COSTUME DESIGN FOR SWEENEY TODD By JANAE LAFLEUR SUPERVISORY COMMITTEE: STACEY GALLOWAY, CHAIR STEVEN STINES, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF THE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS UNIVERSITY OF FLORIDA 2015 TABLE OF CONTENTS ABSTRACT Sections Introduction ............................................................................................................................................. 4 Play Synopsis ............................................................................................................................................ 4 Production History ................................................................................................................................... 8 Design Process ....................................................................................................................................... 10 Design Concept and Character Analysis ................................................................................................ 15 Sweeney Todd.................................................................................................................................... 16 Mrs. Lovett ......................................................................................................................................... 17 Anthony Hope .................................................................................................................................... 18 Johanna .............................................................................................................................................. 19 Judge Turpin ...................................................................................................................................... 20 Beadle Bamford ................................................................................................................................. 20 Aldolfo Pirelli...................................................................................................................................... 21 Tobias Ragg ........................................................................................................................................ 22 The Beggar Woman/Lucy................................................................................................................... 22 Rendering ........................................................................................................................................... 23 Production Process ................................................................................................................................ 24 Casting ............................................................................................................................................... 24 Shopping and Pulling ......................................................................................................................... 24 Wig Rentals ........................................................................................................................................ 26 Ensemble Fittings/Costumes ............................................................................................................. 26 Production Meetings/Safety Check ................................................................................................... 27 Distressing.......................................................................................................................................... 28 Dress Rehearsals ................................................................................................................................ 29 Conclusion ............................................................................................................................................. 30 Appendices ............................................................................................................................................ 34 Appendix A: Research ........................................................................................................................ 34 Appendix B: Renderings ..................................................................................................................... 40 Appendix C: Sketches ......................................................................................................................... 53 Appendix D: Production Photos......................................................................................................... 60 Biographical Sketch ................................................................................................................................ 71 Summary of Project in Lieu of Thesis Presented to the college of the Arts of the University of Florida in Partial Fulfilment of the Requirements for the Degree of Master of Fine Arts Costume Design of Sweeney Todd By Janae Lafleur May 2015 Chair: Assistant Professor Stacey Galloway Major: Theatre I submit this project in lieu of thesis as a Master of Fine Art candidate. Sweeney Todd was produced by the University of Florida School or Theatre and Dance in October, 2014 as part of the 2014-2015 season. Stephen Sondheim and Hugh Wheeler’s musical masterpiece was directed by Professor Tony Mata with musical direction by Professor Tony Offerle and designs by a team of third-year M.F.A. candidates. The conceptualization of the costume design for Sweeney Todd began in March of 2014. By using both Victorian and modern silhouettes, a unique world that married the two eras was created. The following paper outlines the challenges and successes that were faced throughout the design and production process. The report concludes with a critical analysis of the process of the costume designer. Introduction In the fall of 2014, the University of Florida School of Theatre and Dance produced Sweeney Todd. The director and design team sought from the beginning of the process to create a world that feels diseased and uneasy, with a lack of color and an obscure time period. In creating such a world, the team faced many obstacles in the pursuit of a cohesive design. For the costume design, both historical and interpretative research was used to influence a world that lay somewhere between real and imaginary. The costumes reflected a society that is full of corruption and greed. We faced many successes as well as many challenges throughout the design and production process. Although the process at times could be gruelling, exhausting and frustrating, it was an honor to be given the opportunity to bring Sweeney Todd to life. Play Synopsis Sweeney Todd opens with a prologue introducing the character of Sweeney Todd (“The Ballad of Sweeney Todd”). A sailor named Anthony Hope explains that in all his travels he has never found a place more beautiful than London (“No Place like London”). As they land, Anthony and Sweeney are approached by a Beggar Woman whom Sweeney dismisses without a glance. To satisfy Anthony’s curiosity, Sweeney tells a story about a barber, his family, and their misfortune to explain his hatred of London (“The Barber and His Wife”). After his tale, the two men part ways. Sweeney wanders through the streets and stumbles into Mrs. Lovett’s meat pie shop (“Worst Pies in London”). When asked about renting the room upstairs, Mrs. Lovett expands upon the story Sweeney had previously told Anthony (“Poor Thing”). Sweeney reveals himself as Benjamin Barker, the barber from the story, who was wrongfully accused of a crime and had his family stolen by Judge Turpin. Mrs. Lovett informs Sweeney that his wife poisoned herself and his daughter is now the ward of Judge Turpin. Sweeney swears to get revenge against the Judge and his lackey the Beadle by cutting their throats with his old barber razors (“My Friends”). A new scene opens on a beautiful young girl singing to the birds caged outside her window (“Green Finch and Linnet Bird”). Anthony is determined to learn who the young girl is (“Ah, Miss”). The Beggar Women enters and tells Anthony the girl’s name is Johanna and she is Judge Turpin’s ward. When Johanna reappears at her window, Anthony vows that he will be with her one day (“Johanna”), but he is caught by the Judge and told to never return. With that, Anthony is determined to rescue the beautiful maiden, run away with her and marry her. The setting changes to a crowded marketplace where Tobias Ragg is selling Adolfo Pirelli’s phony hair elixir (“Pirelli’s Miracle Elixir”). Sweeney challenges Pirelli to a shaving contest, easily wins (“The Contest”), and gains the Beadle as a client. Returning to the barber shop, Mrs. Lovett calms Sweeney down as he waits for the Beadle (“Wait”). Anthony enters excited about Johanna and gets permission to hide her at the barber shop after he rescues her. As Anthony leaves, Pirelli and Toby enter. Mrs. Lovett takes the poor neglected Toby downstairs for a pie and Pirelli reveals his true identity as Daniel O’ Higgins. To avoid being blackmailed, Sweeney kills him and throws him in a trunk. (“Pirelli’s Death” and “The Ballad of Sweeney Todd Reprise 3”). Anthony and Johanna discuss plans to elope (“Kiss Me”); meanwhile the Judge and the Beadle are discussing plans for the Judge to marry Johanna. The Beadle suggests the Judge get a shave in order to seduce her (“Ladies in their Sensitivities”). As Mrs. Lovett and Sweeney begin to discuss the fate of Pirelli’s body,