Loading ...
Sorry, an error occurred while loading the content.

Re: Victorian Gown?

Expand Messages
  • michaela de bruce
    ... My favourite era:). Late 1870s (train, slim line not a pronounced tournure). Lacing would be your best bet. Hooks and eyes, or lacing for evening wear,
    Message 1 of 25 , Nov 12, 2001
    • 0 Attachment
      > I don't know the era. It is a Butterick pattern #3012, and
      > the design is flat straight front with a drape at the
      > hipline attaching to the bustled back. It has princess
      > seams and no sleeves, just shoulder straps. I do know how
      > unauthentic these patterns are, but it's the only one I
      > could find with the time I have. Same with the fabric - I
      > had it on hand and don't have time to shop for more.

      My favourite era:). Late 1870s (train, slim line not a pronounced
      tournure).
      Lacing would be your best bet. Hooks and eyes, or lacing for evening
      wear, button down a cuirasseor princess line front, not back, for day.
      Hooks and eyes would be a tad restrictive concidering your fabric
      plight, it means you can have a little bit more ease getting into it
      it.
      You can make your own eyelets, rather than the metal grommets, they
      don't take much time at all, and you don't get frustrated when you
      smoosh the metal out of shape;).
      I mark with pencil on the lining where I want the holes then use a
      knitting needle, as I don't have an awl, to spread the fibres of the
      fabric rather than cutting them. Basically I push the pointy end on
      the spot, with my thumb behind, and twist and turn the point until it
      emerges. Then I push the needle up to the thickest part, pull it out
      and whip stitch the edges of the hole.
      It also means if you do then decide to put in hooks and eyes or some
      other method, you can unpick the stitches and manipulate the fabric
      and remove the holes.

      As for authenticity... don't get me started, but it is a nice line
      and pretty elegant, so don't worry. It's probably going to get you
      more compliments than a really accurate gown for the era anyway. Take
      a look at Janet Arnol's Patterns of Fashion II to see what I mean;).
      Also Costume in Detail by Nancy Bradfield has a lot of line drawings
      of actual garments.
      If you want to make a really acturate gown in the future, I'd suggest
      the Janet Arnold book, and Bradfield together. You'll get a feeling
      for the basic pattern (a two piece front with double darts under each
      breast*, 4 or six piece back, with shoulder seams dropped back, skirt
      of darted and gored pieces) and hopefully use the shapes to adapt a
      basic sloper. Or if you don't feel confident drafting your own, I'd
      really recommend Truly Victorian. Tara will have it listed at her
      site, under victorian links (and patterns probably). The designs are
      accurate, and the owner will create a custom pattern for you. Then
      you can play with the neckline and drapes to your heart's content:)
      If you want a lot of thumnails to look at of dresses of the era:
      http://recital.tripod.com/fashion/index.htm
      Some scans degenerated in the thumbnailing process, but the majority
      are good:).
      http://phoenix.song.tripod.com/2001trip/index.htm
      Has some photos I took in the Victoria and Albert Museum (should be
      in the first setof London images)

      Oh, buttons on the back... I have Historical Costume in Detail from
      the V&A, and there is a lovely early 19th C dress in fuschia with
      buttons at the back. But that's probably the latest until the 20th C.

      michaela
      *I've seen a few bodices that use seams, but they don't go over the
      bust points like a modern princess seam does. Worth used a narrowish
      shaped central panel in one of his gowns.
    • Molly Dewane
      I just costumed The Miracle Worker. Without help, I designed the show, making most of the costumes. In the program (yes, this is minor but it shows how
      Message 2 of 25 , May 29, 2002
      • 0 Attachment
        I just costumed "The Miracle Worker." Without help, I
        designed the show, making most of the costumes. In
        the program (yes, this is minor but it shows how
        little costuming can be valued), the credit was listed
        as "costumer" and credited after every possible
        technical or production person. I was insulted. My
        design work is just as important as the set or light
        designer. I did have a minor budget for the show and I
        was paid a stipend, but still-

        How about this? How many directors argue with the
        costumer over what is historically accurate? For
        "Miracle Worker", the director wanted historically
        accurate clothing. Well, that's fine and nice but if
        shown a page from a catalog of a particular style of
        dress, logically, you would think that would fit the
        bill. This director, too, insisted that I sit through
        every technical and dress rehearsal. To me, that's a
        waste of time. What on earth would I change two days
        prior to opening? By that time, actors should know if
        there are costume problems. Of course, there's always
        the little detail item. I sit through the first cue
        to cue, the first rehearsal with lights finalized and
        then a dress rehearsal. Does anyone out there think
        that's not enough?

