DOCSLIB.ORG

Table of Contents Costume Info for Ballet, Contemporary, Jazz, Tap and Combo Classes + Finale *Hip Hop Costume Guide Is a Separate PDF and Includes Funky Freedom

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Table of Contents Costume Info for Ballet, Contemporary, Jazz, Tap and Combo Classes + Finale *Hip Hop Costume Guide Is a Separate PDF and Includes Funky Freedom Table of Contents Costume Info for Ballet, Contemporary, Jazz, Tap and Combo Classes + Finale *Hip Hop Costume Guide is a separate PDF and includes Funky Freedom. ​ ​ ​ *Current as of 2/1/17 Monday 2:45 / Wednesday 2:45 Joy in Ballet & Tap - Ms. Linda “Fast & Slow” & “Turtle Rock” Spandex leotard has all-over sequin mesh overlay at front and attached, adjustable straps. Capri pants with sequin mesh stripes down the outer sides and separate, fully-lined bolero jacket. Separate tutu on spandex waistband has layers of tulle with top layer edged in satin ribbon. *Includes headpieces. TAP: “Turtle Rock” BALLET: “Fast & Slow” Shoes: Black Tap Shoes Any Style Shoes: Pink Ballet Flats ​ ​ ​ Costume: Leotard, Pants & Shrug Jacket Costume: Leotard & Skirts ​ ​ Accessory: Hair Poof at RIGHT Accessory: Ribbon at Neck, Headband ​ ​ BOTH DANCES Tights: Pink from JiM ​ Hair: Same Hair for entire Show! Dancer’s choice, pulled back out of face and sprayed ​ neatly. Ponytail, bun, ½ up ½ down, french braid, etc. Monday 3:45 - Break into Tap & Jazz “Razzle Dazzle” & “Magic” - Ms. Linda This menswear-inspired biketard shines in the spotlight. Featuring a sequin spandex bodice and bow tie with stretch satin cummerbund and attached matte nylon/spandex shorts. *Includes sequin fedora, crystal bun wrap, long satin point gloves. JAZZ: “Magic” TAP: “Razzle-Dazzle” Shoes: Tan Jazz Any Style Shoes: Black Tap Any Style ​ ​ Costume: Unitard, Gloves & Crystal Costume: All Pieces - inc. ​ ​ Hair Piece only Skirt/Gloves/Hat BOTH DANCES Tights: Tan from JiM ​ Hair: Same Hair for entire Show! Dancer’s choice, pulled back out of face and sprayed ​ neatly. Medium ponytail, bun, ½ up ½ down for short hair, french braid, etc. Monday 5:45 - Contemporary Charisma “Lost Boy” - Ms. Linda Costume: Crushed stretch velvet leotard with spandex extended bike-shorts ​ leg line has asymmetrical upper bodice mesh overlay that extends over the left shoulder to create a flowing sash in back. Right shoulder strap, bodice, and waistband have iridescent sequin trim. Attached mesh skirt has cascade hem. *Includes sparkle headband Shoes: None or Half Soles such as Capezio FootUndeez #H07 ​ Tights: None. ​ Hair: Dancer’s Choice, must be secured out of face. (ex: half ponytail, french ​ braid, low or high bun, etc.) Monday 5:45 - Tap Rhythm - Justin “Faith” Costume: Ultra Sparkle sequins shimmer on the spandex bodice of this ​ premium metallic biketard. Three tiers of fringe are attached. *Includes rhinestone ponytail holder. ​ Tights: Tights included from Jim ​ Shoes: Black Tap ​ Hair: High Ponytail with Rhinestone holder ​ Tuesday 5:45 - Tap-Tastic - Justin “Beat it” Costume: This sequin-spandex jacket has a faux-leather collar and trim, and ​ an asymmetrical front zipper. It comes with a ribbed-cotton tank top and matte nylon/spandex leggings. *Includes sequin fedora, single sequin glove, sequin socks. Tights: None ​ Shoes: Black Tap ​ Hair: Low Ponytail ​ Wednesday 3:45 - Be-Jazzled - Ms. Linda “Good Lovin’ ” Costume: Sequin spandex leotard is fully-lined with mesh yoke, sequin ​ ​ spandex neckline, stretch satin straps on back, and extended bike-shorts leg line. Attached skirt has spandex waistband and attached sequin bow. *Includes headpiece. Tights: Lt. Tan included from JiM ​ Shoes: Tan Jazz ​ Hair: High Ponytail, Bow Centered, as pictured (or alternate hair style, as ​ long as bow is in the same place) Wednesday 4:45 - Tap Progression - Ms. Linda ​ “At the Codfish