DOCSLIB.ORG

HMS Pinafore Costume Rental

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HMS Pinafore Costume Rental HMS Pinafore Costume Rental Production Information: Set Designer: Gary Eckhart Scene Shop: TCO [email protected] Costume Designer: Stephen Dell’Aversano Costume Shop: TCO [email protected] Costume Rental Costs: + Each Principal Costume: $ 115.00 Each Adult Chorus Costume: $ 100.00 Designer Royalty: 10% Costume Damage Deposit*: $ 1,000.00 There is a 3% surcharge if rental is paid with a credit card. Universities receive a 10% discount *Damage deposits will be returned less material and labor to repair any damage incurred during the use of the set or costumes. +To ensure the proper fit of the costumes rented, it is imperative that all measurements be sent to our costumer on the enclosed standardized sheets! Please do not use any of the measurement sheets/forms other than the one provided. All measurements are due a minimum of five weeks prior to shipment (not production) date so that we may prepare your rental properly and ensure your receipt of same in a timely fashion. TCO specializes in hard to fit sizes; any questions or special requests should be directed to our Costume Department. Insurance: The renting company must supply Tri-Cities Opera with a Certificate of Insurance for: Costumes $18,000.00 In addition, the Renting Company must have proper Comprehensive General Liability Insurance, Workman’s Compensation, and Employer’s Liability Insurance and shall name TCO as “sole insured and beneficiary” for the rental period. IMPORTANT NOTE: Tri-Cities Opera requests the return of all production materials within 30 days of the final performance. Payments of $100.00 will be required for any or all materials not returned within this time period. 315 Clinton Street, Binghamton, NY 13905 (607) 729-3444 EMAIL: [email protected] FAX: (607) 797-6344 HOME PAGE: www.tricitiesopera.com Costume Plot Designer: Stephen Dell’Aversano Year Built: 1994 JOSEPHINE Act I/II: Mauve silk dress with lace and maroon trim and overskirt, petticoat, bloomers, bustle pad Act II: Wedding dress with overskirt (same underpinnings) RALPH Act I/II: Sailor’s jacket, red/white striped or solid red shirt, black tie, blue/white ticked pants, black boater Act II: Captain’s jacket CAPTAIN Act I/II: Blue officer’s jacket, white pants,captain’s hat, red/white striped or solid red shirt Act II: Black cloak, blue sailor’s jacket, black tie PORTER Black officer’s jacket with gold braid, white satin pants, white tights, white shirt, medalled sash, plumed hat BUTTERCUP Red/white checked bodice, lavender/teal/yellow plaid skirt, yellow plaid apron, petticoat, shawl, hat (for entrance only) BOATSWAIN/CARPENTER’S MATE Blue sailor’s jacket, red/white striped or solid red shirt, black tie, blue/white ticked pants, black boater DICK DEADEYE Same as above except black/white striped shirt COUSIN HEBE Lavender dress w/darker trim, matching hat and parasol, petticoat, bustle pad, purse -OR, depending on size- Pink/white striped dress, matching hat and parasol, petticoat, bustle pad, purse COUSINS& AUNTS (12) Assorted colors and sizes- 2-piece dresses, matching hats and purses, petticoats, bustle pads, purses (A total of 5 additional parasols are available for an additional $25 per item) SAILORS Blue sailor’s jackets or middle blouses, red/white striped or solid red shirts, black ties, blue/white ticked pants, black boaters 315 Clinton Street, Binghamton, NY 13905 (607) 729-3444 EMAIL: [email protected] FAX: (607) 797-6344 HOME PAGE: www.tricitiesopera.com .
Load more

Recommended publications
  • “Cunning Isobel Meets Nanny”
    © 2015 Angela M. Bauer All Rights Reserved Isobel Chapter 3 “Cunning Isobel Meets Nanny” Fiction by Angela Bauer Once Valery and Isobel were towel-dried after their Sunday night bath, their mommy Sylvia had them sit on their potties. Isobel produced nothing, but Valery managed to void a significant amount of pee and a moderate-size soft stool. They were wiped, diapered, given pacifiers and tucked into their cribs. During the night Sylvia checked and found Isobel’s diaper was nearly saturated, so she changed her older daughter. Then she decided to prophylactically change Valery’s diaper. Monday morning she let her girls sleep late in the nursery. Shortly before 8:00 A.M. she carried Valery and led Isobel downstairs while they were still wearing their night diapers and Onesies. She had just buckled the girls into their highchairs when the tallish and beautiful twenty-six year-old Nanny Carmen arrived. Sylvia had a bowl of the Pablum/Metamucil mixture in each hand. Hurriedly she put those on the respective highchair trays so she could properly greet Nanny Carmen. What impressed Carmen was that without fuss the smaller Valery picked up her own spoon and began eating her mixture. The far larger Isobel stared at her. After an exchange of greetings Sylvia hurried to bring Valery a Sippy cup of milk and a baby bottle of milk to Isobel. Only after holding that so Isobel could eagerly suckle a couple of ounces of milk did her mother begin to spoon-feed her the mixture. Page 1 © 2015 Angela M.
