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It just makes the process of communication much easier…. “We didn’t have a television,” she says. Image via the. It cries. Wonderland is currently in previews and opens at the Marquis Theatre, Broadway, on 17 April. Read interviews with luminaries of the stage - actors, writers, directors, designers from Broadway, Off-Broadway and beyond. The dresses I wear (as Elphaba) are made from such luxurious materials. Lestat's San Diego. In previous productions the Duke was in a tail coat. Right now I just opened the revival of the musical Annie. Alec didn’t join rehearsals until the second week, playing Angelo, the goldsmith. This is Hilferty’s invaluable “image library”, where the designer finds pictures that spark her imagination. News … Fresh out of college, Hilferty made her living working in costume shops and began designing at small theatres. Have there been significant changes in ideas from one production to the next? Where did he start from? The court: should it be hot or cold, is it contemporary or future, are they military or civilian? toggle search form. So the physical needs are pretty stringent. 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. Hilferty grew up in a big family in Arlington, Massachusetts, where her greatest source of joy was the library. You jump in. Susan Hilferty:   The original Chicago production was one of the scariest experiences of my life. SH:   The only radical changes have happened when actors have changed. So the hat can't look like a witches hat; it has to look like something granny might send. We were terrified about whether it was going to work. Whether you’ve grooved a way of communicating, exchanging ideas, building up the visual feeling of the show. … PC:   Yes, and it’s delightful. For example, no matter what material you put the Marx Brothers in, you want them to still be the Marx Brothers. Whenever I did something that really worked, someone would say, “Oh god that’s really stupid” and I’d say, “Thank you.”   “Really stupid” was high applause. You’ve denied being a political writer, though you’re often called that. I'm also doing a Chilean play about a night in Russia. At this point we’re all working in images, talking about lots of visual ideas. You can find the first part of the interview here. Her costumes have appeared on the stages of BAM’s Next Wave Festival, Second Stage, Manhattan Theatre Club, and the Roundabout Theatre . The hat used to actually collapse down to a flat hat that was then pulled out and extended to a pointed hat. I am soo sad I never got/probabaly will get to see this show, but i would give anything to make … She received the 2001 Obie Award for Sustained Excellence in Costume Design. The costume shop at the Goodman Theatre was incredibly patient and incredibly talented. 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. It’s hard; it’s a struggle because it’s always totally different. I'm also a birder because I love to see how color and textures are put together on birds. And Turkey…   Circus was never an important idea, although vaudeville, the idea of presentation, was—of course. Witness a day in the life of the WICKED wardrobe department! If they’re policemen, they’re in pink, reflective glasses and a fake nose. Well all right, I’ll try it. 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. Paul Cooper:   Let’s jump right in. What are you working on now and what's coming up next for you? 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). It's actually very moving. He looks at each play the way he’s looking at the world at that moment, so it’s something that’s constantly changing. 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. 7 notes. American Theatre Magazine By Susan Hilferty Date published: September 1, 2010. Lestat Interview With A Vampire. The Elphaba dress, hat, and broom are currently on display in American Stories. SH:   Not just a clash, the “overwhelming” of it. 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 … The whole dress weights about 10 Kg. What were they doing when the tempest hit them; are they in bed at noon? SH:   I start drawing. In Susan Hilferty’s bustling studio workshop on West 24 th Street in New York, you will find shelves overflowing with books and drafting tables covered in papers. By now I know what they can do, but when we first started, I had to learn that from going to rehearsal. In high school she became interested in visual art and went to Syracuse University with the intention of being a painter. You’ve worked with director Robert Woodruff enough now so that you probably have it down? PC:   You seem to work with people over and over again. SH:   It was fun being able to reduce things. 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. Everytime I look at her costume my heart just stops beating for a second (yes I am a loser!!) The process? I'm doing Rigoletto for the Metropolitan Opera, which we're setting in 1960 Las Vegas. Leapin' Lizards! I didn’t know any other designers; I’d never seen another designer’s portfolio, or another designer’s resume. We used the word “stupid” as a compliment. 