A COSTUME DESIGN PROCESS
FOR A PRODUCTION OF
WILLIAM WYCHERLY'S THE COUNTRY WIFE
A Thesis
Presented in Partial Fulfillment of the Requirements for
the Degree Master of Fine Arts in
The Grad uate School of The Ohio State University
by
Johnnie Ray Thomas, B. A.
* * * * ~r The Ohio State University
1995
Master's Exami nation Committee: Approved by: Mark W. Shanda, M.F.A. ~-£'~ Dr.Joy Reilly, Ph. D. Adviser Dennis A. Parker, M.F.A. Department of Theatre NOTE
A complete illustrated copy of this thesis is located in
The Jerome A. Lawrence, Robert E. Lee Theatre Research Institute of
The Ohio State University.
ii ACKNOWLEDGEMENTS
I express sincere appreciation to Dennis A. Parker for his guidance and insight throughout my graduate school experience. Thanks go to the other members of my advisory committee, Mark W. Shanda and
Dr. Joy Reilly for their suggestions and comments. Gratitude is expressed to Julia Weiss, costumer, for her support and encouragement.
To Ian S. Haberman, I offer sincere thanks for his unshakable faith in me and his willingness to endure this process with me.
iii VITA
July 22, 1952 Born
Huntsvi lie, Alabama
1967-1970 Belden High School
Belden, Mississippi
1970-1975 B. A., Communication
Miss. State University
State College, MS
FIELD OF STUDY
Major Field: Theatre
iv 1 TABLE OF CONTENTS
NOTE ...•.•... ii
ACKNOWLEDGEMENTS iii
VITA .....•. iv
LIST OF TABLES vi
LIST OF FIGURES vii
LIST OF PLATES viii
INTRODUCTION
CHAPTER PAGE
I. THE PRODUCING SITUATION .. 3
II. THE COSTUME DESIGN CONCEPT 6
III. CHARACTER ANALYSIS 15
IV. THE PROCESS. 21
V. EVALUATION 27
SELECTED REFERENCES 30
APPENDICES . 32
A. TABLES 33
B. FIGURES 39
C. PLATES 44
v
"""' LIST OF TABLES
TABLE PAGE
1- CHARACTER/BIRD INFERENCES ...... 9
2. ACTION PLOT - I TO IV,iii .••••.•••••.••••• 34
3. COSTUME BREAKDOWN - WOMEN ••..•.••.•.•.. 35
4. COSTUME BREAKDOWN - MEN ...... 36
5. BUDGET BREAKDOWN ...... 38
vi
olOo. LIST OF FIGURES
FIGURE PAGE
1 SCALED PATTERN - Lady Fidget Gown 40
2. SCALED PATTERN - Horner Coat 41
3. COSTUME ACCESSORY - Fidget Headpiece 42
4. COSTUME ACCESSORY - Jaspar Walking Stick 43
vii
~ LIST OF PLATES
PLATE PAGE I. PRE LIMINARY SKETCH: Color Scheme relations 45
II. PRELIMINARY SKETCH: AI ithea #1 .. 46
III. PRE LIMINARY SKETCH: Composite .. 47 Sparkish #1, Horner, Quack, Townsman
IV. PRE LIMINARY SKETCH: Composite .. 48 Sparkish #2, Sparkish #3, Margery
V. PRE LIMINARY SKETCH: Composite .. 49 Jaspar, Squeamish, AI ithea #2, Lucy
VI. RENDERING: AI ithea #1 50
VII. RENDERING: Alithea #2 51
VIII. RENDERING: Boy .••• 52
IX. RENDERING: Dai nty Fi dget 53
X. RENDERING: Dorilant 54
XI. RENDERING: Harcourt 55
XII. RENDERING: Harcourt's Disguise 56
XIII. RENDERING: Horner .... 57
XIV. RENDERING: Jaspar Fidget 58
XV. RENDERING: Lucy . . . . 59
XVI. RENDERING: Margery #1 60
XVII. RENDERING: Margery #2 61
XVIII. RENDERING: M'Lady Fidget 62
viii
..l LIST OF PLATES - Continued
PLATE PAGE
XIX. RENDERING: Pinchwife ...... 63
XX. RENDERING: Quack ...... 64 XXI. RENDERING: Sparkish #1 ...... 65
XXII. RENDERING: Sparkish #2 .•....•.••...... •. 66
XXIII. RENDERING: Sparkish #3 .•..•...•.•.•..... 67
XXIV. RENDERING: Lady Squeamish ...... 68
XXV. PRODUCTION PHOTO: Final Scene ...••...... •. 69
ix
...... INTRODUCTION
The following documents the design and construction process for
a production of The Country Wife by William Wycherly produced by The
Ohio State University Department of Theatre. The production, guest
directed by Stephen Hollis, was performed in Thurber Theatre from
February 22 to March 2, 1995.
