I think costume design is the most time
consuming and exacting part of the designer's work. The 'glory' may
be in the set design because of its more obvious and immediate impact
- it's so much bigger - but costume design, with its intimate interaction
with the performers, is a much tougher process. Relatively few drawings
remain of my work as many have been purloined by company members at
the time and many shows don't really require putting pen to paper,
being a process of selection from a theatre's stock (like 'Bloodbrothers'
in Heilbron) or hire from a costume company such as Angels in London
(as for 'A Summer's Day').
Also, more controversially, I've come to the conclusion that successful interpersonal relationships are the overriding priority when working on a show and, what for me are often petty concerns of personal visual taste, - for example "I don't care if you hate it/think it has nothing to do with your character/never wear green, you MUST wear that costume, my artistic vision would be ruined if you don't"- are always worth abandoning if those relationships are threatened. In my experience a happy company stands a better chance of delivering a 'happy' show than one where everyone is, behind the scenes, at each other's throats.
|Four clown costumes for a theatre in education tour in Leicester||'An-I-Said-Well-I-Said', a
one act play I wrote in 1978
for the British Dance Drama Company's national tour 1978
for a duet choreographed by Yoma Sasburgh for the British Dance Drama
Designs for 'The Lesson'by Eugene Ionesco, for Manitou Wabing, Ontario, Canada
Designs for the Herald and
Rossignol in Peter Weiss' 'Marat/Sade', for the Leicester Phoenix
Three of the costume drawings for 'Tartuffe' at the National Theatre of Cyprus in Nicosia (March 1997).
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