Costumes Archives - Dramatics Magazine Online

Design a Costume Quick-Change

Andrew Koch — Wed, 30 Nov 2022 22:38:23 +0000

Costumes are crucial to any show. Costume quick-change is key, but screenwriters occasionally leave only a short amount of time to transition from one to the next—sometimes not even enough for the actor to get to the dressing room and back.
In cases like these, you’ll need to design a smooth costume quick-change. Here’s how.

8 Steps to a Successful Costume Quick-Change

1. Read the whole script
Hopefully, you’ve already done this! Reading the script is also the first step to any good costume design. Look for any mention of clothing in dialogue or stage directions. Some quick changes are important plot points and will be obvious. But others might only be implied: for example, back-to-back scenes in which a character has very different costume needs.

Don’t look at scenes in isolation—it’s critical to imagine how characters will flow from one scene to the next. How much dialogue will you have for the quick-change to occur? What do you know about the blocking and choreography, and how much time will it take? Is it just one character who needs a fast costume change, or several? Also consider that a character may need to remain on stage even after their last line.

Attend a readthrough or rehearsal (even if you’re still early in the production schedule) to have a better understanding of the scene’s pacing, as well as the actor’s physical needs. You might even time the section of the script.

2. Talk with the director
The quick-change should align with the rest of the show, and your director—who’s involved in every part of the production—will have that perspective. Ask them the following:
● Will the quick-change occur on stage, or off?
● What else is happening on stage at the time?
● What else is happening in the wings at the time?
● Are there on-stage effects (such as lighting or smoke) that will affect the change, either by hiding it or making it more difficult to navigate?
● How are microphones going to be involved?
● Will hair style or wigs also need to be changed?

Your director can help you more fully understand the bigger picture—and you can help them understand what a realistic time frame is for the change.

3. Costume with the quick-change in mind

If possible, your quick-change should be a major factor as you’re designing the relevant costumes. Start with the costume being changed into (i.e., the second being worn). How will the actor put it on, and will they need help from crew members? It obviously needs to go on quickly and may need to be hidden underneath or behind the first costume. Likewise, your crew must be able to remove the first costume quickly, then set it to the side.

One solution could be layers. Can the actor wear the second costume (or at least some elements of it) underneath the first? Removing items is usually faster than putting them on, especially if you make use of “rigging” like snaps (see number 6) or fabrics designed to tear away.

4. Minimize the items being changed
The fewer items being changed, the faster the quick-change will be. Here are a few tips for limiting the number of articles you’ll need to change:
● Combine pieces by sewing them together: This limits the number of pieces being moved and the hands needed. Elsa’s famous “Let it Go” quick-change in Frozen is made possible by her coronation costume being just one piece, rather than a separate skirt, bodice and long-sleeved shirt. (Elsa’s second outfit is also underneath her first, as suggested in number 3.)
● Keep some items the same: Choose shoes, pants, undershirts, etc., that can be used in both costumes. This will save you, the actors, and the crew time and stress.
● Use wigs: Natural hair—with bobby pins, hair ties, ribbons, and sweat—can be extremely difficult to manipulate quickly. If your actor needs to change hair styles or color, wig changes can achieve the same look from the audience with less fuss.

5. Ensure modesty for the actor
Don’t forget the actor! This is a no-brainer if the quick-change is happening on stage as part of the show. But you should also consider modesty if the change is happening off stage. Some actors may have no qualms about changing in the wings in front of other actors and crew members, but you should check to ensure their comfort.

You could have the actor wear skin-colored underclothing (such as camisoles or bike shorts) or a leotard to help them feel more comfortable. You should also set up some time to have the actor meet and talk with the crew members who will be helping them.

6. Design the quick rig
Once you have your costumes and a plan, it’s time to add the “quick rig”: any modifications you need to make to the pieces to facilitate the quick-change. These usually take the form of fasteners that allow pieces to come off more quickly.