Ball” Costume: The bodice of this dazzling dress is completely covered in rainbow ​ sequin spandex and features a stretch mesh waist inset, stretch satin waist inset, ruffled taffeta skirt and attached matte nylon/spandex shorts. *Includes sequin teardrop hat with boa pouf. Tights: Lt. Tan included from JiM ​ Shoes: Black Tap ​ Hair: High Ponytail, Bun or French Braid, Hat as shown at LEFT pointing to ​ outside edge of LEFT eyebrow. PLEASE GLUE BACKING ONTO HAIR ​ PIECE! Wednesday 5:45 - Jazz & Pizzazz - Ms. Linda “Nothin’ Wrong With That” Costume: Multicolor swirling sequins sparkle on this matte nylon/spandex ​ ​ biketard with sequin mesh long sleeves. Raglan cutouts create interest along the front shoulder, and nylon/spandex binding wraps the leglines. Zipper at center front neckline. *Includes rhinestone bun wrap. Tights: Lt. Tan included from JiM ​ Shoes: Tan Jazz ​ Hair: Ponytail or Bun of your choice (teased hair in this picture NOT being ​ used!) Thursday 3:00 - Joy in Ballet & Tap - Ms. Linda “Moontides” & “Three Rockin’ Rhymes” Two great looks! Unique purple and orchid embroidered fabric is over orchid mystique. Sassy with the party tutu. Rhinestone and sequin flowers adorn the front of the style. *Includes headband. BALLET: “Moontides” TAP: “Three Rockin’ Rhymes” Shoes: Pink Ballet Flats Shoes: Black Tap Shoes Any Style ​ ​ ​ Costume: Add Tulle/Poufy Skirt Costume: Shorts Unitard Only ​ ​ BOTH DANCES Tights: Pink from JiM ​ Hair: Same Hair for entire Show! Dancer’s choice, pulled back out of face and sprayed ​ neatly. Ponytail, bun, ½ up ½ down, french braid, etc. Headband. Thursday 3:45 - Ballet Beautiful - Ms. Linda “Dance of the Hours” Periwinkle Ballet Pink Mint Allie Lou, Brynn, Lane, Avery, Daisy, Piper Abby, Heidi, Joceyln, Teagan Mackenzie, Phoebe Costume: An ivory and gold stretch metallic lace overlay accents the bodice and top skirt ​ of this stunning ballet dress. Satin insets accent the bodice and pinch-front neckline. The knee-length tulle tutu has an accent layer of glitter tulle with layers of ivory tulle underneath. An accent flower is attached at the waist. Nylon/spandex trunks attached. *Includes Flower hair clip, satin binding choker. Tights: Ballet Pink included from JiM ​ Shoes: Pink Ballet ​ Hair: Bun or Ponytail or French Braid, etc. (Any style up off of the neck) ​ Flower at RIGHT ​ Thursday 4:45 - Joy in Tap & Jazz - Justin “Poison Ivy” & “That’s How We Do” A sequin polka dot bodice and black striped mesh topskirt define this tap dress. The camisole neckline features satin binding and straps accented with a satin rhinestone rosette. The shirred cummerbund meets a full, layered tricot skirt. Nylon/spandex trunks attached. *Includes satin rhinestone rosette for hair. TAP: “Poison Ivy” JAZZ: “That’s How We Do” Tights: Lt. Tan included from JiM Tights: Lt. Tan included from JiM ​ ​ Shoes: Black Tap Shoes Any Style Shoes: Tan Jazz ​ ​ Costume: Dress, Hair Rosette & Costume: Dress Only (no hair piece ​ ​ Gloves or gloves for Jazz) Hair: High Ponytail Hair: High Ponytail ​ ​ Thursday 4:45 - Broadway Ballet - Ms. Linda “Brave” Costume: Stretch velvet leotard with embroidered detail has chiffon flutter sleeves. ​ Attached skirt is layers of organdy under chiffon. Faux suede belt is removable. *Includes choker. Tights: Lt. Tan included from JiM ​ Shoes: Pink Ballet Flats ​ ​ ​ Hair: Low Bun or French Braid off neck or Twists at Sides - neatly half down ​ is fine - your choice. Friday 2:45 - Joy in Ballet & Tap - Ms. Linda “Far Away Cookies” Costume: This adorable dress features crystal sequin stretch lace over the stretch satin ​ bodice, stretch satin halter neckline with G-hook closure, and a two-tone wired tricot skirt. Matte nylon/spandex trunks attached. Made in USA. Includes : Wired tricot hair pouf with flower. Tights: Pink included from JiM ​ Shoes: Pink Ballet Shoes ​ Hair: Dancer’s Choice with Flower at LEFT - Ponytail, Bun, French Braid, ​ Pigtails. (Something medium high to support the big hair piece works best.) Friday 3:45 - Joy in Tap & Jazz - Ms. Linda “Razz-Ma-Tazz” & “Gold” Foil spandex leotard with matching waistband and bow has attached spandex collar and black extended bike-shorts leg line. Attached skirt has an organdy petticoat under a foil spandex layer with paillette mesh panel. Separate paillette mesh short-sleeved jacket is fully-lined with functioning zipper and knit collar, sleeves, and hem. *Includes hair bow, bobby pins and gloves. ​ TAP: “Razz-Ma-Tazz” JAZZ: “Gold” Shoes: Black Tap Shoes Any Style Shoes: Tan Jazz ​ ​ Costume: Dress and Hair Bow only Costume: All - inc Jacket/Gloves ​ ​ BOTH DANCES Tights: Tan from JiM ​ Hair: Same Hair for entire Show! Pulled back out of face and sprayed neatly. High ​ ponytail would be easiest with hair bow... bun, ½ up ½ down could work. Friday 4:45 - Contemporary Chic - Ms. Linda “Wait for It” Costume: Graceful halter dress with sequin spandex bodice with stretch ​ ​ mesh neckline, insets and skirt. Halter neckline with keyhole back and G-hook closure. Matte nylon/spandex trunks attached. *Color = Navy Blue (as pictured from BACK of dress) Tights: None. ​ Shoes: Half Soles such as Capezio FootUndeez #H07 ​ Hair: Dancer’s Choice, must be secured out of face. ​ (ex: half ponytail, french braid, low or high bun, etc.) All Dancers - Finale - Justin & Ms. Linda “Please Don’t Stop The Music” Shirt/Top: Any Joy in Motion Apparel. Dancers may wear other items as well. ​ EXAMPLE: Dancers may wear JiM colors (yellow and/or teal) shirts, camisoles or tank tops underneath. Bottoms: Any pants, shorts, skirts or leggings that go with black, teal or yellow. (Some ​ white is okay too!) Shoes: Any Shoes that that go with their outfit, including their Hip Hop shoes. ​ Hair: Whatever fits their personality and that they have time for. ​ Accessories: All dancers may accessorize with JiM colors. (jewelry, hair bows, socks, ​ gloves, belts, etc.) All items must be secure and unable to fall off. No hats please. .
Load more

Recommended publications
  • 09 the Contribution of Informal Work to Household Income
    Table of contents I. Introduction ......................................................................................................................................... 3 II. The attributes of textile weaving in Laos ........................................................................................ 4 2.1 Overview ..................................................................................................................................... 4 2.2 Women and textile weaving ........................................................................................................ 4 III. The role of women in socio economic development in Laos as a breadwinner .............................. 5 3.1 Role of women in national workforce ......................................................................................... 5 3.2 Role of women in family’s income earning ................................................................................ 5 IV. The case study of women’s income earning from textile weaving in Vientiane capital ................ 6 4.1 Methodology .............................................................................................................................. 6 4.2 Findings and discussion .................................................................................................................... 6 4.2.1 Home-based textile weavers ........................................................................................................... 7 a. The characteristics of weavers ........................................................................................................