    [Show full text]
  • “The Answer to Laundry in Outer Space”: the Rise and Fall of The
    Archived thesis/research paper/faculty publication from the University of North Carolina at Asheville’s NC DOCKS Institutional Repository: http://libres.uncg.edu/ir/unca/ University of North Carolina Asheville “The Answer to Laundry in Outer Space”: The Rise and Fall of the Paper Dress in 1960s American Fashion A Senior Thesis Submitted to the Faculty of the Department of History In Candidacy for the Degree of Bachelor of Arts in History By Virginia Knight Asheville, North Carolina November 2014 1 A woman stands in front of a mirror in a dressing room, a sales assistant by her side. The sales assistant, with arms full of clothing and a tape measure around her neck, beams at the woman, who is looking at her reflection with a confused stare. The woman is wearing what from the front appears to be a normal, knee-length floral dress. However, the mirror behind her reveals that the “dress” is actually a flimsy sheet of paper that is taped onto the woman and leaves her back-half exposed. The caption reads: “So these are the disposable paper dresses I’ve been reading about?” This newspaper cartoon pokes fun at one of the most defining fashion trends in American history: the paper dress of the late 1960s.1 In 1966, the American Scott Paper Company created a marketing campaign where customers sent in a coupon and shipping money to receive a dress made of a cellulose material called “Dura-Weave.” The coupon came with paper towels, and what began as a way to market Scott’s paper products became a unique trend of American fashion in the late 1960s.
    [Show full text]
  • Line Count/Costumes PDF Click Here to View
    Character information for ______________________________________________________________ NB – for larger schools, extra speaking characters can easily be added to scenes and the existing lines shared out between them. Equally, for smaller schools, because many characters only appear in one scene, multiple parts can be played by a single actors. ______________________________________________________________ 37 speaking characters order of appearance. ______________________________________________________________ * A ‘line’ is defined as each time a character speaks - usually between one and five actual lines of text each time. Number of Speaking Character spoken lines * Costume Suggestions Rudolph 13 A red nose, a reindeer ‘onesie’ or brown top, leggings and antlers. Gabriel 14 Traditional nativity angel costume, with wings and halo. Charles Dickens 10 Victorian look – bow-tie, waistcoat and jacket. Long goatee beard. Erika Winterbörn 9 Viking tunic and helmet. Fur shawl or wrap. Festivius Maximus 10 Roman toga, laurel crown and red cloak. Senilius 11 Roman toga and red cloak. White beard. Tipsius 6 Plain brown or grey tunic, belted. Violentia 2 Armour breast plate over a white tunic, greaves and a helmet. Bratius 2 Plain brown or grey tunic, belted. Moodica 2 Plain brown or grey tunic, belted. Lavatoria 1 Long, belted elegant dress, tiara and jewellery. Olaf 6 Viking tunic and helmet. Fur shawl or wrap. Astrid 5 Viking tunic and helmet. Fur shawl or wrap. Hair in plaits. Cow 1 1 Cow ‘onesie’ or brown/black & white, leggings and a mask or horns. Cow 2 1 Cow ‘onesie’ or brown/black & white, leggings and a mask or horns. Cow 3 1 Cow ‘onesie’ or brown/black & white, leggings and a mask or horns.