Each type of fastener has its benefits:
● Velcro is fast, but loud when removed.
● Snaps are fast and quieter than velcro but can tear fabric if not sewn on properly.
● Buttons are quieter and slower still and may be visible to the audience.
● Zippers are fast and quiet but could become caught mid-zip, hindering the rest of the change.
● Magnets are quick, fast, and discrete. But they may come undone at inopportune times, such as during choreography.
● Hook and eye fasteners hold well but are difficult to fasten quickly.
Decide which works best for the costume pieces and quick-change and make the needed alterations.

7. Organize and choreograph the crew
Just like action on stage, you’ll need to choreograph who goes where and does what during a quick-change. Planning this out ahead of time will prevent something not being fastened or a piece being dropped.

Part of your planning should involve “props” for those helping with the change. Lights are often dim backstage, so small flashlights for crew members can help everyone see better. And all crew members should have an apron with emergency items in case something goes wrong: safety pins, bobby pins, extra fabric, and body tape.

As you’re planning the quick-change’s movements, resist the urge to have the actor do too much. Their focus should be on the scene just before or after, not on the mechanics of the quick-change. In most cases, the actor can help the most by letting the crew do their work.

8. Practice!
Quick-changes are difficult to execute. Practice makes progress, which leads to perfection! Run the change at different speeds and levels of light—slowly at first and in full light, then faster and in lighting closer to the show’s. It may take you up until opening night to work it out. But keep at it and check in with your crew about ways you can improve.

Andrew Koch is a writer and editor from Cincinnati. He thanks his wife (who, as a costumer for a production of Beauty and the Beast, got Belle’s quick-change down to 37 seconds) for her help with this article.

The post Design a Costume Quick-Change 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.

New Costumer’s Guide to Sewing

Andrew Koch — Tue, 20 Sep 2022 15:30:47 +0000

No one was born knowing how to sew. But you can be a great costumer regardless of your sewing experience level. Here’s a new costumer’s guide to sewing with eight tips that show you how to navigate costuming a show as a newbie seamster or seamstress.

NEW COSTUMER TIP #1: GET THE RIGHT EQUIPMENT

It takes just a few items to make a basic sewing kit. But if you (or your costume department) decide you’ll take on larger sewing projects, here’s what you’ll need:

A sewing machine: Consider a commonly known brand like Singer or Brother, so you can easily find online tutorials
An iron and ironing board
Straight pins
Tape measure ribbon, for measuring both fabrics and actors
A straight edge
A marking pencil: Consider different colors for different colored fabrics
A sewing gauge
Thread of the correct colors: Carry at least black, navy, gray, white and brown, as well as thread that matches color with the fabric you’re using

You’ll also obviously need your fabrics, as well as patterns for your projects. If possible, secure extra fabric in case you make a mistake or want to do a “trial” piece. Make sure to also check the back of the pattern for any notions you may need, such as zippers, buttons, or elastic.

NEW COSTUMER TIP #2: TAKE A SEWING LESSON

A sewing machine is one of the most important tools for creating costumes, but it’s no good if you don’t know how to use it! Local craft stores usually offer lessons on how to use the machines. You might even consider setting up a private lesson with an experienced seamstress (even if they don’t have experience costuming). You can also find tutorials on YouTube.

Don’t forget to read your machine’s manual, too. It will likely give you some ideas for how to better use it and what you can create.

NEW COSTUMER TIP #3: DESIGN WITH A PLAN

We’ve written before about how you should costume a show. Once you know what you’re getting into, be sure to plan ahead. What pieces will you need to make from scratch? What pieces can you make by simply altering something from a previous show? Don’t be afraid to take on projects that stretch your current sewing abilities—balance that with the need to get pieces done on time.

NEW COSTUMER TIP #4: BUDGET YOUR TIME APPROPRIATELY

Leave yourself enough time to finish all your pieces, and plan to start any labor-intensive projects earlier in the production. Your goal should be to have everything done ahead of the first dress rehearsal. That’s because you want time to adjust costumes that are ill-fitting or otherwise not appropriate. Also consider whether you need an actor’s measurements to begin a piece. If a design isn’t specific to a particular actor, you could even start before the show is cast.

Note that some patterns come with estimated project times, but they might not accurately predict how long the project will take you as a novice.

