Hamlet: Custom Fabric

For the Players in Hamlet for the Play within a Play scene the costumes were inspired by traditional commedia dell’arte costumes to add some playfulness to these scenes. inspired by the colorful patterns and historic shapes the costume shop really rose to the challenge of creating some 18th century style costumes that could be quick changed on and off very quickly for the changing nature of this piece where all 10 actors are constantly changing roles. We ordered custom diamond patterned fabric from Spoonflower and painted with Jacquard textile paint onto the fabric to give it a custom look to add more color to the pattern. If you can’t find what you want sometimes you have to customize it to make it just right for the characters.

Somewhere: Special Effects Make up

For the character of Corin in Somewhere Marisela Treviño Orta directed by Olga Sanchez Saltveit, he goes through a transformation during the play and changes to become part of nature. The idea is that the humongous fungus that is described in the play has attached to him and taken over his body and sprouted mushrooms out of his skin, the question is how can we show this onstage??? This was a difficult challenge that involved stencils made with the help of Courtney Smith and silicone prosthetics that were ordered from a vendor in the UK and it was skillfully applied each night backstage by Lile Casey and Kendall Schilling on the actor Ryan Ulen who plays Corin. A double of his plaid shirt was even altered to add roots and moss and small mushrooms to look like they are coming out of it sewn and distressed by Lile Casey. It turned out to be a great success. Here are the photos of the progress we did to test the makeup on the actor and how it looked on stage!

Somewhere: Dyeing to be Kin

In the Theatre Department’s production of Somewhere by Marisela Treviño Orta directed by Olga Sanchez Saltveit, Olga added these characters called the Kin, who were representative of the character of nature in this play. They represent water in the play and represent the four directions of the wind, they operated and embodied the butterfly in the play; so it was a real design challenge to design what the Kin look like. Summer Lee Jack the resident costume designer for the theater department created these characters with a lot of collaboration with Olga and help with work-study students Elsa Marrian and Lile Casey. A process called Ice Dyeing (learn more here: https://www.dharmatrading.com/home/learn-how-to-ice-dye.html) was used to dye the silk fabric for the tunic garments to invoke the unpredictable look of nature, as well Rust Dyeing (more info about this can be found here: https://www.fourrabbit.com/tutorials/2020/6/25/rust-dyeing-6dzpl#:~:text=Place%20you%20fabric%20with%20rusty,and%20up%20to%20three%20days.) Here are the sketches and photos behind that process:

Costume showcase!

Students Lile Casey, Hope Jerris, Julia Breckenridge, Elsa Marrian and Meili Huang presented their costume work from the personal projects they have made to the work they did in their winter term internship there was some beautiful projects presented to the group. Hosted by Annabelle Iredale and Zack Maluccio.

the Moors

Here are some backstage shots of the dresses and other ensembles build for this unique show. All built by our awesome work-study students, our costume shop manager Carol Wood & Robin Foster Cole asst costume shop manager. Designed by Summer Lee Jack.

the Moors

The Many Hands that Make ‘The Moors’

The Middlebury College Costume Shop in the Department of Theatre has been feverishly working on costumes for their upcoming production of ‘The Moors’ by Jen Silverman. Directed by Prof. Michole Biancosino and costume designed by Prof. Summer Lee Jack, ‘The Moors’ is set in the mid-19th century with all its corsety goodness! For the past two months, 30 people have been building all the costumes from the skin out. This means corsets galore, petticoats a-flutter, miles and miles of delicious fabric. Skilled hands have been preparing sumptuous garments at the machine and by hand for your delight in December!!

Featuring the hands of: Emma Barrett, Lu Mena, Meili Huang, Molly Dorion, Rose Saint-Clair, Robin Foster Cole, Charlotte Roberts, Julia Breckenridge

Photos taken by our fabulous shop manager Carol Wood! Thank you all for all your amazing work on this show so far!! Can’t wait to see this one on stage after Thanksgiving! On Stage December 1-3 at the Wright Memorial Theater!