    [Show full text]
  • Where We Are in Place and Time – 1St Oct 2019 Save Nature
    Where we are in place and time – 1st Oct 2019 Save Nature – 3rd Oct 2019 Magazine by Ajooni Kaur – 3rd Oct 2019 Learn & Play – Kindergarten 4th October 4, 2019 A Step Towards Global Warming – Myp 2 & 3 Differences in Kinetic and Potential Energy – PYP 1 & 3 – 9th Oct 2019 ART FORMS-Song composition by students – 10th Oct 2019 Learning is Fun – PYP 4 – 10th Oct 2019 MUN training Session – 10th Oct 2019 Sorting the basket: Kindergarten Activity – 14th Oct 2019 Travel and Origin – PYP 3 – 15th Oct 2019 Landforms – PYP 1 – 15th Oct 2019 Egmore Museum Field Trip (MYP1 to DP1) – 16th Oct 2019 Eldrok Awards – 16th Oct 2019 Save Nature - An Awareness Program – 16th Oct 2019 Element Card Games – 16th Oct 2019 Class Debate-”Performance Art vs Visual Art -PYP 5 – 17th Oct 2019 ART FORM-WALL MURAL – 17th Oct 2019 Seminar of Population – 18th Oct 2019 Cookery Club – 18th Oct 2019 Skype Meeting – 18th Oct 2019 Waldrof Teaching Methodology – 19th Oct 2019 Kindergarten Activities – 21st Oct 2019 Grammar and Vocabulary – 22nd Oct 2019 Effervescence – Kindergarten – 22nd Oct 2019 Types of Soil – PYP 4 – 24th Oct 2019 TOK – 24th Oct 2019 Presentation On Extended Essay – Oct 24th A live demonstration by fire fighters – Oct 25th Exploration and Observation by PYP – 29th Oct 2019 Where we are in place and time – 1st Oct 2019 The learners of PYP 1, 2 and 3 started with their 2nd unit "Where we are in place and time.” Each grade has started exploring this as per their understanding. PYP 1 explored the concept of rotation and revolution, the different seasons, and the changes that occur with the seasons.
    [Show full text]
  • The Morgue File 2010
    the morgue file 2010 DONE BY: ASSIL DIAB 1850 1900 1850 to 1900 was known as the Victorian Era. Early 1850 bodices had a Basque opening over a che- misette, the bodice continued to be very close fitting, the waist sharp and the shoulder less slanted, during the 1850s to 1866. During the 1850s the dresses were cut without a waist seam and during the 1860s the round waist was raised to some extent. The decade of the 1870s is one of the most intricate era of women’s fashion. The style of the early 1870s relied on the renewal of the polonaise, strained on the back, gath- ered and puffed up into an detailed arrangement at the rear, above a sustaining bustle, to somewhat broaden at the wrist. The underskirt, trimmed with pleated fragments, inserting ribbon bands. An abundance of puffs, borders, rib- bons, drapes, and an outlandish mixture of fabric and colors besieged the past proposal for minimalism and looseness. women’s daywear Victorian women received their first corset at the age of 3. A typical Victorian Silhouette consisted of a two piece dress with bodice & skirt, a high neckline, armholes cut under high arm, full sleeves, small waist (17 inch waist), full skirt with petticoats and crinoline, and a floor length skirt. 1894/1896 Walking Suit the essential “tailor suit” for the active and energetic Victorian woman, The jacket and bodice are one piece, but provide the look of two separate pieces. 1859 zouave jacket Zouave jacket is a collarless, waist length braid trimmed bolero style jacket with three quarter length sleeves.
    [Show full text]
  • Diana's Favorite Things
    Diana’s Favorite Things By Trail End State Historic Site Curator Dana Prater; from Trail End Notes, March 2000 “Girls in white dresses with blue satin sashes ... “ Although we didn’t find a blue satin sash, we recently discovered something even better. While cataloging items from the Manville Kendrick Estate collection, we had the pleasure of examining some fantastic dresses that belonged to Manville’s wife, Diana Cumming Kendrick. Fortunately for us, Diana saved many of her favorite things, and these dresses span almost sixty years of fashion history. Diana Cumming (far right) and friends, c1913 (Kendrick Collection, TESHS) Few things reveal as much about our personalities and lifestyles as our clothing, and Diana Kendrick’s clothes are no exception. There are two silk taffeta party dresses dating from around 1914-1916 and worn when Diana was a young teenager. The pink one is completely hand sewn and the rounded neckline and puffy sleeves are trimmed with beaded flowers on a net background. Pinked and ruched fabric ribbons loop completely around the very full skirt, which probably rustled delightfully when she danced. The pale green gown consists of an overdress with a shorter skirt and an underdress - almost like a slip. The skirt of the slip has the same pale green fabric and extends out from under the overskirt. Both skirt layers have a scalloped hem. A short bertha (like a stole) is attached at the back of the rounded neckline and wraps around the shoulders, repeating the scalloped motif and fastening at the front. This dress even includes a mini-bustle of stiff buckram to add fullness in the back.