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. Designs sets and costumes for theatre; costumes for opera, dance, film, and circus. Susan Hilferty (costume designer) has an incredible eye. I recently went to see the … And since then, Robert is not only one of the directors I work most with, but also one of my best friends. But in this case, we chose to hold on to his red nose, his black derby, and then give him sort of Turkish janitor overalls. 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); … 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. I just thought that joining the union was what you were supposed to do…. What I love about Ethyl is that his performance isn’t really transvestite, it’s just a sort of balance between male and female. When we did Blood Knot , it was very different from any other relationship I’ve had in the theatre because Athol was the author and the director and he was also an actor. PC:   What basic skills are important for a designer? Glinda feels badly and steps in and they become friends because Glinda apologizes for her prank. You don’t fool around with their basic feel. How exciting that something that I've designed has found its place. And, Susan Hilferty who describes herself as “a storyteller whose medium just happens to be clothes” is the costume designer. The world is always changing. Susan Hilferty doing a costume fitting with Laura Dysarczek. Public television station WNET has teamed up with the upcoming Broadway revival of ANNIE! Even though he may have thought as a director that something was going to work, as an actor he had to respond directly. 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 … Blood Wedding 2019. Regional credits include the Goodman Theatre, La Jolla Playhouse, Yale Repertory Theatre, Center Stage and Berkley Rep.   Film and TV credits include Laurie Anderson’s “Home of the Brave,” “A Different Twist,” and “The Resurrection of Lady Lester.”   In the field of dance she has designed costumes for Alvin Ailey and Jennifer Muller. Aksi Kamisan. St. Ann’s Warehouse Brooklyn Boesman and Lena 2019. Susan Hilferty won a Tony Award for her amazing costume designs in Wicked on Broadway and this interview looks at the her creative processes in the various stages of costume design and construction for the character Queen of Hearts in Wonderland. Metropolitan Opera New York Present Laughter 2017. Do you ever visit museums for ideas? SH:   Oh no no no. In fact, you’re on your way to South Africa for the first production there of A Place with the Pigs . It's moving because clearly there's pride connected to it. It’s less serious:   the stage manager does the set, or the director does the clothes. So the experience with A Lesson from Aloes was completely freeing for me, because I knew that I was really having a collaborative relationship with a director and actors; I never felt that I was in a school situation. 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. Since then, Fugard's old friend and collaborator, the ac-tress Yvonne Bryceland, has died. The reason I went to Yale was I wanted to do scenery. Also, it’s very hard to make a lot of your design decisions unless you do them first on paper. SH:   I think it’s essential for a designer to be able to draw, simply as a way to communicate. “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. Most people don’t get into the union for a couple of years after grad school. That’s why we did the atomic research:   the idea of man having such power over nature. Gershwin Theatre New York The Oresteia 2019. I just finished doing three plays by a South African writer who also writes about the underdog in a very different way. Ethyl is such a find, he’s such a great stage presence. 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. Are there costume or character ideas that are radically different from the first production in 1983? PC:   You’ve done the show three times now:   in Chicago, in Los Angeles at the Olympic Arts Festival, and now in New York. Susan Hilferty. Kangasmaski Prisma. How did you start working with him? Interview Inside Brittney Johnson’s Whirlwind Experience Going On as Wicked’s First ... Susan Hilferty's Costume Designs for Wicked. AN APPOINTMENT KEPT: An Interview with the Playwright. With juggling, for instance, you cannot have a loose-fitting sleeve; for juggling fire, certain fabrics are out. B.F.A., Syracuse; M.F.A., Yale. Being at Yale was a tremendous experience in terms of really developing as a designer, both in sets and costumes. But vaudevillians already have their own stage identities. Chicago like that for six weeks tell my students that drawing is a of! 1952 ) ve talked about, but when we first started, I ’ ll it. So the hat used to doing a total transformation, to becoming a character s essential a... 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