    [Show full text]
  • Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
    Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern
    [Show full text]
  • Costume Design ©2019 Educational Theatre Association
    For internal use only Costume Design ©2019 Educational Theatre Association. All rights reserved. Student(s): School: Selection: Troupe: 4 | Superior 3 | Excellent 2 | Good 1 | Fair SKILLS Above standard At standard Near standard Aspiring to standard SCORE Job Understanding Articulates a broad Articulates an Articulates a partial Articulates little and Interview understanding of the understanding of the understanding of the understanding of the Articulation of the costume costume designer’s role costume designer’s role costume designer’s role costume designer’s role designer’s role and specific and job responsibilities; and job responsibilities; and job responsibilities; and job responsibilities; job responsibilities; thoroughly presents adequately presents and inconsistently presents does not explain an presentation and and explains the explains the executed and explains the executed executed design, creative explanation of the executed executed design, creative design, creative decisions, design, creative decisions decisions or collaborative design, creative decisions, decisions, and and collaborative process. and/or collaborative process. and collaborative process. collaborative process. process. Comment: Design, Research, A well-conceived set of Costume designs, Incomplete costume The costume designs, and Analysis costume designs, research, and script designs, research, and research, and analysis Design, research and detailed research, and analysis address the script analysis of the script do not analysis addresses the thorough script artistic and practical somewhat address the address the artistic and artistic and practical needs analysis clearly address needs of the production artistic and practical practical needs of the (given circumstances) of the artistic and practical and support the unifying needs of the production production or support the the script to support the needs of production and concept.
    [Show full text]
  • Clothing in France
    CLOTHING IN FRANCE For their day-to-day activities, the French, both in the countryside and the cities, wear modern Western-style clothing. Perhaps the most typical item of clothing associated with the French is the black beret. It is still worn by some men, particularly in rural areas. The French are renowned for fashion design. Coco Chanel, Yves Saint-Laurent, Christian Dior, and Jean-Paul Gautier are all French fashion design houses whose creations are worn by people around the world. Traditional regional costumes are still worn at festivals and celebrations. In Alsace, women may be seen in white, lace-trimmed blouses and aprons decorated with colorful flowers. Women's costumes in Normandy include white, flared bonnets and dresses with wide, elbow-length sleeves. A traditional symbol of the region, the famous Alsatian headdress was abandoned after 1945. Today, this can only be admired during certain cultural and tourist events. Varying widely from one part of Alsace to another, the traditional costumes reflected the social standing and faith of their wearers. Consequently, Protestant women in the North would wear the colors of their choosing; where as Catholics from Kochersberg (to the northwest of Strasbourg) wore only ruby red. Some women would decorate the hems of their skirts with velvet ribbons. Others, particularly in the south, would wear printed cotton clothing, often made of silk for special occasions with paisley patterned designs. The aprons, worn everywhere throughout Alsace, were plain white. However, on Sundays it was not uncommon to see silk or satin aprons decorated with embroidery, and worn over skirts or dresses.