        My latest project is Sarah Kane's "Cleansed." It's a
        contemporary, representational play. One of the
        characters wears a yellow dress. OK, easy enough,
        right? I asked the director what type of yellow he
        wanted. His response? "Yellow." I explained how
        color can look very different depending on stage
        lighting and that he needed to be more specific. He
        told me to stop arguing with him. Excuse me?! I
        think he is slowly getting the idea that costuming
        involves more than pulling things out of a closet, but
        it is so frustrating to not be valued as a member of
        the production team.

        Please tell me that I am not alone in these thoughts!
        Thanks for letting me vent and hope all is well with
        everyone-

        __________________________________________________
        Do You Yahoo!?
        Yahoo! - Official partner of 2002 FIFA World Cup
        http://fifaworldcup.yahoo.com
      • calinda13
        Many years ago I helped make costumes for a production of West Side Story. The shop head made sure the directors and coreographer signed off on the costume
        Message 3 of 25 , May 29, 2002
        • 0 Attachment
          Many years ago I helped make costumes for a production of West Side
          Story. The shop head made sure the directors and coreographer signed
          off on the costume designs which had been carefully sketeched out.
          (The costume designer was a seminary student and had to be on retreat
          all summer) The week before the production we brought in the "shark"
          girls costumes for fittings and they told us there was no way they
          could dance in them as they were too tight. The coreographer never
          really looked at them, just signed off. We had to completely remake
          all the dresses! We always got left out of the curtain speech
          thanking everyone. Those of us who worked backstage the nights of
          the show wore cards pinned to our clothes reminding the cast
          that "without us West Side Story would be just another Oh Calcutta"
          (a show in NY at the time with a nude cast)
          When I costumed my church productions I got left out of the program
          on several occasions.
          So, no, you are not the only one...

          Judy
        • Katryn Richardson
          I have been mostly lurking lo these many months, but I feel compelled to speak up now since I have been in (and witnessed) many similar situations... It has
          Message 4 of 25 , May 29, 2002
          • 0 Attachment
            I have been mostly lurking lo these many months, but I feel compelled to speak up now since I
            have been in (and witnessed) many similar situations...

            It has been my experience that there are more people out there in theater-land who cannot
            visualize the completed product-- whatever that may be-- than one would think there should be.
            And this sounds like one of the problems you are having with this director.

            Almost your only defense is to try to present him with choices that don't rely on him
            visualizing anything, and don't try to get him to verbalize anything that is detail-oriented.

            When I've been caught in this sort of predicament, I've tried to only talk to the director to
            find the general direction he wants to go in, and then try to turn out a full design that will
            look cohesive enough that it will be difficult to pick apart after it's onstage, while still
            being in line with what he wanted and with the other visual elements of the play. And always
            try to have a back-up plan for things that may not go over well, that really helps.

            Please remember that technically, it is not the director's job to spell out what he wants-- it
            is his job to give you DIRECTION (a direction to go in) and then your job to catch the ball and
            run with it. (It is also his job to reign you in if he feels you have gone too far, so you
            always have to be prepared for that.)

            It is true that many directors want you to be present at more rehearsals than you really need
            to be, as a sort of "security blanket". I usually try to bring something to work on, even if
            it's for another show, and even if I need to work on it in another part of the building-- at
            least you can be physically present which (I think) is the main thing.

            Last, it does sound like the larger problem may be that you and this director have different
            work styles. This can be really frustrating to both of you. If it seems really unbearable to
            you and you are committed to design several more shows, perhaps talking it out could lead to
            some compromises. Just realize that his style of working is what he is comfortable with, not
            something that has been formulated to make you angry, OK?

            Yes, the program thing is an insult-- is it possible that they had to send the programs to be
            printed before you were hired?? At any rate, they should do an insert to amend this, and there
            is no excuse for not recognizing you at all. I am rather infamous for ferreting out who's in
            charge and speaking to them directly, and I'm afraid that sometimes in these situations I am
            less than tactful-- but at least being a b*tch about it usually gets results!!! It is important
            to not just stew about it-- if you are really upset, then try to take some sort of positive
            action. Just because the arts jobs are underpaid does not mean that we all have to act like
            sheep.