Chapter I descri bes the produci ng situation. The theatre space,
the costume studio facility, the staff size and skill level, the production
schedule, and the production budget are detailed.
Chapter II defi nes the costume desi gn concept and its relationshi p
to the production concept of the director. Relationships to the scenic
and lighting design concepts are also presented. Visual choices made to
support the production concept are discussed.
Chapter III presents an analyses of the characters and the
director's desires pertaining to the production concept. Specific design
choices relating to textual analysis, group relationships, and director
choices are exami ned.
l 2
Chapter IV details the design's evolution from preliminaries to final renderings, and the changes which occurred during the construction process. Practical considerations regarding fabric acquisitions, time, and budget are also presented.
Chapter V evaluates the process and the final production.
Di rectorial and critical feed back are discussed.
A list of works consulted follows the final chapter. The appendi ces contai n the fi nal costume plot, an action chart, budget chart, composite renderings, color plates of the final renderings, production photos, and scaled patterns of selected costumes and accessories.
All scri pt quotations are from The New Mermai ds ed ition of The
Country Wife, edited by James Ogden and published in New York by W.
W. Norton (1993).
:'i ~ :i ;~ ~I CHAPTER I
THE PRODUCING SITUATION
The Country Wife was the fourth of six mainstage and two studio productions during The Ohio State University's Department of Theatre
1994-1995 season. Production dates were from February 22 through
March 4, 1995 in the Thurber Theatre of Drake Union. This theatre is a proscenium venue with continental seating for 624 persons. The proscenium opening is 36 feet wide by 22 feet high and has an apron that extends 11 feet in front of the plaster line.
Formal production meeti n ss began October 4 with the director's concept statement, which was transmitted to the design team via fax by guest-director, Stephen Hollis of New York City. One telephone conference call including the scenic, costume, and lighting designers provided collaboration between the director and design team. Meetings between the scenic and lighting designer with the director took place in
Cincinnati where the director had meetings regarding another project.
The costume designer could not attend due to other projects. This
Cincinnati meeting was dedicated to the refinement of the various scenic
3 4 design elements. The audition weekend, (November 18-19) provided opportunity for private meetings with the costume designer individually, and in conference with the other members of the design team. Final costume renderings and design concept were presented on January 3,
1995 without the director p resent. Construction of the costumes for the production began on January 17, with a scheduled build of five weeks.
First dress rehearsal was set for February 17. Three more dress rehearsals were sched uled prior to the February 22 opening.
The studio facility available for the construction process was above average. studio equipment included five Sernina 1006 domestic sewing machines, three industrial sewing machines, two domestic overlock machines, and two industrial steam irons. The cutting spaces consisted of three 45" by 72" tables with pin-receptive surfaces, providing ample spaces for patterning, layout, and cutting. A variety of male and female dress forms were available for draping and trial assemblies.
A selection of bulk materials and notions, some lining fabrics, stock fashion fabrics, and a collection of trims were also at the designers disposal.
The studio also contained a dye/laundry area with two sets of domestic washers and dryers and an industrial dye vat. A considerable stock of fabric dyes and modification supplies were available along with bulk craft and millinery supplies. 5 Existing wardrobe stock was a source of numerous garments for
modification and provided entire costumes, in some instances. An
assortment of period patterns served as a source for the needed pattern
alterations. Rental and exchange policies with a variety of schools and
theatres provided an additional source for selected items and some
footwear needed to fulfi II the requi rements not accommodated by the
costume inventory.
The studio staff consisted of a full-time Studio Supervisor, two
half-time Graduate Teaching Associates, one full-time professional
stitcher, hired for a three-week period, two part-time work study
stitchers and several undergraduate practicum students. The Graduate
Teaching Associates and the two part-time work study stitchers were
responsible for twenty hours of work per week. The practicum students
worked an average of four hours per week. Tasks were distributed
among the staff members according to their skill level and opportunities
were made available to those desiring more of a challenge.
