FALL 1998 Volume 10 • Number 1

The mobile costume shop

BY CINDY WITHERSPOON Costumes, no matter how simple or elaborate, enced student costume crew moves into a nearby are just as important as any other element of a classroom. While desks and chairs are moved to stage production. In most professional theatres one wall, rolling carts carrying tables, sewing the costume construction is done in a well- tools, and supplies are pulled out of a locked equipped shop, usually in proximity to the stage. storage room and wheeled into the room. The Unfortunately, that’s not the way they’re made for folding work tables are arranged according to a the majority of high school productions. You plan taped on the cart. A collapsible cutting sur- probably know the routine: once designs have face is erected on one table. Extension cords are been settled on, you rely on a cadre of skilled strung between tables and outlets. Sewing ma- students or parents to create the costumes at chines, a serger, work lights, and an ironing board home, and you don’t think about them until fit- are also set up. The tool box containing neatly ting time or dress rehearsal. organized drawers full of tools and sewing no- If you’re slightly more fortunate, you have a tions is opened and, finally, a rack of unfinished couple of sewing machines set up in a dimly lit out-of-the-way spot near the stage and the work gets done under what best could be described as “difficult conditions.” One way or another, you always manage to get the costumes completed in time for dress rehearsal. But given the lack of specific space, tools, and proce- dures, the educational value of this part of the production process is questionable at best. The make-do approach simply will not allow costume design and con- struction to be an intregral part of the creation of a stage play. A student who is a talented and skilled seam- stress might never come to appre- ciate that costuming is as worthy of study as other tech work (or act- ing and playwriting, for that matter). In other words, he or she will never truly learn what it means to make costumes. Imagine for a minute an alterna- tive scenario: Everyone—costume crew included—shows up for a work call. While the lead carpenter and her crew set up the tools to build and paint GUY FROMAGE flats and platforms on stage, the experi- GUY FROMAGE FALL 1998

garments is rolled in and everyone starts working. Elapsed time: about fifteen minutes. If this scene sounds too good to be true, it’s not. What I’m suggesting is a mobile costume shop that will make it possible for you and your students to construct costumes during regular production work times. You’ll end up with more fully realized cos- tumes and lessen your stress over trying to figure out how you’re going to get them done. Most important- ly, if you integrate the making of costumes fully into the production process, your students will gain a bet- ter understanding of how apparel helps a play come to life onstage. In the Winter 1998 Teaching Theatre, Steve Nelson explained how to create a mobile scene shop to help teachers and students expand their tech theatre capabilities. The mobile scene shop assumed that most high school theatre programs have no building facilities other than the stage itself, and that tools need to be portable enough to be set up and put away quickly. The mobile costume shop has ex- actly the same premise. Therefore, our shop will contain all the basic needs of a functional costume facility, and like Steve’s scene shop, it will be move- able. The only permanent space requiremement is the roughly 60 square feet (about the size of a jani- tor’s closet) needed to store the portable costume shop gear. The mobile costume shop is not just intended to make working on costumes convenient. Having a real costume shop provides your school drama pro- gram with the opportunity to actually design, pattern, construct, and fit costumes the same way that univer- sity drama programs and professional costume shops do it. What’s more, having a well-equipped costume shop will allow you to tap skilled university students or experienced theatrical costumers to show your students how professionals create garments. Also, setting up a functional shop close to the stage will make it easier for you (or another adult) to supervise the student crew during work calls. Finally, having the costume construction work done during regular work calls will make the costumers feel that they are the equals of the set construction crew (which they are). On pages 6-7, in a sidebar and a series of draw- ings, Steve outlines how to build the carts needed to carry your mobile costume shop tools and supplies, and the best way to lay out the shop quickly and efficiently. He also lists the essential things you’ll need to set up the space and explains how to build a serviceable cutting table.

Make an investment Like the mobile scene shop, our costume shop is relatively expensive to create from scratch. But as Steve noted in his article, if it is thought of (and bud- geted) as a one-time capital investment—similar to 2 TEACHING THEATRE the purchase of the instruments for the band and orchestra or the uniforms and equipment for the 3. In some cases, I’ve noted a specific brand school football team—the price isn’t very steep at all. when I think one manufacturer’s tool is particularly Most of the expensive tools you’ll need, such as sew- superior to similar ones on the market. ing machines and a serger—are things that will last for 4. The list does not include expendable supplies years with proper care. You might, of course, already such as muslin, interfacings, fasteners, hook-eyes, have some of the necessary tools and supplies. To snaps, Velcro, zippers, or any fabrics you might use help you figure what else you’ll need to buy and how in costume construction. much it will cost, study the mobile costume shop list 5. You should purchase your sewing machines below. It includes tools, prices, and how many of and serger from a reputable sewing center. For your each item you’ll want to have on hand. supplies, your best bet is the catalogues I’ve listed As you review the list, keep these points in mind: on page 4. You can, of course, buy most of these 1. It assumes a work crew of one or two supervi- same items at your fabric store, but the catalogues sors and five or six students. will usually be cheaper. 2. All the tools are portable enough to be either rolled 6. All the tools can be used safely by properly away or carried to storage at the end of a work call. trained and supervised high school students.

