional costume designer for theatre and film, manages a Facebook group titled Costuming for Everyone. She describes it as a no-judgment think tank where costumers of all experience levels, from high school to professional, can find resources on topics ranging from pattern making and rendering to sewing and textiles.

The group’s title is more than a name, however ― it’s also Idzakovich’s philosophy on the craft. Idzakovich believes anyone with enough interest and initiative can costume a production using the following five steps.

Identify your costume crew.

Idzakovich says a costume crew can be one person or 20 people, and she suggests looking more closely at those around you if you don’t think your school has the makings of a crew. Idzakovich recommends individuals with strong opinions about fashion, regardless of whether they have specific costuming experience. Look for people who think outside the box. And don’t overlook those who usually take onstage rather than backstage roles. According to Idzakovich, everybody needs a stake in costuming.

Find your script and read it.

“You cannot costume a show without reading the script,” Idzakovich says. “That script is your guide to everything.” As a designer, Idzakovich creates what she calls a color script. She meticulously highlights portions of the text with different colors ― she owns at least 18 highlighters ― with each color representing a point of design focus. For example, green might denote the wealth or status of a character, while yellow can be used to designate age. She also uses specific colors to identify gender, seasons, time periods, and moods. Finally, she circles exact references that make their way into dialogue; for example, the mention of a red dress or a character’s white hair.

“You want to understand where that character was, where it is now, and where it’s going,” Idzakovich said. “I know everything there is [to know] about that character through those colors. That’s how I read a book or a script.”

Decipher your director’s words.

Learning to translate a director’s vision into design-speak is critical. Idzakovich says it’s important to meet with the director at the beginning of the design process to clarify directions, as well as the budget and timeline for the show. Be sure to write down or record specific words used by your director. “Their words are crucial,” Idzakovich says.

At the same time, don’t underestimate the value of a picture to clarify that you and the director are on the same page. “It’s hard for me to get in someone’s head to understand what they’re thinking. That’s why sketching is so important,” Idzakovich says.

Start your costume bible.

“It’s not a bible, but for me, for the next year, it’s everything I’m living for,” Idzakovich explains. “That thing is my entire world.” The costume bible is a binder in which the designer includes references and resources that will guide planning. Idzakovich’s costume bible generally includes the following items:

Color script
Cast list
Mood boards
Blank croqui, the body form drawings that serve as foundations for costume sketches
Costume sketches
Color stories, or the palette of colors used to build the look of the show
Notes and research
Actor measurements
Schedules
Costume plot, outlining every character, actor, size, and costume piece

Idzakovich color codes the costume plot, too, so she can quickly identify which pieces will be bought, rented, built, or borrowed. “When I do the costume plot, everything gets a color,” Idzakovich says. “It’s my storyboard for how much time I have.”

Idzakovich recommends keeping a key in the front of the book that explains any abbreviations you use so others on your costume crew who might need to reference your work can do so. You might also include a responsibility chart, identifying who on the team is tasked with each assignment.

“Once you get the costume bible started, everything falls into place,” Idzakovich says.

Plan your costume parade.

According to Idzakovich, the costume parade should take place sometime between two weeks before opening and the day technical rehearsals start. It’s the time when the director and costume designer see every costume onstage with sets and props. Idzakovich recommends blocking at least a half-hour before or after rehearsal for the costume parade, bringing all costumers into the process. Rolling racks to the side of the stage can help actors move through changes quickly.

For Idzakovich, this is the point where all the hard work finally pays off. “At that point, make all adjustments that need to be made,” she says. “Everything comes together on that stage.”

Want to learn more? Take Shirlee Idzakovich’s costuming workshop at Thespian Nation Live, January 29-31, 2021.

The post Costuming for Everyone appeared first on Dramatics Magazine Online.