The costume production budget was set at $3,000. This provided
for fashion fabrics, linings, trims, accessories, footwear, wigs, and the
post-production dry cleaning. This figure did not include the salaries
of any of the staff members nor the cost of bulk supplies and notions.
I l CHAPTER II
THE COSTUME DESIGN CONCEPT
In his director's concept statement, Stephen Hollis stated:
"In the Restoration period, therefore, the theatre became almost exclusively a rendezvous of the fashionable class and their hangers on, the rakes, bullies, ladies of pleasure, and the young inns of court men whose principal reason for going to the theatre was to while away an afternoon, display one's new suit or arrange an assignation with one of the 'ladies of the town.' For this type of aud ience, a special ized type of drama was needed and very soon dramatists were offering plays which reflected the tastes and interests of this audience of courtiers, thus assuring at least some attention from the crowd....Wycherly has recorded the spurious good fellowship of those dandies whose greatest pleasure lay in bettering each other's epigrams and whose love affairs were conducted mainly for the sake of having experiences and conquests to brag about....Fine clothes covering stinking bodies, wigs and makeup covering ugliness and disease are a perfect meta phor for the plays of this period, in which sparkling wit and superficial behavior mask corruption and immorality. The 'comedy of manners' explores the conflict between the way people 'feel' and the way they 'behave.':"
The presentational style of Restoration theatre, exhibited through
the asides delivered to the audience and the obvious playing of the text
as "theatre," allowed for the presentational desi gn choices used to
'Stephen Hollis. "Director's Design Concept Statement." New York: 1994. .
6
I I
I I i 7
express character, style and aesthetics. Broad expression of the
complementary color scheme and intricate textural fabrications used to
express the social strata of the text were choices appropriate for the
very presentational style of this Restoration piece. The Country Wife is
an extremely sensual play of which the plot revolves around the
character of Horner and his attempts to have sexual relations with as
many women as possible. Wycherly wrote about his own era, the English
Restoration. Any discussion of this era must include a look at the
monarchy during this time. Charles II, returning from his exile in
France, landed at Dover on 25 May 1660, his thirtieth birthday, and was
greeted by fifty thousand people upon his arrival.
"The man who returned to take the throne was in appear ance tall and lean with a swarthy skin, wearing a mustache and his ow n black hai r. On the insi de he was a man determi ned to rebui Id the monarchy whi Ie cynical about the changeable loyalties of his subjects. Due to his long stay in the court of France particularly, Charles was accom plished socially, and due to his natural inclination he was accomplished physically. His return released the English from the stifling police-state atmosphere of the Protectorate and signalled the renaissance of the arts and entertainment as well as the leisure to enjoy them. In fact, his primary personal vice seems to have been in his relationshi ps with women.... He was also a committed theatre-goer and supporter. From 1665 to about 1680, he encouraged and enjoyed the 'Wits,' a group at court that included the Earl of Rochester, Sir Charles Sedley, playwrights Etherege and Wycherl y, and others. These gentlemen entertai ned them selves and others by writing poetry and plays and by commenting on their surroundings and acquaintances with
~ 8
the kind of quick, cynical, outrageous conversation found in The Country Wife. ,,1
This monarchy and the social class which flocked to his court was
a reflection of these "wits." The class structure of the era, therefore,
had a distinct influence upon the design choices. The costume designer
found personal metaphor ina sort of "peacock territory theme" and
applied this to the Horner plot. Free association based on this, led to
birds of nature. I chose individual birds with personal inference
qualities to provide palette structure for the intertwining relationships
Horner utilizes in his quest. Specifics of the "birds" were:
1Nena Couch. Dramaturg statement provided to design team. Fall, 1994. 1 9
Table 1: CHARACTER/BIRD INFERENCES
HORNER CARDINAL I I HARCOURT BLUE JAY I I DORILANT EUROPEAN GOLDFINCH I I
I PINCHWIFE SOUTH AMERICAN PARROTS I I SPARKISH HUMMINGBIRD I II JASPER FIDGET QUAIL OR EGRET I I I MARGERY AMERICAN ROBIN I I ALITHEA WEAVER FINCHES OR LARKS
LADY FIDGET PAINTED BUNTING GROSBEAK
LADY SQUEAMISH WESTERN TANAGER I I DAINTY FIDGET CHICKADEE WARBLER I I I LUCY LOUISIANA HERON I QUACK REDWING BLACKBIRD
1 10
Hue saturation found in Baroque art of this period also provided inspi ration for the val ue and contrast scales chosen for the costume designs. The designer chose to visualize the class structure established within the script through fabric and silhouette choices. Two major phases of fashion were prevalent during the latter half of the seven teenth century. The first major step in the costume design process was to determine in which of these phases the production would be based.