The mobile costume shop Pressing 1 portable Rowenta steam iron ...... $99 1 box (forty-eight pieces) of wax chalk (yellow, black, (or Black & Decker for $36) red, white) ...... 7

1 folding ironing board (and cover and pad) ...... 46 1 pound box Dorcas 1 3/8" straight pins ...... 30

1 pressing ham ...... 14 1 box (of one hundred) 5/8" steel push pins ...... 5 1 sleeve board ...... 16 1 ten gross box of Prym (No. 00) ¾" brass 1 6" × 18" velvet (or needle) board ...... 128 safety pins ...... 17 1 point presser ...... 17 1 ten gross box of Prym (No. 1) 1" safety pins ..... 17 2 spray bottles ...... 2 1 ten gross box of Prym (No. 2) 1 ½" safety 1 lint brush ...... 4 pins ...... 23 1 tube of iron cleaner ...... 5 1 ten gross box of Prym (No. 3) 2" safety pins .... 35 1 roll of transparent tape ...... 3 Cutting 1 tape dispenser ...... 10 1 cardboard cutting board ...... $10 4 8" Gingher fabric shears ...... 80 Stitching 1 10" Gingher fabric shears ...... 20 3 Bernina 108 sewing machines ...... $2,700 1 Gingher pinking shears ...... 17 1 portable Bernette 006 serger ...... 700 2 paper shears ...... 10 6 spools each of assorted colors Metrosene or 1 36" roll of brown kraft paper ...... 70 Gutterman polyester thread (white, off-white, 1 48" metal ruler ...... 17 black, beige, light grey, dark grey) ...... 45 5 18" see-through plastic rulers ...... 30 15 1,000 meter machine cones of assorted Gutterman 1 10 ½" × 3" fashion ruler ...... 6 polyester thread (white, black, beige, 1 sleigh curve ...... 3 tan, grey) ...... 100 6 tape measures ...... 8 6 magnetic pin cushions ...... 66 12 26" × 39" sheets tracing paper, (six yellow 6 ten-packs of Schmetz machine needles and two each of white, red, and blue) ...... 17 (No. 8, 11, 12, 14, 16, 18) ...... 25 4 tracing wheels ...... 4 2 five-packs of Schmetz ball point needles 1 pounce wheel ...... 16 (No. 11, 12, 13, 14) ...... 7 1 dozen Sharpies permanent markers ...... 15 5 fifty-packs of hand sewing needles, assorted 1 package of no. 2 pencils ...... 3 sizes ...... 12 3 yellow colored pencils ...... 3 8 seam rippers ...... 14 3 white colored pencils ...... 3 6 thread nippers ...... 72 1 box (thirty-six pieces) clay chalk, assorted 5 6" small metal seam gauges ...... 6 colors ...... 6 2 cakes beeswax and holder ...... 4