NEW COSTUMER TIP #5: CONSIDER NO-SEW OPTIONS

Before you make your first stitch, think about other alteration methods that could achieve the same results with less time and handiwork. For example, you might be able to use iron-on patches, or glue pieces together. Maybe you can combine store-bought pieces or repurpose something from your program’s costume closet.

And if stitching the fabric is absolutely necessary, consider hand-stitching. While it may take more time, hand-stitching could result in fewer mistakes (and less frustration!), and less time spent overall on the piece.

NEW COSTUMER TIP #6: CHOOSE PATTERNS YOU UNDERSTAND

When starting a piece from scratch, choose a pattern that’s easy to understand. Brands like Simplicity or McCall’s are designed for new seamsters. The instructions often include more pictures, with sidebars to help you understand more complicated techniques. Make sure you read the whole pattern before beginning.

Also consider using the same pattern to make several costumes, each in a different color. The first costume you make with a pattern will take longer, but you’ll be more efficient with each subsequent piece as you get more experience.

NEW COSTUMER TIP #7: CHOOSE THE RIGHT FABRICS

The amount of fabrics in a fabric store can be overwhelming. But despite that great variety, only a few are appropriate for the stage. Consider the many types, and compare them to other fabrics that are more cost-effective and easier to use.

For example, leather may provide the right “look” for a cowboy vest in Annie Get Your Gun. But leather is very difficult to work with and hot when it’s worn on stage. Flannel might be a better alternative: It looks about the same from a distance with the right lighting, and it’s much easier to work with (both on the sewing machine and while dancing!).

When in doubt, start with cotton or broadcloth. These fabrics are easy to use and cost-effective, and they can create a wonderful picture on stage. They also come in a variety of colors and patterns to add an air of complexity—while saving your sanity in the sewing room. You can add trim or use certain sewing styles to make these simple fabrics really pop.

Make sure your fabrics are also washable, and carefully follow any cleaning instructions. You want your costumes to remain in pristine condition.

NEW COSTUMER TIP #8: SAVE YOUR WORK

If your troupe has the appropriate space, hang on to any costumes you make. You never know when you might be able to reuse a piece in another production. (Check out this interview with a costume shop manager for some space-management ideas.)

Don’t forget to take pictures of your work to add to your portfolio! Try to have pictures both of the costume being worn and on hangers or a dress form. Capture any particular utility or special feature the costume has.

Andrew Koch is a writer and editor from Cincinnati. He’s still new to sewing, and also sometimes cross-stitches in his spare time.

The post New Costumer’s Guide to Sewing appeared first on Dramatics Magazine Online.

Costuming a Show

Andrew Koch — Wed, 24 Aug 2022 22:15:15 +0000

Costumes don’t just make your actors look good—they can have a big impact on how the audience understands the production as a whole. These tips will help you design and create stellar costumes.

The 10 Commandments of Costuming a Show

1. Thou shalt read the script A costumer’s biggest mistake is not being familiar with the source material. A script has both direct and indirect information about costumes, and the costume team needs to read for both early in the production process. Even little details can help the audience understand a character’s development. Professional costume designer Shirlee Idzakovich shares some specific clues to look for in this interview with EdTA.

Read between the lines for clues that characters give about their appearances. For example, Vivienne in Legally Blonde cannot wear heels, since another character observes that “both her hair and shoes are flat.”

2. Thou shalt not costume alone Costumes need to be a cohesive part of the production, so consult with other members of the team. Attend production meetings and listen for any decisions that might change the design of the show: notes about setting (especially time period and place), styles of music, hair and make-up design, and even set color. Your costume design needs to work well with all the show’s details, and reinforce the show’s key themes.

Also think about how the actors will move. Does choreography affect what the actor can (or can’t!) wear? Will the actor be using props that might affect their movement, or need to hide a prop in their costume?

3. Thou shalt anticipate costume changes Your script study should include notes about if and when actors will change from one costume to another. Observe how long they have to do so. If they have plenty of time, their costumes can be a bit more elaborate. But if they don’t (i.e., the actor has a “quick-change”), you’ll need to design a costume that’s simple and easy to change.