    [Show full text]
  • Costume Blueprint
    The Guerilla Filmmakers Movie Blueprint Costume Blueprint 229 Chapter 12 - Costume Blueprint The role of the costume designer cannot be underestimated. Filmmakingilmmaking isis aa ‘gr‘grande illusion’ and inappropriate costumes, or simply badly realised wardrobe, will serve to fundamentally undermine the whole film. A sharp dressed lawyer who isn’t quite sharp enough, a priest whose dog collar is clearly made of cardboard, a tramp whose clothes aren’t quite broken down enough… all will flag your movie as being at best low budget,, atat wworst,, amateuramateur... Everyday Contemporary Special Contemporary Everyday ‘make’ Clothes that are freely and cheaply available Usually things like uniforms for police, nurses, Clothes that for one reason or another, need now, often in the high street or even in the traffic wardens, but also think about wedding to be manufactured for an actor. Possible actors’ own wardrobe. gowns, ball gowns etc.. All can be hired because they are very large or very small. relatively cheaply but it all mounts up. Football teams and school uniforms will need to be fictional and therefore created or hired. Fantasy and Period Stunts, effects and doubles Mixed bag Clothes that aren’t available in shops and Used when you need to double an actor or All the other stuff such as jewellery, must either be hired or made. Think medieval when the action requires duplicate costumes watches, boots, etc. All need to be planned knights, science fiction etc. for possible multiple takes. and acquired. 230 The Guerilla Filmmakers Movie Blueprint Costume Blueprint For low budget films, costume is mostly about dressing the actors appropri- When you meet someone, an ately and not trying too hard to impress the audience (as you simply don’t have the budget to impress).
    [Show full text]
  • Jacobean Costume
    ROOM 5 & The Long Gallery Jacobean Costume The constricting and exaggerated fashions of the Elizabethan era continued into the early part of the seventeenth century. Women still wore tightly boned bodices with elongated ‘stomachers’ (an inverted triangle of stiffened material worn down over the stomach) and enormous skirts that encased the lower part of their bodies like cages. However, by 1620 the excessive padding around the hips of both sexes had disappeared, and fashion began to slim down and adopt a longer, more elegant line. The doublet became more triangular in shape and the huge cartwheel ruff gave way to a falling collar, edged with lace. The Long Gallery From the 1580s the Spanish farthingale, or portrait of James Hay, 1st Earl of Carlisle, hooped petticoat, was superseded by the who wears an elegant black and gold costume, French farthingale, a wheel-like structure that heavily embroidered with gold and silver held the skirt out like a drum. It can be seen thread, with a standing linen collar of cutwork to great effect in the portrait of Lucy Russell, and matching cuffs. Countess of Bedford. This was a style of dress expected at the court as Anne of Denmark, King James’ Queen, admired its formality. The Countess is dressed for the coronation of James I and Anne of Denmark, in a costume of rich red velvet, lavishly lined and trimmed with ermine. Lucy Russell, Countess of Bedford Robert Carey and Elizabeth Trevannion, (NPG 5688) 1st Earl and Countess of Monmouth and – Long Gallery their family (NPG 5246) – Long Gallery This rare family group shows a variety of ruffs The portrait of Sir Walter Ralegh and his son worn at this date.
    [Show full text]
  • Costume Care Sheet
    COSTUME CARE SHEET Dear Parents & Dancers, Here is some information about your costumes. Between now and the show, you will want to keep your costume in the garment bag that it is sent home in. • Most of the costumes are made with a delicate fabric or have sequins on it that can usually catch on other materials and snag. By keeping your costume in the garment bag, it will help protect the costume. • Hanging your costumes will also lessen the chance of wrinkles and damage • Remember that dance costumes are NOT EVERY DAY WEAR. Dance costumes should not be worn before recital. This prevents them from getting dirty or ruined. Once recital is over, you can wear the costumes as much as you like. PREPARE YOUR COSTUMES, DANCE BAG & MAKE UP/HAIR ACCESSORIES BAG 2 DAYS PRIOR TO THE RECITAL DATES-- (THAT'S APRIL 30TH OR MAY 1ST as RECITAL DATES ARE MAY 2ND AND 3RD) Preparing 2 days in advance will allow you to see if you are missing anything for the show, which in turn allows you time to go and pick up those items. Plus it is a great skill to teach your dancer-- Be prepared in advance!! BEST RECOMMENDATION FOR PREPARING COSTUMES: Use a steamer, if you have one or hang your costume near the shower (not where it will get wet) and the steam will naturally flatten out any wrinkles it may have. This is important with very delicate fabrics, costumes with sequins or rhinestones and especially ballet costumes. You can check the label to see if ironing your dance costume is safe.
