Costume Design for Theater
Agnes of God (2023)
Produced by Redtwist Theatre
This intimate space of Redtwist Theatre’s storefront stage allowed for soft lighting, minimal makeup and details that may get lost on a larger stage.
John Pielmeier’s play explores themes of trauma, faith, and memory through three women.
Transparency and layering were motifs used in this design, as well as careful research into the traditional habits of the Sisters of St. Joseph.
Novice Agnes wears a version of a traditional habit that incorporates four layers of sheer material, open sides, and high slits to allow for her costume to move and appear to peel away. Her cincture belt is a thick piping cord. It has a subtle fuzziness unlike traditional rope. Her long rosary transitions from rosewood beads to glass knotted on red thread.
Mother Superior’s costume closely resembles a traditional Sister of St. Joseph habit with a few modifications. It is made with heavy cotton faille, with the ridges running parallel to the pleats. The pleats on her habit are much deeper than a traditional habit, adding weight and movement, the deepness of the pleats also provides long shadows in her costume. Each pleat edge is topstiched to emphasize precision and sharpness. Her cincture belt is hand woven from polished leather cord, completed with an all black rosary, and two simple wooden crosses.
Doctor Martha Livingston remains on stage for the entire play, it is through her perspective that audience experiences the story. Only she wears anything metal, like her unticking watch. Her hair is curly and exuberant, only she wears makeup, and heels (snakeskin). She wears a soft knit shirt under her mottled suit. She is our only clue to the time period of the play.
Directed by Clare Brennan/ Set Designer: Rose Johnson/ Lighting Designer: Sam Anderson/ Property and Effect Designer: Evy Burch
Antigone (2022)
Produced by Redtwist Theatre
Anne Carson’s anachronistic adaption of the ancient Greek tragedy “Antigone” by Sophocles was produced by Chicago’s storefront "Redtwist Theatre”, under Christine Freije’s direction. This intimate space allowed for soft lighting, minimal makeup and details that would typically get lost on a larger stage.
Highly limited resources (time and budget) were challenges for this design.
Sunday in the Park with George (2011)
Produced by Theatre Ink
Focus was placed on painting-accurate colors and silhouettes in materials that would be read as pointillist from the audience.
With the exception of Celeste’s corset, made in rose-pink reflective satin to provide romantic, humanizing contrast.
Eurydice (2010)
Produced by Theatre Ink
A play divided by the Overworld and Underworld. The design played up this contrast by using soft, muted romantic colors for the Overworld, and (bleached bone) stark white contrasted with overtly bright, garish colors for the Underworld.
Eurydice bridges these worlds, with her Overworld white wedding gown and red rose, which transforms (quick changes) into a 1930s inspired plaid mohair suit with rhinestone rose. The Lord of the Underworld references her suit with his own orange plaid pants.
The Lord of the Underworld’s stilts, and Three Stones conjoined hoop skirt were fun challenges for this production.
A Walk Across America for Mother Earth (2015)
Produced by Circuit Theatre Company
Preformed in the A.R.T. Oberlin Theater in Cambridge, MA
Highly limited resources (time and budget) were challenges for this design. The design focused on providing a raw spectacle of color, shine and texture that evoked the individualistic spirit of the play.