You might also consider using common items or layers that can be used for multiple scenes. For example, maybe the actor can wear the same pair of pants in both scenes, and just change his shirt. That will limit the number of items you and the actor are responsible for and make costume changes smoother.

For quick-change inspiration, check out Elsa’s on-stage dress reveal during “Let It Go” in Frozen.

4. Thou shalt do research Hit the internet! Research what people wore in the time and place the show is set in. Look at contemporary photos and publications (such as catalogs, newspapers, magazines or even advertisements), and try to find recorded productions of shows that are set in a similar era.

5. Thou shalt sketch it out Regardless of your drawing skills, make a visual representation of what the costumes look like in your mind’s eye. Use magazine clippings, online photos, even dolls or action figures—whatever you can to help the actors, production team, and “seamsters” to understand your goal.

Visualizing the costume will also force you to consider what pieces need to be sewn from scratch, purchased, or repurposed from what you have in storage.

6. That shalt consider the details Costuming a show is so much more than fabric, sewing, and hemming. (Though it definitely involves all of those things!) You also need to consider accessories: hats, jewelry, shoes, purses, and more. Work with your props team to determine when and how items like umbrellas and purses will be used, as well as which department will have custody of them.

7. Thou shalt have costume fittings You should always have actors try on their costumes ahead of tech week—and you should be there to witness how they fit. Ask the actor if they can move how they need to (especially for any dance numbers or action sequences), and watch how the costume (or wig, if applicable) looks with their skin tone or hair color.

Also note the actor’s reaction. An actor should never question a costumer’s design, but their opinion of the piece can affect their portrayal. Evaluate if they seem comfortable in the costume and how it portrays their body. If the actor has a specific concern (and you have the time to listen), listen attentively and help them understand your point of view if there’s a conflict.

8. Thou shalt consider practice pieces Some shows feature pieces of a costume in scenes—almost like characters! For example, the titular “coat of many colors” in Joseph and the Amazing Technicolor Dreamcoat is usually the center of choreography in the song “Joseph’s Coat.”

Instead of waiting until final costumes are ready to fully rehearse those scenes, create practice pieces for the cast. These double as prototypes for your costume crew.

9. Thou shalt watch the final product on stage Stay tuned in during the entire rehearsal process. At least once per week, watch a full run-through of the show and take notes, both for the actors and yourself. You can provide insight on how to manage a costume during a tricky dance, or notice a costume piece that looks good in isolation but doesn’t work onstage with the rest of the cast.

10. Thou shalt enjoy the show Choose a date during the final production to enjoy the work you’ve done. There’s nothing quite like listening to the audience at intermission discussing how nice Shelby’s costume looked in the first scene of Steel Magnolias, or hearing their gasp when Belle enters the stage in her yellow ball gown as “Beauty and the Beast” begins to play. You’ve earned it!

BONUS TIP: If you can’t wash your costumes, at least air them out between shows! The audience won’t be able to smell the actors, but anyone on (or behind) stage will!

Andrew Koch is writer and editor from Cincinnati. He is proud to have worn his wife’s “dreamcoat” design in a 2018 production of Joseph.

The post Costuming a Show appeared first on Dramatics Magazine Online.

Costume Shop Management

Natalie Clare — Thu, 11 Aug 2022 16:40:56 +0000

Gordon DeVinney has decades of costume shop management tips honed at Cincinnati Playhouse in the Park that stand the test of time. And he’s sharing them here with you!

In his role as Costume Shop Manager he oversees a department of artisans and craftspeople, designs costumes for main stage shows, and maintains a lush inventory of costumes and wardrobe necessities.

DeVinney got his first taste of theatre while he was in high school. Although the productions only included, at most, seven people he enjoyed the activity. He thought he might go into journalism as a future career until in college he developed a new perspective of theatre and its professional possibilities.

Gordon DeVinney is the costume shop manager at Cincinnati Playhouse in the Park. He’s sharing his tips for success!

“I was going to take care of my required courses during my freshman year at Michigan State University and figure things out. I took theatre classes as electives,” DeVinney says, “and gained a greater exposure to creative arts.”