Rhinoceros

Last Fall the production studio class made these rhinoceros horns in class that were showcased in the Middlebury Theatre Department’s production of Rhinoceros by Eugene Ionesco. The students under the direction of Robin Foster Cole made these magnetic horns that attached to their costume and we made one larger than life tap dancing Rhino costume for the final tableau of this absurdist play.

the Magnetic horns in process, made out of EVA foam and painted with Acrylic paint

Julius Caesar Set Design

The following images were provided by the production’s Scenic Designer, Mark Evancho, to show his process in creating the set model.


The above image is a photograph of Scenic Designer Mark Evancho’s set model.

Initial Design Process for Julius Caesar

Initial Conversations. This lithograph print by M. C. Escher titled “Relativity” (1953), brought in to design meetings by Scenic Designer Mark Evancho, helped us begin conversations about paradox, uncertainty, and familiar visual elements that become disjointed and disquieting.
Deconstruction in Fashion. What is a visual world analogous to our favorite Escher image?? Costume Designer Mira Veikley explored the concept of “Deconstruction” in a fashion context, finding images of the familiar, dismantled and reassembled into new ideas that are both enticing and unsettling.
Evocative Images. The text of Julius Caesar is filled with rich evocative imagery, which Veikley converted to a series of visuals to help explore a color/texture pallet for the production. Following the story from left to right, each piece of this collage corresponds to a particular moment or scene within the play.
Creating Our Own Deconstructed Landscape. Director Cheryl Faraone wanted the design for this production to be everywhere and nowhere, both familiar and alien. So for our deconstructed world, Veikley pulled images of menswear from the 16th Century to present day, cut them up, and collaged them with evocative images to create her own visual language. From left to right: A Senator, The Ghost of Julius Caesar, A Soldier.

Moving from Theory to Reality: Building Costumes for Julius Caesar

Fabric & Trim Shopping. Once the designs are finalized, we hunt for fabric and trim options suitable for the costumes we plan on building. This process happens locally and online. Time allowing, we request samples from far-away vendors. Shopping locally gives us the opportunity to see the options in person and decide more quickly. 
Pulling from Existing Costume Stock. Once colors have been chosen, the designer looks through existing costume storage and collects items that might be altered to fit the aesthetic of the current production. Special attention is paid to the size of garments in relation to the actors who might be wearing them.
Creating Patterns for Built Pieces. Carol Wood, Costume Shop Director, drafts a pattern for the base layer. For this production, “deconstructed” shirts were being built for every actor.
The Base Layers in Process. Pictured here, several of the base layers under construction. This piece would act as a layer over which additional pulled costume items could be added. The white shirt was for Caesar, while the darker shirts were for the conspirators.
Stitching the Pieces Together. Students from the Production Studio class displaying their stitching handiwork! They helped with pattern alteration, cutting, finishing edges, and stitching, all indispensable skills in costume. (L to R: Celina Julia Hofstadt, Deen Legesse, Tre Stephens, Oshin Bista, Katie Concannon, Gad Kibet. Not pictured: Bella Costantino-Carrigan, Christi Woldemdhin).

Experimenting with Looks. Before first fittings, Costume Designer Mira Veikley uses a combination of built and pulled items layered and styled to create a head to toe look, specific to each character and scene. Only two fittings had been completed when students left campus due to Covid-19, and work began on our “Zoom” Production.

The Middlebury Costume Shop in the Time of Covid-19

On March 12, 2020, the last in-person spring classes were held in the costume shop. Since then, the Costume Shop has been making protective face masks for Middlebury College students, employees, and Porter Hospital. Armed with mask-making instructions from Dartmouth-Hitchcock Medical Center and the generous support from President Laurie Patton’s own discretionary funds, staff, faculty, and friends of MIDD’s Department of Theatre have produced 2,321 in just a few weeks.

Besides sourcing the hard-to-come-by cotton, flannel, and coveted elastic, materials must be pre-washed, pressed, cut, and distributed to sewers.
After sewing, all masks get laundered one last time, size marked, and bagged by 2 for distribution. 
Robin Foster Cole, Associate Costume Shop Director, proudly shows off her handy work, after spending a long day cutting and sewing masks in the costume shop. Our group’s skills range from sewing a face-ready mask in 3 minutes to learning more about sewing through this project. Some have become quite skilled at quickly marking mask sizes and bagging; others are now specialists at the side pleats.
All have selflessly donated their time to this necessary project at keeping Vermont healthy and safe! Thanks to everyone involved!!