            I hope that helps.

            Katryn

            --
            Method is more important than strength...
            By dropping golden beads near a snake, a crow once managed to have a passerby
            kill the snake for the beads. - Siddha Nagarjuna
          • sylvia
            As a costumer who has designed, coordinated and worked on many productions over the years, I can understand your frustration. You work harder than anyone
            Message 5 of 25 , May 29, 2002
            • 0 Attachment
              Re: [TheCostumersManifesto] I can't be the only costumer that experiences this! As a costumer who has designed, coordinated and worked on many productions over the years, I can understand your frustration.  You work harder than anyone  (IMNSHO) on the cast or crew and get so little in return.  You should make sure next time that you at least get the proper credit in the program.  Your name should be up there with the set and lighting designers.

              As to problems with the director, I know it's hard to do what he/she wants some of the time.  There's no point in arguing.  He/she has the last word.  The most you can do is to show him/her lots of research if he says he wants historically accurate and then let him/her decide what they want and go from there.  I have found over the course of my career that one can't show the director too much in advance.  As much research materials as you have, as complete renderings as you can come up with, even if you are pulling and renting.   A lot of directors can't visualize as designers do so easily.  And always be prepared to change things at the last minute.  I will often try to convince directors of my ideas, but I never argue.  Sometimes it works, sometimes it doesn't.  As to colors, bring a swatch book.  Have the director pick out the exact color yellow he/she wants.

              Re rehearsals, I always try to sit in on one or two run-throughs before tech week.  I didn't used to want to do that because I thought it was taking too much time from my work, but I have discovered that it is invaluable.  You see things in rehearsal you never thought of that will impact the costumes.

              And when tech week starts, I watch every rehearsal in which costumes are being worn.  I don't watch dry techs or lighting rehearsals, but as soon as the actors are in costume, I'm there.  As far as I know  this is de rigueur in all theatres.  So many things come up all the way into the final dress that require changes, hopefully only minor by that time, but you never know.  And I myself continue to see things that no one else will that I want to tweak to make the costumes fit and work exactly right.  And if an actor has a problem with a costume in a dress rehearsal and you aren't there for him/her to explain it to you, you may not have a clue what is wanted just from reading a note.  And if you are there, you may be able to explain how to make the problem costume work to the actor and you won't have to change anything.  It takes actors sometimes several rehearsals before they are comfortable with their costumes.  That's why they usually schedule 2 to 3 of them.

              It has been said before that directors work in different ways.  I've had one or two that I never want to work with again and won't.  If you have any choice, find another one.  If you don't, try to use this as a learning experience.  If you can work successfully with a difficult director, you will be able to work with anyone.

              Good luck.

              Sylvia Rognstad
              --
              Divinity Designs and Emeralds
              http://www.d-e-designs.com


              on 5/29/02 5:31 AM, Molly Dewane at mwprncra@... wrote:

              I just costumed "The Miracle Worker."  Without help, I
              designed the show, making most of the costumes.  In
              the program (yes, this is minor but it shows how
              little costuming can be valued), the credit was listed
              as "costumer" and credited after every possible
              technical or production person.  I was insulted.  My
              design work is just as important as the set or light
              designer. I did have a minor budget for the show and I
              was paid a stipend, but still-

              How about this?  How many directors argue with the
              costumer over what is historically accurate?  For
              "Miracle Worker", the director wanted historically
              accurate clothing.  Well, that's fine and nice but if
              shown a page from a catalog of a particular style of
              dress, logically, you would think that would fit the
              bill.  This director, too, insisted that I sit through
              every technical and dress rehearsal.  To me, that's a
              waste of time.  What on earth would I change two days
              prior to opening?  By that time, actors should know if
              there are costume problems.  Of course, there's always
              the little detail item.  I sit through the first cue
              to cue, the first rehearsal with lights finalized and
              then a dress rehearsal.  Does anyone out there think
              that's not enough?