TEACHING THEATRE 3 Resources Books you can use Costuming suppliers My list of books is certainly is not comprehensive— You might have your own costume supply house of it’s intended to be a starting point if you have abso- choice, and that’s fine. If you don’t, check out these lutely no reference texts on hand. There are new places. Most offer their catalogues for free—all you have costuming books being published all the time, some to do is ask for them. Not only do the catalogues explain of which are extremely specialized, and others that what the suppliers sell, they are also great resources for offer more general tips on everything from sewing technical information. The first supplier listed, Gingher, basics to creating period costumes. Remember, you Inc. is one that any school program should look into can use just about anything as a resource when it because they have a special institutional price list. I’ve comes to costume ideas—magazines, old history also listed a great website, The Costume Page, that is an books, department store catalogues, newspapers. extraordinary library of links to hundreds of other cos- You’re only limited by your imagination and your tume-related sites. willingness to do the research. Gingher, Inc., P.O. Box 8865, Greensboro, NC 27419; The Costumer’s Handbook, by Rosemary Ingham or call (800) 446-4437, or fax (919) 292-6250. and Elizabeth Covey, Prentice-Hall, 1980 Richard the Thread, 8320 Melrose Avenue, Room The Costume Designers’ Handbook: A Complete 201, Los Angeles, CA 90069; or call (800) 473-4997, or Guide for Amateur and Professional Costume Design- fax (213) 852-1604, or e-mail [email protected] ers, by Rosemary Ingham and Liz Covey, Prentice- (their catalogue is $3). Hall, 1983. Greenberg & Hammer, Inc., 24 West 57th Street, New Period Costume for Stage and Screen, volumes York, NY 10019; or call (800) 955-5135, or fax (212) 765- 1-3, by Jean Hunnisett, Players Press Inc., 1996. 8475. Patterns for Theatrical Costumes, by Katherine Banasch’s, 2810 Highland Avenue, Cincinnati, OH Strand Holkeboer, Prentice-Hall, Inc. 1984. 45212; or call (800) 543-0355, or fax (513) 731-2090. Costume Construction, by Katherine Strand Holke- The Costume Page: costuming resources online, at boer, Prentice-Hall, Inc., 1989. http://members.aol.com/nebula5/costume.html. Magic Garment, by Rebecca Cunningham, The Whole Costumer’s Catalogue, P.O. Box 207, Longman, Inc, 1989. Beallsville, PA 15313, or visit homepage at Singer Sewing Step by Step, Cy DeCosse, Inc., 1990. http://www.castleblood.com. C.W.