The two choices were the silhouette that existed from approximately 1660 to 1675 and that of about 1675 to 1685. The earl ier period with its full petticoat breeches, cannions, and large, lacy shirts topped with smallish doublets was deemed perfect for the character of Sparkish. This line and decoration personified the "overblown fop" for the director. The latter period, besides being more elegant and more indicative of the
Restoration to a modern audience, was a costume era that provided ample opportunity to interpret the "peacock theme." The basic male silhouette of about 1675 consisted of a coat with a strai ght elegant line which was achieved by shaping at the underarm and center back seams. The sleeves, usually reaching just below the elbow, could have either narrow or large floppy cuffs. Waistcoats of the period were cut on simi lar lines as the coats and often had long sleeves. Breeches, extending just below the knee, were cut fairly full for ease of movement. This point was a departure from period in our choices because our director wanted a 11
closer cut breeches style and shorter waistcoats to reveal the crotch
area. The look of a gentleman of this period was completed with hose,
boots or heeled shoes and a full cut shirt with jabot.'
The female look for this same period was predomi nated by a
heavily boned bodice stiffened with any combination of whalebone,
quilting, or glue sizing. The front of these bodices held a busk for
fastening purposes over which a decorative piece of fabric, a stomacher,
was pinned. Stomachers were sometimes laced across with ri bbons
creating a series of bows known as an eschelle. The bodices held
sleeves, cut separately that were fairly wide and about elbow length.
At the el bow the sleeves were turned back to form a small cuff. Proper
dress also included a trimmed petticoat and/or underskirt and an
overskirt which was often drawn up at the front edges to reveal more
of the undersktrt.' As a character rose up the social class ladder, a
more fashionable line and silhouette choice defined their clothing. More
complex detail, with richer hue saturation, and stronger value contrasts
were utilized to maintain this class distinction. Texture and pattern
choices were damask and brocade for higher classes because of their
3Nor ah Waugh, The Cut of Men's Clothes 1600-1900 (New York: Drama Book Publishers, 1964) 52-57.
'Norah Waugh. The Cut of Women's Clothes 1600-1930 (New York: Theatre Arts Books, 1968) 30-67.
, I
I L 12 shiny, elegant, opulence which was representational of the fabrics of this
era. Tapestry and coarser woven textures were reserved for members
of the lower classes because of their duller surface denoting less
elegance and opulence.
Hue choices were again linked to the "birds theme" and this
provided the utilization of strong complementary choices for the hue
range of major characters. Horner as a cardinal set the major hue
theme of his costume. as the clearest red damask. Lady Fidget, partner
in his intrigue, was in a saturated wine brocade. Pinchwife, direct
opposition to Horner, was saturated olive green, the direct complement
to Horner's red. Sparkish was interpreted as a hummingbird by his
character choices and thus the bright yellow and red of the ruby
throated hummingbird provided his scheme. The director desired that
Sparkish have the most costume changes since this denoted his
character tendencies to be overdone and too fashionable for every
situation. Combinations of yellow, red, and apple green were utilized to
show costume distinction yet unify his scheme. Alithea, Sparkish's
betrothed, clothed pri nci pally in lavender, was interpreted in a di rect
complement of Sparkish's yellow/orange scheme. This choice seemed to
point out the fact that Alithea and Sparkish never quite fit together as
a couple within the framework of the script. Blocking choices reinforced
this theme and thus the choice of true blues for Harcourt linked him to
1 13 Alithea and reinforced the resolution of this facet of the plot. Margery,
characterized as the least polished of the ladies in the plot, was
designed in pastel interpretations of the plumage of the American Robin.