              My latest project is Sarah Kane's "Cleansed."  It's a
              contemporary, representational play.  One of the
              characters wears a yellow dress.  OK, easy enough,
              right?  I asked the director what type of yellow he
              wanted.  His response?  "Yellow."  I explained how
              color can look very different depending on stage
              lighting and that he needed to be more specific.  He
              told me to stop arguing with him.  Excuse me?!  I
              think he is slowly getting the idea that costuming
              involves more than pulling things out of a closet, but
              it is so frustrating to not be valued as a member of
              the production team.

              Please tell me that I am not alone in these thoughts!
              Thanks for letting me vent and hope all is well with
              everyone-

              __________________________________________________
              Do You Yahoo!?
              Yahoo! - Official partner of 2002 FIFA World Cup
              http://fifaworldcup.yahoo.com

              Yahoo! Groups Sponsor ADVERTISEMENT

              To unsubscribe from this group, send an email to:
              TheCostumersManifesto-unsubscribe@egroups.com



              Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service <http://docs.yahoo.com/info/terms/> .

            • BowieGirl1982@aol.com
              I see that when I start working, I m going to get upset big time about this one!! It bugs me already that on the Oscars programme they put all the tech people
              Message 6 of 25 , May 29, 2002
              • 0 Attachment
                I see that when I start working, I'm going to get upset big time about this
                one!! It bugs me already that on the Oscars programme they put all the tech
                people at the end and cut it short. Hello people, with out us the world of
                entertainment would be naked!!

                Jo
              • yum-yi
                ... The first show I directed, I was wayyyy too stressed out to put a LOT of thought into costuming, even though it s one of the parts of the theatre that I
                Message 7 of 25 , May 29, 2002
                • 0 Attachment
                  > Please remember that technically, it is not the
                  > director's job to spell out what he wants-- it
                  > is his job to give you DIRECTION (a direction to go
                  > in) and then your job to catch the ball and
                  > run with it. (It is also his job to reign you in if
                  > he feels you have gone too far, so you
                  > always have to be prepared for that.)
                  >

                  The first show I directed, I was wayyyy too stressed
                  out to put a LOT of thought into costuming, even
                  though it's one of the parts of the theatre that I
                  love the most. It wasnt "not caring" what the
                  costumes looked like, it was having a lot of faith
                  that everything would be fine, because there were a
                  lot of things that might NOT be fine, that required my
                  attention instead.

                  Still, when wages are so pitifully low, praise, proper
                  credits and appreciation go a long way.
                  -dawn

                  __________________________________________________
                  Do You Yahoo!?
                  Yahoo! - Official partner of 2002 FIFA World Cup
                  http://fifaworldcup.yahoo.com
                • Contessa
                  I never knew that designers were different from the other positions in the costumes shop. I didn t know that the cutter and sewers and drapers and whatever
                  Message 8 of 25 , May 29, 2002
                  • 0 Attachment
                    I never knew that designers were different from the other positions in the
                    costumes shop. I didn't know that the cutter and sewers and drapers and
                    whatever where all different jobs because I had done it all for many years.
                    The costumes are the frosting on the cake. It makes the show.

                    I've been everything from Designer to wardrobe to everything in between. 1/2
                    the time, I worked by myself, every once in a while, I'll have help. When it
                    got too close to tech week and I was running out of time, the producer
                    would come and help me with costumes as well.

                    Many times I was not thanked by anyone not mentioned in newspapers or
                    whatever, it does sting and hurt that all the hard work wasn't recognized.
                    BUT the producer and director did say Thank you. It might be frustrating,
                    but in the end, it's very satisfying that something good was completed.

                    I've done a few shows where we've had 100 kids and only 2-3 weeks to get
                    them costumed by tech week. sometimes, I've worked more than the hours I
                    was supposed to have, I've worked until past midnight and such.

                    It's good to vent, but communication is also important. If you can't talk
                    with the director, perhaps you can talk with the stage manager or producer
                    if possible, that can mediate for you. Most of the time, you'll find, it's
                    a simple misunderstanding of visions.

                    As to the program and your name. I can understand that. I'm now working on
                    that end of the theatre. I'm making the programs. I try to get to the
                    department and ask who is doing what. then I ask the producer what title do
                    they go under. Sometimes it's hard to get information from the stage
                    manager. If I don't get information, I have to do my best with names and
                    posistions. sometimes, we make mistakes. The best way to make sure you and
                    your people get credit for your hard work is to write in on a memo and give
                    it to the stage manager. Find out when the deadline is for printing and get
                    it to them right a way. If your not sure of what your title is or if they
                    are not sure of what your tile is, then ask the one who hired you to be
                    clear on your title. This will help greatly.