7. When I’ve indicated multiple numbers of the portant functions (such as straight stitch and zig- same tool or supply item the amount listed refers to zag), and includes the following attachments: but- the total cost. tonhole foot, roll hem foot, zipper foot, a gathering 8. I haven’t included the items—such as tables foot, and extra bobbins. and carts—that you need to make the shop mobile. If you decide to purchase a new machine, look Steve details these things in his sidebar. for these same features. The Bernina 108 is a good Some of the tools on the list, like sewing ma- choice. Like most Bernina machines it includes an chines, need a bit more explanation. Plus, there are open arm—a useful feature for a costumer because a few other items not included that are worth men- it allows you to create small circular shapes, such as tioning. To wit: collars or cuffs. Sewing machines. In a school setting you’re go- Serger. Every costume shop must have a serger ing to have lots of different operators, some of (sometimes known as an overlock machine). This whom won’t be very familiar with a sewing ma- machine trims and creates a finished edge of inter- chine’s functions and capabilities. The best ma- locking threads on the edge of seams or a garment chines you can buy for this environment are not edge. Sergers are available in three- or four-thread necessarily the most costly or complicated. You versions and either is acceptable. The three-thread should certainly purchase a good quality machine— overlock machine only overcasts the edges, while a but find one that is simple to use. Avoid buying ma- four-thread machine can sew a line of stitches next chines that feature unnecessary attachments and to the overcast edges, allowing you to sew finished functions. In the first place, these machines are ex- seams. pensive, and secondly, fancy features will only in- Cutting table. In a costume shop it’s important crease the likelihood of machine breakdowns. If to have a cutting surface that is the proper height you’re searching for a used sewing machine, find and surface texture. The table, for pattern and fabric 4 TEACHING THEATRE one that has all metal parts, features simple but im- layout, should be at least 4 × 6 and be postioned at waist level (about 38" to 42" high will allow most peo- unused janitor’s closet—they almost always have ple to work without bending over). You can pur- plumbing—that you could convert into a laundry chase a fold-up cardboard cutting surface to lay on center. If you don’t have a washer or dryer at top of a standard banquet-sized table. This will be school, arrange to have your fabrics washed at adequate, but if you simply place the cardboard sur- someone’s home. Maybe a parent (or a committee) face on top of a standard table it won’t be high can take responsibility for this job. Another option is enough for you to work standing up. You’ll either to try and find a local laundromat that would volun- have to sit down or raise the table to a height that teer their services for the theatre department. Or at works for you. Or you can build a collapsible cutting the very least, budget some money and assign stu- table like the one Steve explains on page 7. dents and volunteers to wash the fabrics at the clos- Kraft paper. Whether you’re creating your own or est facility. adapting commercial patterns, you’ll need to have a Bulletin board. A bulletin board is a helpful constant supply of 36" kraft paper. Kraft paper is apt- place to display your costume sketches, measure- ly named—it’s substantial enough to withstand lots of ment sheets, and patterns. The board will keep ev- handling. Even if you’re using commercial patterns, erybody informed as to what’s going on in costum- you can mount the thin tissue on which they’re print- ing for a production and it will ed to the kraft paper and increase their durability. help you avoid creasing and fold- Buy the kraft paper at a paper or office supply outlet. ing up your patterns. If your cos- Scissors. It’s important to buy good quality shears tume shop is truly mobile and you Automatic for cutting fabric. For cutting paper, you can pur- have no room to hang a bulletin chase less expensive scissors. Just make sure that ev- board, an alternative is to keep eryone knows which cutting utensils are for what— your sketches and measurement shut-off you don’t want someone cutting paper with your sheets in a notebook or a folder good fabric shears. that is available to everyone who irons might be Irons. A portable steam iron is an essential piece needs access to it. You also can of equipment in a costume shop. There is a wide attach a bulletin board inside the a good safety range of prices and brands available. Black & Decker door of the cart that Steve has de- and Rowenta, for instance, are two reliable compa- signed. To keep patterns safe but nies that offer several different models. While most available, hang them on pattern investment features are quite similar from brand to brand, the hooks and store them on a rolling one distinctive option you’ll want to decide on is rack. Or, if you must, simply roll for you, whether or not to buy an iron that includes an auto- the patterns up, secure them with matic shut-off. In a school environment, of course, tape or a rubber band, and find a your students, students don’t always remember to do the most fun- place out of harm’s way to keep damental things—such as turning off a potentially them. dangerous tool. So, automatic shut-off irons might be Here’s one point to bear in and your school. a good safety investment for you, your students, and mind as you review the mobile your school. On the other hand, if your time is limit- costume shop. Like Steve’s mobile ed, waiting for an iron to reheat after it has unexpect- scene shop, the costume shop is a edly shut off can be a nuisance. If you have confi- work in progress. You might have your own particu- dence that you have trained your students (and lar costuming needs that require more or less of perhaps yourself) of how important it is to turn off all some of the tools and supplies I’ve suggested. Or power tools at the end of work session, irons with a perhaps the cart Steve has suggested doesn’t quite manual turn-off switch are available, though you work for you. If you have ideas about what should have to look a little harder for them. be in a mobile costume shop, or have questions Washer and dryer. While a washer and dryer are about how to build the cart and table, write Teach- not included on the tool list, you absolutely must ing Theatre or e-mail us on the ETA web page have access to both of them. The fabric for any cos- (where the tools and supplies list is also posted) at tume that you plan to wash and dry has to be www.etassoc.org. washed and dried prior to construction. Washing a fabric can also remove finishes or soften a fabric. Cindy Witherspoon is a Cincinnati-based freelance Plus, many fabrics, such as cotton, silk, wool and costume designer. She has worked in several profes- rayon shrink when washed and dried. If there simply sional regional theatre costume shops, including Stage is not space (or the money) for on-site units in your West, the Long Wharf Theatre, Actor's Theatre of Lou- theatre space, perhaps there is another department isville, and the Cincinnati Playhouse. Her most recent (such as home economics or the athletics program) costume project was a concert version of Kurt Weill's that has a washer and dryer that you can use. Anoth- The Eternal Road, produced by the American Sym- er possibility is checking into the availability of an phony Orchestra and performed at Avery Fisher Hall. TEACHING THEATRE 5 Lay it out, pack it up The mobile costume shop, part two

BY STEVE NELSON ting table and frame (see the drawing on the facing Cindy’s list of tools and supplies on page three is page). Cost: around $50 each. half the work it takes to create a mobile costume Rolling tool box. The basic three-foot-tall red- shop—establishing a place to keep all the items metal rolling tool box you find in most car repair and creating a way to lay them out when you’re garages is ideal for storing and organizing most of working is the other part of the job. I’m going to the essential sewing tools and supplies that are on explain how to do both. First, let’s talk about the costume shop tool list. These drawers are par- keeping the shop organized and mobile. ticularly useful for organizing all those miscella- Here are the things you’ll need: neous supplies that Cindy mentions, things like fas- Tables. Your school probably has lots of ta- teners, hook-eyes, snaps, Velcro, and zippers. The bles in the cafeteria and elsewhere—it’s the one top can serve as a solid work surface and the full item you might think you won’t have to purchase. extension drawers graduate from narrow at the top In truth, you’re better off buying your own. Here’s to deep at the bottom. It’s on wheels for easy mo- why: Every time you set up your own tables, bility and all the drawers lock securely with just they’ll be clean and undamaged. When you’re on one padlock. It’s expensive, but the box will hold a a work call you don’t want to waste time search- lot of tools and is extremely durable. Cost: $200. ing for something as basic as a table. Buy three 6 Collapsible cutting table. On the opposite page × 2 ½ fold-up banquet-style tables and one that are the specifications for making your own collaps- is 5 × 2 ½. The drawing on page 8 shows you ible cutting table. The surface is ¾" BC plywood how the tables should be arranged in your work topped with Homosote (which will allow you to space. One table will be for two sewing machines; push pins into the surface) and covered with mus- another for an additional sewing machine and a lin painted white. It’s designed to sit on top of a serger; and a third for four people doing hand riser locked into place on a standard five-foot fold- work. The slightly smaller table supports the cut- ing table. The riser (made of ½" plywood) is de-