The earth toned basis of this scheme also reinforced her lack of social
grace and knowledge of the ways of London of this era.
The strong complementary structure of this scheme was portrayed
against a principally pastel palette chosen by the scenic designer.
Scenic choices reminiscent of Restoration theatre; a raked stage surface,
wing and groove scenery, and unit setting; provided a fine playing
space in which these characters were brought to life by the performers.
Using a style similar to the engravings of Hogarth, specifically his Gin
Lane series, scenic designer, Kenneth Canfield, developed a portal to
reduce the proscenium width. This directorial choice was made to
provide a more intimate space for the performers and audience. Door
units up center and on stage left and right provided entrances and
exits for the interior scenes. For the New Exchange, at the end of Act
I, the door units tracked offstage and building fronts in the style of the
backdrop and portal completed the merchant square feeling requested by
the director. A vista changes utilizing the lesser characters provided
interest to the numerous and complicated scenic changes. Choices made
to enhance the intimacy of the performance provided rationale for the
attention to period detail in the costume design choices.
L 14
Lighting designer, Matthew Kizer, utilized a rather saturated
palette in rose and blues for front lighting. Side lighting in amber
modeled the actors forms and backlight in mauve and green provided
depth and interest to the compl icated color plot. Gobos in the forms of
windows for interiors and breakups for exteriors added textural and
location interest to the lighting which complemented both the scenery
and the costumes.
Sound choices, by desi gner Brad Allen, incl uded exterior noises
from the street below the interiors and transitional music from composers
of the era ina character which set the comic mood.
All these choices provided a harmonious representation of our
"world of the play" against which we were able to focus our attention
on the themes of decadence and deception and thei r relation to the
dandyism of the plot.
I
I ., CHAPTER III
CHARACTER ANALYSIS
"Costumes should reflect the dandyism and sensuality of the period.... Fine clothes covering stinking bodies, wigs and makeup covering ugliness and disease are a perfect metaphor for the plays of this period, in which sparkling wit and superficial behavior mask corruption and lmmorallty.:" A dandy is defined as "a man greatly devoted to style and tashlon.:" Horner, Harcourt, and Dorilant were certainly dandys as developed by Wycherly's characterization. Our first view of Horner is shirtless, in his breeches, having his feet washed by his servant. Thus we see him stripped of all his trappings and as the plot is woven he layers more and more of his clothing onto his body forming a fashionable shell which clothes the intrigue of his scheme.
Red was chosen to denote "the color of pleasu re" and to set Horner as the pivotal character in the plot scheme.
SStephen Hollis, Director's Concept Statement (New York, 1994) 2.
6Della Thompson, ed., The Oxford Dictionary of Current English (Oxford: Oxford University Press, 1992) 214.
15 16
Boy, Horner's body servant, was costumed in a livery-like outfit
which had overtones of servitude. Directorial choices formed a
relationship of camaraderie between the servant and Horner in several
of the scenes. Confidante and friendly was the attitude expressed to
the costume designer for this character by the director.
Quack, the physician Horner has employed to spread news of his
eunuch status, is clothed in the robed silhouette of a period physician.
The director preferred this character to be to be characterized as a
fashionable partici pant in the plot rather than a comic one as referred
to in the Prologue to Act One; the costume choices were simple. Robe,
basic suit in somber black and wigged in a simple gentlemanly style.
Harcourt, a young dandy, is smitten with love for Alithea, sister
to Pinchwife and betrothed to Sparkish. Harcourt is characterized in
the plot as straightforward regarding his love for Alithea. This is
illustrated when points out to her that Sparkish does not love her for
he has no jealousy of her. Yet, Harcourt also resorts to subversive
measures to abort the marriage between Sparkish and Alithea. Blues
were chosen to portray this nature.
Dorilant, third member of the trio, is more earthy in his desires
and states so in his "A mistress should be Ii ke a Iittle country retreat,"
speech (I,i, 218-220). A russet linked him to the earthier side of the
palette.
.. 17
Sparkish, our most foppish pretender-to-wit, was dressed in
outrageous fashion in a color scheme which contained hues that were a
little too bright and a bit too strong in their contrast choices. He had
more of everything: ribbons, details, snuff boxes, mirrors, handkerchiefs,
walking sticks, and feathers. So determined to be envied and admired,
he ceases to have any judgment and ends up becoming the butt of the
"wits" to which he pretends.