    [Show full text]
  • Hats Ms Pure
    1 2 IF THE CAP FITS: of the steppe warriors’ appearance.5 The absence of beards was also noted elsewhere: John of Plano Carpini gives a long and complicated account of the Mongol hairstyle. The point the Going Mongol in Thirteenth Century Syria 6 Franciscan stresses is that ‘in appearance the Tartars are quite different from all other men’. Abstract The complex hairstyle described by John of Plano Carpini indicates that the appearance of the Mongols was in fact carefully crafted, and was seen by them as a marker of identity. These Various Near Eastern and European writers of the thirteenth century remarked on the outlandish accounts do, however, suggest that some aspects of their appearance were mutable, and affected by appearance of the Mongol warriors then rampaging across Eurasia. One aspect of this was their their encounters with other peoples – for example, they could acquire their armour from conquered distinctive headgear. From our sources it is clear that Mongol costume could be exploited by non- peoples.7 Nevertheless, it is clear that clothing, and especially headgear, formed another marker of Mongols in the Near East for a variety of purposes; how these distinctive hats were described, and Mongol ‘identity’. The Mongols were far from unique in this, of course. In mediaeval Europe how contemporary artists depicted them, will also be discussed. hairstyle could differentiate Anglo-Saxon or Irishman from Norman, or Saxon from Wend; headgear could differentiate Jew from Christian.8 In the Islamic world, of course, non-Muslims were in theory expected to distinguish themselves from Muslims in their dress, often their headgear, Introduction either through form or colour.9 On the steppe such markers – and especially headgear – seem to have been significant from an early age.10 In this paper I would like to consider one of these key ‘…dans le langage du Levant on compte par chapeaux et par turbans.’ markers of Mongol identity, the hat, and how it was described and represented in the Near East.
    [Show full text]
  • The Complete Costume Dictionary
    The Complete Costume Dictionary Elizabeth J. Lewandowski The Scarecrow Press, Inc. Lanham • Toronto • Plymouth, UK 2011 Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2011 by Elizabeth J. Lewandowski Unless otherwise noted, all illustrations created by Elizabeth and Dan Lewandowski. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Lewandowski, Elizabeth J., 1960– The complete costume dictionary / Elizabeth J. Lewandowski ; illustrations by Dan Lewandowski. p. cm. Includes bibliographical references. ISBN 978-0-8108-4004-1 (cloth : alk. paper) — ISBN 978-0-8108-7785-6 (ebook) 1. Clothing and dress—Dictionaries. I. Title. GT507.L49 2011 391.003—dc22 2010051944 ϱ ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America For Dan. Without him, I would be a lesser person. It is the fate of those who toil at the lower employments of life, to be rather driven by the fear of evil, than attracted by the prospect of good; to be exposed to censure, without hope of praise; to be disgraced by miscarriage or punished for neglect, where success would have been without applause and diligence without reward.
    [Show full text]
  • Costume Design and Production for the Mystery of Edwin Drood by Rupert Holmes
    Costume Design and Production for The Mystery of Edwin Drood by Rupert Holmes THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Samantha Anne Kuhn Graduate Program in Theatre The Ohio State University 2013 Committee: Kristine Kearney, Advisor Mary Tarantino A. Scott Parry Copyright by Samantha Anne Kuhn 2013 Abstract The purpose of this paper is to document the costume design and production process for Rupert Holmes’ musical The Mystery of Edwin Drood, as produced by the Department of Theatre and the School of Music at The Ohio State University and directed by A. Scott Parry, the School of Music’s Director of Lyric Theatre. The musical was presented in the Thurber Theatre at Ohio State, November 7 through November 11, 2012. The Mystery of Edwin Drood is a musical in which a Victorian Music Hall troupe in 1892 England performs a dramatization of Charles Dickens’ final, unfinished novel, The Mystery of Edwin Drood. Told in the vaudevillian manner of English Music Hall Theatre of the late nineteenth century, the piece utilizes song, dance, bawdy humor and audience participation to tell and ultimately discover an ending to Dickens’ story. Research and designs for the production were derived from photographs, historical research and artwork of Music Hall performers and everyday English citizens from the late nineteenth century. The scenic design transformed the Thurber Theatre into a nineteenth century Music Hall, necessitating that the costume design also transform the actors into Victorian performers to support the historical demands of the script and to create an authentic experience for the audience.