6' 3"

Cutting board 6'× 4'

• Bottom: 2'× 6' Banquet tables frame with ¾" plywood Lift-off door: 4' 0" • ¾" plywood • Sides, top, and • Flush mount shelves: ¾" plywood road box handles Ratchet strap • Keyed deadbolt locks • Bottom locked in with 1" angle iron

6 TEACHING THEATRE 67 0 1 2 34Feet 5 Top

Riser hinged to fold up like a continental parallel

Riser

Banquet table Bolt-on ledge Plastic edging removed Table top 1"

¾" 1" 3" 1½" Table frame ¾" 2" Ledging goes on all four sides of table. Each piece stops 2" from corner. 2"

¼" × 3" hex head bolts

3' 0" Folded cutting 1' 9" table riser A Ironing board Ironing board Cutting board top Banquet tables

Sewing Sewing Machine Sewing Machine Sewing Machine Serger

Kraft paper Bin Bin

Bin Bin Bin Bin Bin Bin

Section A-A' A'

TEACHING THEATRE 7 signed to fit snugly over Feet the table frame and rest 01 2345678910 on a bolt-on ledge made of 1" and 2" pieces of ¾" 20' plywood glued and screwed together. The Sewing ledge should be bolted to Costume rack machine the table on all four sides, every six to eight inches. Make sure you remove the table’s plastic edging be- Bulletin board leaned against wall forehand. When the cut- ting table is assembled, Sewing machine the height of the surface is about forty inches above Tool the ground. Cost: approxi- Cutting box mately $100. table 21 ½' Table/machine cart. A Hand work table rolling cart will make it possible for you set up and repack the shop quickly so it can be moved on a moment’s Sewing notice to your work space. machine If you’ve got an experi- enced carpenter in your Ironing board scene shop, the cart (as well as the cutting table) can be built in a couple of Rolling cabinet Serger days. The cart I’ve de- signed (on pages 6-7) fea- tures one side with shelves for storing your machines; cubbies for swing lamps, the ironing board, and mis- Laying out the space cellaneous items; and a dispenser/cutter for a three- The minimum space needed for the mobile costume foot roll of kraft paper. A lift-off locking panel keeps shop to be set up is around four hundred square feet. everything inside safe. The other open side of the The costume layout I’ve created in the ground plan cart is for the folded tables and the cutting table, all above is about twenty by twenty feet. You could secured with a ratcheting load strap. Cost: approxi- probably set up in a bit less space, but a moderately mately$375. sized crew would be cramped. And of course, there’s In addition to the carts and tables you’ll also no reason you can’t arrange the shop in a much larg- need four twenty-five foot extension cords, six er space, whether it’s a corner of a stage or a class- swing-arm table lamps with weighted bases, and one room. My shop will allow five or six costumers to or more rolling costume racks or crates. work comfortably. Note the ample pathways around Here’s one other thing to remember about these each work station—these allow anyone to walk be- carts and the items you store in them: they won’t do hind a seated worker without disturbing them. There you much good if you don’t teach your students is also walking space around all sides of the cutting (and adult volunteers) good work habits. That means table so the cutter can get at the pattern from any di- establishing a place for all tools, supplies, and other rection. The only things I haven’t included in the equipment so there will be no question about where ground plan are the extension cords with attached they are when it comes time to work. Create a proce- multi-plug outlet strips running to each table. The dure for checking tools out and back in and make strips will give you power not only for your sewing sure everyone is aware of the rules. Be sure that machines and lamps, but for any miscellaneous tools your secured cart and tool box are stored in a locked as well. space and that you know who has a key besides you. To lessen even further the likelihood of tools Steve Nelson is the longtime technical theatre of disappearing, engrave your tools or label everything Dramatics. Currently he works for River City Scenic, a 8 TEACHING THEATRE you can with permanent marker. scene shop is Cincinnati.