That exposure established the foundation for DeVinney’s entire career. After earning his B.A. in Theatre, he studied costume design at Florida State University and earned his M.F.A. He had internships during graduate school at Indiana Repertory Theatre and with The Theatre Development Fund’s Costume Collection. Before landing his role at Cincinnati Playhouse in the Park, he worked with the Guthrie Theater in Minneapolis, the Players Theatre in Columbus, and Paisley Park, where he made costumes for musical icon Prince. He’s worked as Costume Shop Manager for the last 27 years.

Here are DeVinney’s tips for aspiring costume designers and shop managers!

Costume Shop Management is a Fast-Paced Gig!

No two days are alike for DeVinney and his team. Each new season brings productions ranging from new comedies and beloved musicals to historical classics and contemporary works. Each show has its own team of visiting designers who craft the vision for wardrobe.

When it comes to costume shop management, DeVinney likens himself to a project manager. His primary tasks include:

● Overseeing the construction of costumes, wigs, makeup, accessories, jewelry, and hats
● Receiving technical and artistic info from visiting costume designers
● Calculating a cost analysis of proposed designs and assessing them against budget
● Scheduling costume fittings and alterations with stage managers and performers
● Managing the full-time staff and other contract-based roles
● Maintaining resources and wardrobe/costume-related inventory.

Coordinating Logistics Artistically

DeVinney often coordinates logistics between departments when the show has a unique need. For example, School Girls; Or, the African Mean Girls Play was recently performed at the Playhouse. In one key scene, a character applies a caustic lotion to her face, which causes her to bleed. It’s something that happens in real time in the world of the story. So, how did production pull it off?

“The jar of lotion is provided by the props department. How there’s access to it is coordinated by the costume shop, the costume designer, and the director. The product inside the jar is determined by hair and makeup,” DeVinney explains. “The character takes a compact out of her pocket, opens the compact to look at her face, and in the reservoir is a little bit of stage blood. She dabs her fingers there, and shortly after that, she smears it on her face so that we see she’s bleeding. Based on the action devised for this moment, we needed to put a pocket into the dress she’s wearing.”

Costume Shop Management: All the Players

As the department head, DeVinney manages the schedules and duties of full-time artisans and craftspeople. The team includes:

● A cutter/draper, who devises the pattern that’s custom-made for a performer’s body
● A first hand, who assists the cutter/draper in their work
● A stitcher, who assembles costumes that more closely resemble clothing
● A wig master/makeup artist, who works on makeup effects, hair and hair accessories, wigs, mustaches, and facial hair
● A craftsperson, who works on shoes, hats, jewelry, masks, gloves, padding, and protective equipment
● A design and administrative assistant, who assists the costume designer, performs administrative functions of the shop, and does much of the in-person or online shopping.

DeVinney’s 3 Key Tips for Emerging Designers

● Develop your drawing skills. Don’t worry that you have to be the world’s best artist to communicate your ideas. Photocopiers and Photoshop should be your friends. If you find an image that’s inspiration for what you’d like to put on a character’s body, clip it out, put it onto a board, scan it — these are all legitimate ways to communicate your ideas.

● Hone your empathy skills. Being able to feel a character’s emotions and motivations is an indispensable ability. You can find all kinds of strengths-finder assessments online. (This is just one and is not an endorsement; simply an example.) If you have an understanding of people, you can understand character. You can imagine what it is that they are dealing with in the context of a play, and you can think about extraneous things that aren’t necessarily even part of the story. What kind of shoes would they prefer? How does color make them feel about themselves?

● Cultivate diplomacy. Listening well has helped me deal with people – designers, stage managers, performers, everyone involved – in sensitive and effective ways. By listening well, I understand the wants and needs better, and can facilitate more positive outcomes.

Natalie Clare is a Cincinnati-based writer and a regular contributor to Dramatics.org. As a storyteller, she writes fiction and nonfiction, and she directs and produces works of film. Visit her at nataliecwrites.com.

The post Costume Shop Management appeared first on Dramatics Magazine Online.