    [Show full text]
  • C U R R I C U L U M G U I
    C U R R I C U L U M G U I D E NOV. 20, 2018–MARCH 3, 2019 GRADES 9 – 12 Inside cover: From left to right: Jenny Beavan design for Drew Barrymore in Ever After, 1998; Costume design by Jenny Beavan for Anjelica Huston in Ever After, 1998. See pages 14–15 for image credits. ABOUT THE EXHIBITION SCAD FASH Museum of Fashion + Film presents Cinematic The garments in this exhibition come from the more than Couture, an exhibition focusing on the art of costume 100,000 costumes and accessories created by the British design through the lens of movies and popular culture. costumer Cosprop. Founded in 1965 by award-winning More than 50 costumes created by the world-renowned costume designer John Bright, the company specializes London firm Cosprop deliver an intimate look at garments in costumes for film, television and theater, and employs a and millinery that set the scene, provide personality to staff of 40 experts in designing, tailoring, cutting, fitting, characters and establish authenticity in period pictures. millinery, jewelry-making and repair, dyeing and printing. Cosprop maintains an extensive library of original garments The films represented in the exhibition depict five centuries used as source material, ensuring that all productions are of history, drama, comedy and adventure through period historically accurate. costumes worn by stars such as Meryl Streep, Colin Firth, Drew Barrymore, Keira Knightley, Nicole Kidman and Kate Since 1987, when the Academy Award for Best Costume Winslet. Cinematic Couture showcases costumes from 24 Design was awarded to Bright and fellow costume designer acclaimed motion pictures, including Academy Award winners Jenny Beavan for A Room with a View, the company has and nominees Titanic, Sense and Sensibility, Out of Africa, The supplied costumes for 61 nominated films.
    [Show full text]
  • School Uniform Policy
    School Uniform Policy This policy applies all pupils in the school, including in the EYFS Signed: Chair of Governing Body: Claire Delaney Approved: 19 June 2017 Renewal period Every two years Review Date: June 2019 1 Contents Contents ........................................................................................................................................................ 2 Uniform Policy ........................................................................................................................................... 3 1.0 Aims and Objectives ............................................................................................................................ 3 2.0 Uniform supplier ................................................................................................................................. 3 3.0 Uniform list ......................................................................................................................................... 3 4.0 School Shoes ....................................................................................................................................... 4 5.0 Roles and Responsibilities ................................................................................................................... 4 6.0 School Uniform Changeover Periods .................................................................................................. 4 7.0 When is the uniform required? .........................................................................................................
    [Show full text]
  • Alice in Wonderland Set & Costume
    Alice in Wonderland Set & costume For more information about Alice in Wonderland set & costume rental contact Production Manager Josh Neckels at 541 485 3992. [email protected] 1 SET PIECES 2 pieces Backdrop with scrim center for projection 1 center small piece backdrop (plays up stage of 2 piece back drop) Grass units 5 Doors (1 with pyro, 3 with Alice photos) 1 Key hole Revolving Alice Photo Boat w. punt oar Mushroom 3 Rose briar units 1 large tea pot Mock Turtle set piece Falling cards 2 COSTUMES Father William Fat suit, pants, shirt, waistcoat, jacket, mask Young Man Pants, shirt, jacket hat Caterpillar Black unitard caterpillar costume 3 COSTUMES The Mock Turtle Shirt, pants, soft sculpture shell, mask Gryphon Yellow/brown unitard with wings & tail, 1/2 mask with beak 2 Lobsters Red unitard (door movers) blue jackets, pink lobster head & pink claws 4 COSTUMES The Mad Hatter Pants, shirt, jacket, socks, top hat The Dormouse red/brown unitard, mask The March Hare Yellow unitard, Jacket, mask Tea Table Soft sculpture tea table with tea pot, cups & saucers (dancers under table with elastic support "wear table" ) 5 COSTUMES Fish Footmen Black unitards, jackets, masks The Cook Tights, dress, hat, nose piece The Duchess Tights, Dress, mask 6 COSTUMES Dodo Blue unitard and large foam body piece Mouse Grey unitard, mask Eaglet Green/yellow unitard with wings, mask 7 COSTUMES Eaglet Green/yellow unitard with wings, mask Duck White unitard with wings, mask Marten Blue unitard with tail, mask 8 COSTUMES Flamingos Pink unitards with wings,