                    I hope you will have a better show next time. I do miss designing,
                    costuming and all that goes
                    with it, this is why I try to stay informed.
                    Best wishes
                    Contessa
                  • Julia Logan Trimarco
                    HI, a tried to send a message, but i don t think it went through. If it did, bear with me if I repeat myself. You ve stirred up a lot of strong feelings with
                    Message 9 of 25 , May 30, 2002
                    • 0 Attachment
                      HI, a tried to send a message, but i don't think it went through. If it did,
                      bear with me if I repeat myself.
                      You've stirred up a lot of strong feelings with your thoughts. Everyone has
                      gone through what you are going through. I've been doing this for ten years,
                      and though the details change, these core issues keep coming back. I've
                      tried to look at it as an opportunity to try to be a better communicator.
                      You would think in a field like theatre that more of us would be good at the
                      cooperative thing, but you'd be wrong. Recently I've been trying to put a
                      more Zen approach into it, and it's all about perception. Your director sees
                      you as argumentative. You see him as unhelpful. You see the program slight
                      as an insult, and it goes on.
                      There are always going to be a lot of little stresses, and big stresses.
                      That doesn't go away. The thing is to try not to take things personally.
                      The director is just trying to accomplish his goals, and he has a lot on his
                      mind. I've found a lot of directors want you to tell them what they like.
                      Sell them on your idea, or bring up the pros and cons of a few ideas you've
                      been mulling over, but NEVER go to them empty-handed. It also helps to make
                      appointments through the stage manager, so that you know you are catching
                      the director when they will be concentrating on you. Just curious, the thing
                      about the yellow dress - was that from a script direction? I mean, why does
                      the character wear a yellow dress? Just because the playwright says so? Or
                      is it actually in the dialogue? What I am driving at, is that a costume
                      designer thinks about these things and comes up with an answer BEFORE
                      discussing it with the director. That's part of the designer's job, so your
                      director may have felt like you were asking him to do your job.
                      Director's play a lot of mind games that can take some deciphering, but
                      don't get caught up in it. Example, the historical accuracy thing: if you
                      showed him a picture that was historically accurate, but he didn't like it,
                      he may have said he didn't like it because it wasn't accurate, but what he
                      MEANT was, it's not right for the character. Within historical accuracy
                      there are tons of options. Give him a few very different options.
                      As to rehearsals, in a perfect world, the designer, or costumer if there is
                      no designer, sits through every single rehearsal where they are wearing
                      costumes. He/she also sits through one or two run-throughs before dress
                      rehearsal, so that you are clear on 1) what kind of movement is being
                      blocked in the costumes, 2) are there any quick changes, or changes where
                      the actor has to cross over backstage, 3) are there any tracking issues (ie.
                      garments getting left on stage and worn later, etc.). Obviously, the more
                      support staff you have, the more likely you will have the time to do this.
                      Assistants, wardrobe supervisors, etc. can sometimes sit and take notes for
                      you, or they can supervise the shop while you are in rehearsal. If all
                      you've got is you, I certainly sympathize, I've been there, and it takes
                      juggling. If the director is insistant, be diplomatic, but explain your
                      workload.

                      Back to the program thing. If you are the costumer/ costume coordinator and
                      there is no costume designer, absolutely insist on equal billing with the
                      lighting and set designers, that is, on the title page. You get whatever
                      they get. Submit a memo to the SM with the correct spelling of your name,
                      and a brief bio (if they get one, you get one). Don't be afraid to be strong
                      on this one. The first time, it is and easy and understandable oversight,
                      but if you raise a stink, it won't happen again. Every time you insist on
                      equal billing, you do a service for all of us in costuming. I'm afraid it is
                      true that it can be boys club, and they will leave you out of the loop. But
                      find out when the production meetings are, find out when the deadlines are,
                      and be there. You will definitely make and impression.

                      Anyway, thanks for letting me ramble on. Chin up, don't worry, we know
                      you're "the hardest working woman in show business".