Pinchwife, a member of the landed gentry which surrounded
London, lacks the social polish of the other "peacocks." He is deter
mined to hold onto his country wife, exclusively and through this is
punished with her "loss." A grayed hue range of the envious green
family provided the basis for Pinchwife's color scheme.
Sir Jaspar Fidget, a true member of the "wits," was in a blue
green scheme with touches of gold and white to accent his social status.
Choice of teal green exemplified his business/money ventures and
pointed out his direct apposition to the motivations of Lady Fidget,
pleasure.
Alithea, the ingenue, was set in opposition to Pinchwife, her
brother. A lavender scheme harmonious to the greens of her brother
was chosen, for its sophistication and taste. A pastel value scheme kept
her youthful, courtly character.
~ 18
Lady Fidget, in saturated wine, was linked to the pleasure plot
hue of red. Stronger contrast was utilized in her gown and accessories,
placing her at the pinnacle of the social ladder.
Dai nty Fi d get, whose scheme was set on the pastel peach side of
wine and Lady Squeamish on the soft blue side of wine were moved up
the value scale from Lady Fidget's saturation in order to point out Lady
Fidget's decadence and to blend with the value scale choices made for
AIithea and Margery.
Margery, in a bodice with peplum and skirt ensemble, was
characterized more simply and less elegantly. Her value scheme kept
her in the ranges of Dainty, Alithea, and Squeamish, yet the bodice/skirt
combination prevented the ensemble from appearing quite so socially
elegant as the choices for the other ladies of the piece.
Lucy, companion and servant to Alithea, was portrayed in the
lower ranges of the Harcourt blue hues. This choice was made to
reinforce the plain and straightforward nature of this character and
point out her participation in the Harcourt plot.
Textures chosen to interpret the class structure were refined
laces, brocades, damask, and velvets for the higher class strata. These
were wealthy courtiers and we needed to feel like they could have
appeared at court any moment of their daily lives. As we moved down
the class structure, the textures became less reflective and more
i ~ 19 everyday. Cotton, corduroy, tapestry, and wools were textures which defined these characters.
Open decolletage choices exploited the ladies in the style of the era. Departure from the male silhouette in the length of vest was chosen to expose the crotch area to view. These choices served to ill ustrate the directors desi re to reflect the dandyism and sensuality of the period. Fabric choices and exquisite tailoring reinforced the fine clothing requirements.
Wigs would be utilized to emulate the male full bottom wigs that were stylish during this era While wigs for ladies were historically less common, these would be utilized to insure a consistently reliable look for all the ladies of the cast. In this manner the actresses would not have to be bothered with the setting of their personal hair each evening.
Makeup would be in natural ranges but in a very pastel palette sl nce the leaded white look of the Restoration era was deemed too extreme for the overall production style. The designer would leave the
"sparkling wit, superficial behavior, and stinking bodies" to the actors purview, content in the knowledge that under all these layers they would be able to accommodate that requirement.
The wealth of design choices using my "bird theme" as a through line and bound with the intricate color scheme were all targeted to fulfill the director's original concept requirements -- fine clothes to reflect the 20
dandyism and sensuality of the period. Specific character choices were
linked to the individual's level in the social structure through fabric
choices and sophistication of line and si Ihouette.
~ CHAPTER IV
THE PROCESS
Production meetings began in early October 1994. The director
was in New York City during these early meetings, so information was
transmitted to him by fax or by express mai I. A series of telephone
conferences between the members of the design team and the director
facilitated the collaboration process. Based on preliminary character
discussions, and the text, the costume designer prepared an action plot,
a preliminary costume plot, and a packet of silhouette suggestions from
secondary costume history sources. These were mailed to the director
in late October. A meeting was set between the design team and the
di rector on the weekend of the auditions, November 18 and 19. At this
meeti ng, scenic proposals i nvol vi ng style, implementation, and color were
viewed in a model format. The costume designer provided swatches of
possi ble fabric choices that were avai lable in the local market and
proposed his prel imi nary color scheme.
The scenic choices were strongly based on the lithographic
engravings of Hogarth, specifically his Gin Lane series. Although this
21
1 22
was historically later than the time of the playwright, it expressed the
mood of the production to the director and scenic designer. Discussions
ensued regarding the costuming of the period and specific choices were
made from the silhouette studies to achieve comic or dramatic effect.