    [Show full text]
  • Full Clothing Lists.Xlsx
    Detailed Clothing List - Alphabetically By Brand Brand Season Item Type Gender Detail 2000 Gymboree N/A Bodysuit Boys Green or red with wheel-shaped zipper pull N/A Pants N/A Fleece pants with cord lock in blue, red, green or gray with gray elastic waistband and "Gymboree" on back pocket 21 Pro USA N/A Hooded Sweatshirts N/A Pullover & zip styles. RN#92952 2b REAL N/A Hooded Sweatshirts Girls Velour, zip front wth "Major Diva" printed on front A.P.C.O. N/A Hooded Sweatshirts N/A Navy or burgundy; "Artic Zone" is printed on front abcDistributing N/A Jacket/Pant Set N/A Fleece, pink or royal blue with waist drawstring; may say "Princess" or "Angel" on it Academy N/A Pajama Pants and Boxers Both Pull-on pants for boys and girls and boxers for girls - see recall for details Active Apparel N/A Hooded Sweatshirts Boys Zipper hooded sweatshirt Adio N/A Hooded Sweatshirts Boys Zip fleece, white with blue stripes and red panels on sides. Adio on front Aeropostale N/A Hooded jackets/sweatshirts N/A Multiple brands and models - see recall Agean N/A Robes Both Variety of colors; wrap style with waist belt, two front patch pockets and hood Akademiks N/A Hooded Sweatshirts Girls 4 styles - see recall All Over Skaters N/A Hooded Sweatshirts Boys With padlocks, skaters or black with imprint Almar Sales Company N/A Watches N/A Clear plastic watches with white snaps; bands have clear, glitter-filled liquid and colored liquid inside, including pink, blue, red and yellow.
    [Show full text]
  • Completed and Signed Manuscript Submission Form That Is Either Faxed Or Mailed to the Below Contact Address
    Journal of Urban Culture Research Executive Director Suppakorn Disatapandhu, Chulalongkorn University, Thailand Editor in Chief Kjell Skyllstad, University of Oslo, Norway International Editor - Webmaster Alan Kinear, Chulalongkorn University, Thailand Contributing Editor Bussakorn Binson, Chulalongkorn University, Thailand Managing Editor Pornprapit Phoasavadi, Chulalongkorn University, Thailand Editorial Board Frances Anderson, College of Charleston, USA Bussakorn Binson, Chulalongkorn University, Thailand Naraphong Charassri, Chulalongkorn University, Thailand Prapon Kumjim, Chulalongkorn University, Thailand Le van Toan, Institute for Musicology, Vietnam Shin Nakagawa, Osaka City University, Japan Svanibor Pettan, University of Ljubljana, Slovenia Russell Staiff, University of Western Sydney, Australia Pornsanong Vongsingthong, Chulalongkorn University, Thailand Pamela Zeplin, South Australia University, Australia Layout & Design Yodkwan Sawatdee Minchaya Chayosumrit Copyright It is a condition of publication that the Journal assigns copyright or licenses the publication rights in their articles, including abstracts, to the authors. Contact Information: Journal of Urban Culture Research Faculty of Fine and Applied Arts Chulalongkorn University Payathai Road, Pathumwan Bangkok, Thailand 10330 Voice/Fax: 662-218-4582 Email: [email protected] Website: www.cujucr.com Cover image of Bangkok, Thailand provided by A. Kinear This publication is a non-profit educational research journal not for sale. Welcoming Message from the Executive Director Suppakorn Disatapandhu+ Welcome to the first issue of The Journal of Urban Culture Research for 2010, a peer- reviewed journal published once a year in September by the Faculty of Fine and Applied Arts, Chulalongkorn University and Urban Research Plaza associated with Osaka City University. Our first issue is on the theme of Art Development: Exploring the Role of Culture and the Arts in Sustainable Community Development and Social Transformation, guest edited by Professor Kjell Skyllstad from University of Oslo.
    [Show full text]