                      Jypsie


                      >From: Molly Dewane <mwprncra@...>
                      >Reply-To: TheCostumersManifesto@yahoogroups.com
                      >To: TheCostumersManifesto@yahoogroups.com
                      >Subject: [TheCostumersManifesto] I can't be the only costumer that
                      >experiences this!
                      >Date: Wed, 29 May 2002 04:31:14 -0700 (PDT)
                      >
                      >I just costumed "The Miracle Worker." Without help, I
                      >designed the show, making most of the costumes. In
                      >the program (yes, this is minor but it shows how
                      >little costuming can be valued), the credit was listed
                      >as "costumer" and credited after every possible
                      >technical or production person. I was insulted. My
                      >design work is just as important as the set or light
                      >designer. I did have a minor budget for the show and I
                      >was paid a stipend, but still-
                      >
                      >How about this? How many directors argue with the
                      >costumer over what is historically accurate? For
                      >"Miracle Worker", the director wanted historically
                      >accurate clothing. Well, that's fine and nice but if
                      >shown a page from a catalog of a particular style of
                      >dress, logically, you would think that would fit the
                      >bill. This director, too, insisted that I sit through
                      >every technical and dress rehearsal. To me, that's a
                      >waste of time. What on earth would I change two days
                      >prior to opening? By that time, actors should know if
                      >there are costume problems. Of course, there's always
                      >the little detail item. I sit through the first cue
                      >to cue, the first rehearsal with lights finalized and
                      >then a dress rehearsal. Does anyone out there think
                      >that's not enough?
                      >
                      >My latest project is Sarah Kane's "Cleansed." It's a
                      >contemporary, representational play. One of the
                      >characters wears a yellow dress. OK, easy enough,
                      >right? I asked the director what type of yellow he
                      >wanted. His response? "Yellow." I explained how
                      >color can look very different depending on stage
                      >lighting and that he needed to be more specific. He
                      >told me to stop arguing with him. Excuse me?! I
                      >think he is slowly getting the idea that costuming
                      >involves more than pulling things out of a closet, but
                      >it is so frustrating to not be valued as a member of
                      >the production team.
                      >
                      >Please tell me that I am not alone in these thoughts!
                      >Thanks for letting me vent and hope all is well with
                      >everyone-
                      >
                      >__________________________________________________
                      >Do You Yahoo!?
                      >Yahoo! - Official partner of 2002 FIFA World Cup
                      >http://fifaworldcup.yahoo.com


                      _________________________________________________________________
                      Join the world�s largest e-mail service with MSN Hotmail.
                      http://www.hotmail.com
                    • Molly Dewane
                      Thanks, everyone, for your comments and advice. I realize communication goes a long way. I am very clear in preproduction on my expectations. I expect the
                      Message 10 of 25 , May 30, 2002
                      • 0 Attachment
                        Thanks, everyone, for your comments and advice. I
                        realize communication goes a long way. I am very
                        clear in preproduction on my expectations. I expect
                        the director to be clear with me, too. I always have
                        ideas in hand. The yellow dress is driving me crazy
                        because I took several fabric samples to the director
                        for him to choose. His vision for the show is that
                        the dress be daffodil yellow. It ties into the show's
                        symbolism. HE CHOSE the fabric. I don't mind
                        directors changing their mind, but I don't appreciate
                        getting hassled over cost if the director's choice
                        doesn't work.

                        I learned a lesson about programs. In the case of
                        "Miracle Worker", the information was provided to the
                        stage manager during the first week of rehearsals.
                        That is upsetting. The director did apologize for her
                        panic attack. I think she understands now how much
                        work goes into costuming a show, especially one set in
                        the 1880s with a large cast. I'll do whatever the
                        director wants, too, but it galls me when I get the
                        "it's not period" response to something that is
                        historically accurate. For "Miracle Worker", there is
                        a bit of cheating necessary because of the show's
                        physicality. Still, I guess this goes back to good
                        communication, too, but tell me that the garment won't
                        work because the actor might get hurt in it or rip it
                        because of the blocking. It's a matter of
                        professionalism to do accurate research.

                        Of course, I am getting paid for the show. The last
                        time I was paid for a show, I received $100 for "Angel
                        Street." Most of the time, at least in Orange County,
                        designers are rarely paid. I can think of three
                        theater companies that pay their designers.

