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Orlando
No full textSasha abandoning Orlando to sail back to Russia with her countrymen and Orlando is devastated. Sasha is lit dramatically from stage-right as a moving platform pulls her offstage-left as to show an emotional force pushing her out of Orlando’s life. Rose petals are illuminated upstage to convey Orlando’s emotional innocence.https://ir.uiowa.edu/lighting_design/1064/thumbnail.jp
Petrasonic
No full textA moving magma texture video is projected on the stones as the audience enters. This symbolizes the concert beginning just as a rock does, as magma.https://ir.uiowa.edu/lighting_design/1114/thumbnail.jp
Sunday in the Park with George
No full textYoung George visits the park where his great grandfather painted. It no longer looks whimsical and bright. Behind him, George sees a tainted version of the park, industrial, dark, and cold. While more photorealistic, the image has a painterly quality. Dot appears in the park to soothe him.https://ir.uiowa.edu/media_design/1025/thumbnail.jp
Sunday in the Park with George
No full textGeorge sits in the park overwhelmed by his imagination. The sketched characters appear within it, a version of the painting that he sees inside his head.https://ir.uiowa.edu/media_design/1022/thumbnail.jp
Sunday in the Park with George
No full textTwo characters sit in the park. As George sketches them, we see those sketches animate into the park background. The audience sees the park as George sees it.https://ir.uiowa.edu/media_design/1021/thumbnail.jp
Luis is Home
No full textMonica’s red top is saturated because she is the heat of this play. Monica is young and passionate while Luis is calm and laid back. In this photo the color of Monica and Luis\u27 shirts are saturated because they are such strong individual characters.https://ir.uiowa.edu/costume_design/1103/thumbnail.jp
Sunday in the Park with George
No full textAs a costume designer, Sunday in the Park with George offers up an amazing opportunity coupled with a challenge—to interpret the figures in Georges Seurat’s painting in a way that is meaningful to the style of the individual production. In my case, I wanted the costumes to compliment the director’s vision of these characters as real, tangible people who inhabited a world of color and light. To do so, I employed the use of texture as a means of translating the dots of the pointillism style of painting—rather than conform to the blocked colors of the painting, I drew inspiration form the individual dots of color. Every garment in the first act had some element of texture, whether it was the visual texture of the print on Yvonne’s skirt or the tangible texture created by the mix of different fabrics like wool, tweed, and lace. This can be seen most notably in the bodice that Dot wears for the final moment of Act I, where George brings together the painting for the final tableau. The bodice was built for the show and was made from an under layer of silk brocade containing all of the colors present in Seurat’s original painting. The over layer was a hatch patterned lace with allowed the brocade to shine through. Act II provides an interesting design challenge. Taking place in 1984, the audience sees all the same actors inhabiting different roles but offering the same commentary and critique on the process of making art. To show the contrast between these two time periods, I used to color blocking in lieu of visual and physical texture to capture the essence of the 1980’s. Each performer has details which harken back to their former life in the first act, although not all characters are necessarily connected.
Our Sunday in the Park with George had 17 actors and a total of 40 full costume looks. In order to achieve the look of the painting, there were 7 full period costumes build in the University of Iowa Costume Shop. In addition to the costumes that were built in the shop, fabric was purchased to have custom menswear made elsewhere for several characters, including George and Jules. The remaining costumes came from a combination of rentals, purchases and stock at the University of Iowa Costume shop. In total there were nearly 400 pieces in the show with a budget of $8,250.
Looking back on Sunday in the Park with George I find that the use of texture to honor the integrity of the original painting proved to be a strong choice to unifying the overall production. The textures and colors of the costumes related both to Seurat’s original painting, and also played into the texture of the other design elements. I used fabric as my way of ‘painting’ the world, relying on patterns and fabrics to tell the same visual story that George’s Suerat strived for