    [Show full text]
  • Get a Taste of Theatre Design with Our Newest Series: the Old Globe Coloring Book! Every Thursday, We'll Post a New Page Featu
    Get a taste of theatre design with our newest series: The Old Globe Coloring Book! Every Thursday, we’ll post a new page featuring an original design for costumes, sets, or props from past Globe shows. Along the way, you’ll be treated to design insight from artisans who brought these ideas to life. Color them in however you want (creativity welcome!), and post on your social media and tag @theoldglobe and #globecoloringbook. The following Tuesday, we’ll post some of our favorites, along with the designer’s original rendering and a photo of the final design onstage. It’s time for your vision to take the spotlight! Hamlet: Laertes, a young lord Dashing in a velvet cloak and cap, a richly textured houndstooth doublet (jacket) and breeches (calf length trousers). Cap is decorated with ostrich plumes, often placed on the left side of the cap leaving the right sword arm free to fight. A sword was an essential part of a gentlemen’s dress in the 17th century. Hamlet: In this 2007 production of Hamlet, the costumes were made from silk and wool fabrics in the shades of pale grey. In contrast, the main character, Hamlet, wore both a black and a scarlet suede doublet and breeches. The ladies were dressed in long sumptous gowns with corsets and padded petticoats. Sword fighting and scheming was afoot under the stars on the magical outdoor Lowell Davies Festival Stage. Familiar: Anne, eccentric aunt from Zimbabwe Costumed in grand style in a long colorful floral cotton skirt, blouse with large sleeve ruffles, and matching headdress.
    [Show full text]
  • Transparent Pannier Colleen Moretz West Virginia University, [email protected]
    International Textile and Apparel Association 2017: Anchored by our Past, Navigating our Future (ITAA) Annual Conference Proceedings Jan 1st, 12:00 AM Transparent Pannier Colleen Moretz West Virginia University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Moretz, Colleen, "Transparent Pannier" (2017). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 28. https://lib.dr.iastate.edu/itaa_proceedings/2017/design/28 This Event is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. St. Petersburg, Florida 2017 Proceedings Transparent Pannier Colleen Moretz, West Virginia University, USA Keywords: Historic reference, Couture techniques, Patternmaking Contextual Review and Concept: This design is a juxtaposition of the interpretive study of eighteenth century historical fashion and contemporary ideal body image. The fashions of the eighteenth century transformed the female body into the de rigueur silhouette of the era. (Fillmer, 2010) In contrast, the body itself became a powerful medium of expression in the twenty-first century fashion. (Fukai, 2012) During the 1700’s, the female body was manipulated with the use of elaborate devices, layers of understructures, and foundations to hide and alter the woman’s true physique, where now the body itself has become the fashion. Today, it is possible to transform the appearance of the body through diet, exercise, cosmetic treatment, and plastic surgery.
    [Show full text]
  • Clothing Terms from Around the World
    Clothing terms from around the world A Afghan a blanket or shawl of coloured wool knitted or crocheted in strips or squares. Aglet or aiglet is the little plastic or metal cladding on the end of shoelaces that keeps the twine from unravelling. The word comes from the Latin word acus which means needle. In times past, aglets were usually made of metal though some were glass or stone. aiguillette aglet; specifically, a shoulder cord worn by designated military aides. A-line skirt a skirt with panels fitted at the waist and flaring out into a triangular shape. This skirt suits most body types. amice amice a liturgical vestment made of an oblong piece of cloth usually of white linen and worn about the neck and shoulders and partly under the alb. (By the way, if you do not know what an "alb" is, you can find it in this glossary...) alb a full-length white linen ecclesiastical vestment with long sleeves that is gathered at the waist with a cincture aloha shirt Hawaiian shirt angrakha a long robe with an asymmetrical opening in the chest area reaching down to the knees worn by males in India anklet a short sock reaching slightly above the ankle anorak parka anorak apron apron a garment of cloth, plastic, or leather tied around the waist and used to protect clothing or adorn a costume arctic a rubber overshoe reaching to the ankle or above armband a band usually worn around the upper part of a sleeve for identification or in mourning armlet a band, as of cloth or metal, worn around the upper arm armour defensive covering for the body, generally made of metal, used in combat.
    [Show full text]