                        I am glad to know that I am not alone in my thoughts
                        and that there is a forum to discuss costuming stuff.
                        Thanks again for the feedback!

                        __________________________________________________
                        Do You Yahoo!?
                        Yahoo! - Official partner of 2002 FIFA World Cup
                        http://fifaworldcup.yahoo.com
                      • Julia Logan Trimarco
                        again, my sympathies. sounds like you ve done everything humanly possible. best of luck getting through it all, and take some time off, it sounds like you
                        Message 11 of 25 , May 30, 2002
                        • 0 Attachment
                          again, my sympathies. sounds like you've done everything humanly possible.
                          best of luck getting through it all, and take some time off, it sounds like
                          you deserve it!

                          jypsie


                          _________________________________________________________________
                          Send and receive Hotmail on your mobile device: http://mobile.msn.com
                        • teresa martinez
                          Molly, you don t work for pay, are you an intern? It sounds like you have some experience!! Teresa ... __________________________________________________ Do
                          Message 12 of 25 , May 30, 2002
                          • 0 Attachment
                            Molly, you don't work for pay, are you an intern? It
                            sounds like you have some experience!! Teresa
                            --- Molly Dewane <mwprncra@...> wrote:
                            > Thanks, everyone, for your comments and advice. I
                            > realize communication goes a long way. I am very
                            > clear in preproduction on my expectations. I expect
                            > the director to be clear with me, too. I always
                            > have
                            > ideas in hand. The yellow dress is driving me crazy
                            > because I took several fabric samples to the
                            > director
                            > for him to choose. His vision for the show is that
                            > the dress be daffodil yellow. It ties into the
                            > show's
                            > symbolism. HE CHOSE the fabric. I don't mind
                            > directors changing their mind, but I don't
                            > appreciate
                            > getting hassled over cost if the director's choice
                            > doesn't work.
                            >
                            > I learned a lesson about programs. In the case of
                            > "Miracle Worker", the information was provided to
                            > the
                            > stage manager during the first week of rehearsals.
                            > That is upsetting. The director did apologize for
                            > her
                            > panic attack. I think she understands now how much
                            > work goes into costuming a show, especially one set
                            > in
                            > the 1880s with a large cast. I'll do whatever the
                            > director wants, too, but it galls me when I get the
                            > "it's not period" response to something that is
                            > historically accurate. For "Miracle Worker", there
                            > is
                            > a bit of cheating necessary because of the show's
                            > physicality. Still, I guess this goes back to good
                            > communication, too, but tell me that the garment
                            > won't
                            > work because the actor might get hurt in it or rip
                            > it
                            > because of the blocking. It's a matter of
                            > professionalism to do accurate research.
                            >
                            > Of course, I am getting paid for the show. The last
                            > time I was paid for a show, I received $100 for
                            > "Angel
                            > Street." Most of the time, at least in Orange
                            > County,
                            > designers are rarely paid. I can think of three
                            > theater companies that pay their designers.
                            >
                            > I am glad to know that I am not alone in my thoughts
                            > and that there is a forum to discuss costuming
                            > stuff.
                            > Thanks again for the feedback!
                            >
                            > __________________________________________________
                            > Do You Yahoo!?
                            > Yahoo! - Official partner of 2002 FIFA World Cup
                            > http://fifaworldcup.yahoo.com
                            >


                            __________________________________________________
                            Do You Yahoo!?
                            Yahoo! - Official partner of 2002 FIFA World Cup
                            http://fifaworldcup.yahoo.com
                          • Molly Dewane
                            Thanks, Theresa, I haven t interned since college! Costuming is my this keeps me sane hobby. How s that for any oxymoron? Most of the theater in the area
                            Message 13 of 25 , May 30, 2002
                            • 0 Attachment
                              Thanks, Theresa, I haven't interned since college!
                              Costuming is my "this keeps me sane" hobby. How's
                              that for any oxymoron? Most of the theater in the
                              area is non-union and that's where I find myself costuming.

                              __________________________________________________
                              Do You Yahoo!?
                              Yahoo! - Official partner of 2002 FIFA World Cup
                              http://fifaworldcup.yahoo.com
                            Your message has been successfully submitted and would be delivered to recipients shortly.