Re: [TheCostumersManifesto] Fiddler On The Roof research help
> Can anyone help me with the particulars for costuming Fiddler On TheI did Fruma-Sarah many, many, many, m-a-n-y years ago, and I remember
> Roof? I specifically need advice on how to make the prayer shawls,
> bottle dancer coats and hats, Russian soldiers, ideas for Fruma-Sarah,
> etc. Basic costuming is not my concern, but these specialty areas
> are. I have a copy of the MGM movie starring Topol as Tevye as my only
> reference so far.
the costume being made from cheese cloth and white poly lining
material. They wanted the costume to be flowy and spooky-looking. The
cheese cloth was molded to my head and shoulders and mega-stiffened with
starch. The poly was draped over everything, and flowed beautifully.
Just remember to rip the ends to make them more ghost-like. And don't
forget the make-up.
If I remember rightly, the prayer shawls were rectangles of a stiff
white material that got fringe sewn on, and then were painted to look
like the movie. Don't remember about the rest, sorry.
I may not have gone where I intended to go,
but I think I have ended up where I needed to be.
-- Douglas Adams
- We just did Fiddler on The roof...Brampton Ont. Canada-
-- In TheCostumersManifesto@yahoogroups.com, llsturts@... wrote:
> Annie, do you live in an area that would have a synagogue? We did
> when I was in college (back in the late 70's) and the designer invited ataken
> rabbi come into the shop and explain all the pieces and (this was
> important) how to fashion them so they were not so accurate as to be
> for real. It's the same principle of not putting a real nun's habit oncould have
> As for the coats, they were made of black wool fabric that was felted
> before construction. I seem to remember they were relatively
> unstructured--now, that could have been a design element, or it
> been because so many had to be turned out by a small shop with
> inexperienced tailors.
> Our Fruma-Sarah was two people, one sitting on top of the other's
> shoulders. The fabric was shredded and shroud like, like a heavy cheese
> cloth, with a dye/paint treatment in purple, green, and browns. "Arms"
> were rigged like the Muppets--on sticks, which the top half (aka Sarah)
> manipulated. The bottom half (aka Fuma) was responsible for keeping the
> whole creature upright and on two feet. But it was a wonderful, larger
> than life, scary effect. Now, I'd probably want to add either
> glow-in-the-dark or black light paint, too.
> Not too long ago there was a discussion about how to rig the bottle
> dancer's bottles. Maybe someone else remembers?
> Good Luck!
> ~lisa.s, who started humming "Tradition!" when she read the subject line
> > Can anyone help me with the particulars for costuming Fiddler On The
> > Roof? I specifically need advice on how to make the prayer shawls,
> > bottle dancer coats and hats, Russian soldiers, ideas for Fruma-Sarah
> > Can anyone help me with the particulars for costuming Fiddler OnThe
> > Roof? I specifically need advice on how to make the prayershawls,
> > bottle dancer coats and hats, Russian soldiers, ideas for Fruma-Sarah,
> > etc.When we did Fiddler in college, we actually made a wheeled platform
(constructed of steel tubing), with a rail around the top, for Fruma
Sarah (I'm not positive, but I believe there was also a harness that
clipped to the rail, so she was stable with the motion of the
platform). The whole thing was draped in black scrim fabric, which
blended with her dress, and the platform was pushed around the stage
by technicians inside, so that she had this really madly fluid,
floating motion on stage. They also had some fake arms, so that her
arms appeared proportional to her height (which was, by the time she
was on the platform, a good 14 or 15 feet tall!). We also used a
lot of blue in her makeup, but did all the highlights with UV makeup
and hit her with a UV spot, so there was a very vivid face, floating
in the air above Tevye, with just a shadowy dress underneath her and
no details...because of the spot, the UV didn't cause any glow on
I don't remember too many other details about the show, aside from
the fact that they had all the stage hands in costumes, and all of
the set peices where on wheeled platforms so they could turn around
individual buildings to set the scenes...it was the first show I
worked on in college, so that's going back a long ways. But the
effect from the Fruma Sarah rig was so cool that it really stuck in