These ranged from about 1660 to as late as 1700. This latitude was
allowed since the design team agreed we were not replicating the
Restoration but expressing a flavor of this period to the contemporary
audience.
Meetings between the designer, the resident costume designer, and
the costumer took place during the first week of December. Proposed
stock choices and possible build options were discussed. A list of which
costumes were to be bui It and those that were to be altered from
existing stock was prepared. Based upon this list, preliminaries were
then sketched, swatched, and sent to the director for approval prior to
the Christmas holidays. This packet included the final costume plot,
design concept statements, and detailed notes explaining the preliminary
sketches. A conference call with the director, on December 19, provided
the designer with approvals and the limited changes needed to prepare
final renderings. The director arrived to begin rehearsals during the
second week of January and final costume designs were presented to the
entire production team at the January 10 production meeting.
... I 23 Budget discussions took place between the costumer and the
designer on January 9. On January 11, the designer traveled to
Cleveland, Ohio, visiting both Bilt-Rite Fabrics and Cutting Room Fabrics
to accomplish the major fabric purchases. Purchase order arrangements
were made with these stores and the fabrics were to be shipped to the
costume studio upon receipt of the purchase orders by the vendors. On
the return trip, the designer visited Ashland University to view possible
loans from their stock of footwear in larger sizes, and academic robes
which could be altered to reflect the design choices for Quack and
Harcourt's robes. Major purchases of the principal fabrics was complete
except for Pi nchwife's coat fabric and yardage requi red for Margery's
costume. These were obtained from Boone Fabrics in Columbus, Ohio.
The last purchase was a two-color brocade mail ordered from Baer
Fabrics of Louisville, Kentucky to complete the trim fabrics for Sparkish.
On January 17 the show began its build period in the costume
stud io with major purchasi ng complete, and all stock choices pulled and
prepared for the first group of fittings. Muslins of the period patterns
chosen to depict the silhouette choices were completed within the first
week and first fittings were held on January 20 and 21. During this
round of fittings, the muslins were corrected on the performer, and
fitti ngs of stock ward robe took place so alterations could begi n. Fi rst
fabric fittings were accomplished by February 3 and final fittings took 1 24
place February 14-17. First dress took place on February 18. Daunted
by the scope of the production, the designer entered this dress
rehearsal feeling that there was still a mountain of work to do.
However, this proved to be far from the case. Shoes needed to be dyed,
and decorated, hats trimmed and final fitting refinements accomplished,
but this was all. A solid three days of notes during dress completed
the process and the production opened complete on February 22.
During the final week of construction, crew watch took place on
February 15 and on February 16 and 17 training sessions were held
between the designer and the crew. Wig application and care in the
first session and dressing procedures for both initial and quick change
needs were the subject of the second session. Crew assignments were
worked out between the wardrobe mistress, Ni k ki Ebright, and the
designer.
Changes in casting of Quack, which occurred in two instances,
finally required the construction of his coat and breeches. No basic
black suit of this period existed in stock and the final cast choice was
a 42 regular. Fabric budget remained and the choice was made to
construct for this character.
Wigs were pulled from stock except for the character of Alithea
and for Horner. Alithea's was obtained from Lacey Wigs of New York in
a style called 1840. The central parted, ri nglet setti ng offered a perfect
I ~ 25
base upon which to style the "puppy dog ear" silhouette common to the
hairstyles of Restoration ladies of fashion. A warm brunette with red
highlights was a perfect color choice for the performer and the
character. Lacey Wigs also provi ded a stitched cap Georgian male
reminiscent of Thomas Jefferson for use on Horner. Dark brown mixed
with black served to complement the performers black hair. Margery's
red auburn hair was utilized and styled appropriately each act to
accommodate her transition from innocence to corruption.
During the dress rehearsal period, a number of additions and
subtractions were made to the wardrobe. Dorilant's hat was struck since
the actor already topped six feet in height and once wigged and in hat
seemed to be nearly seven feet tall. A morning coat which was to act
as an intermediate garment during an onstage dressing scene for Alithea
was struck along with the dressing scene into Alithea's wedding dress
at the top of act two. A robe that had been altered from stock to offer
a change in "look" for Horner, since we spent so much time in his
chambers, was never utilized, much to the actor's dismay. He loved the
"sweepi ng movement and feel" of the garment. Alternative servant
costumes were anticipated to aid in the first act dressing scene in
Horner's chambers, but the Boy character was able to accommodate the
needs of the scene so these were never uti Iized.
1 26
Choices in the construction of AIithea's fi rst costume were wise anticipations by the designer. The plot requirements regarding the wearing of Alithea's garments by Margery in the final scene were deemed unnecessary by the director in early meetings. But when stage manager progress reports revealed that not only did she need to wear her sister-in-Iaw's clothing but that it must be covered completely by a vol umi nous hooded garment, then the desi g ner was than kfu I for the anticipation of these needs during the construction planning of these garments. Stock yielded a cloak that suited the needs and was thankfully in a soft green which worked within the Pinchwife family scheme. CHAPTER V
EVALUATION
In most instances, the costumes for The Country Wife supported the director's concept and expressed a unified design for the produc tion. They clearly conveyed period sil houette, delineated characters by social class effectively, and visually defined the characters and personalities desired by the director and the text.
A few minor alterations to the desi gn choices would have proved effective. These are:
The authentic longer vest length for the male silhouette would have visually improved the elegance of these characters. Historically, there was a reason for the length choice in this era and altering this broke the visual sweep of the figure in an ineffective manner.
Given the opportunity, the designer would have re-thought the height proportions in Margery's design choices. The break line on the figure of the peplum edge was unpleasantly placed in the overall design.
Possibly the choice of a smaller bum roll could have helped during the production.
27 28
Fabric choices for the wedding gown were beautiful for cinema but
in production the fabric hand proved too stiff and resembled washed
muslin. Pattern was too subtle and needed to be reinforced by some
modification method, possibly pattern reinforcement through marker
application, to bring out the elegant damask design of the fabric.
In the costume for Lady Squeamish, it would have helped the
foppish characterization of the performer to have the scheme in a color
besides the soft blue chosen for the principal fabric. Adding the other
colors of the decoration into the peplum decor could have pointed out
the foppish correlation but the characterization was developed too late
in the rehearsal period to be accommodated by any other method.
Successful choices were the intricate palette relationships planned
and executed by the designer. Sweeping lines of gown and coat
indicative of the period silhouette offered occasions of elegance and
grace even during awkward entrances up and down stairs that seemed
ill suited to the period details of the wardrobe and the action.
The desi gner experienced some frustration over the fact that some
of the particulars which were discussed and planned for between the
director and the designer were not really utilized to their advantage.
For instance, on occasions of ou r havi n g information repeated to us
which was not chosen to be deleted from the scri pt, in order to
p reserve the script's integ rity, (a mi nor poi nt, I felt, si nce we had
1 29
already subtracted the character of Old Lady Squeamish) it might have
added optional visual interest to have utilized some of the onstage
dressing and undressing originally desired by the director. The
director added or subtracted action without communicating this to the
designer. Construction choices/methods could have been altered that
would have accommodated these changes had I been informed. It would
also have speeded completion of the garments involved.
Critically, the production was complimented, in review, for all of
its desi gn elements. Tal k backs provided ad d itional rei nforcement of the
excellence in design statement execution.
The final result of this thesis project was a successful costume
design which supported the production concept and eloquently expressed
the decadence and dandyism desired by the director and required by
the text.
-l SELECTED REFERENCES
Arnold, Janet. Patterns of Fashion: Englishwomen's Dresses and Their Construction c. 1660-1860. New York: Drama Book Pu bl ishers, 1964.
Baker, C.H. Collins. Lely and The Stuart Portrait Painters: A Study of English Portraiture Before & After Van Dyck. London: P. L. Warner, 1912.
Barton, Lucy. Historic Costume for the Stage, new ed. Boston: Walter H. Baker Co., 1961.
Braun and Schneider Publishers. Historic Costume in Pictures. Reprint New York: Dover, 1975.
Baur-Heinhold, Margarete. The Baroque Theatre: A Cultural History of the 17th & 18th Century. London: Thames and Hudson, 1967.
Boucher, Francois. 20.000 Years Of Fashion: The History of Costume and Personal Adornment. New York: Harry N. Abrams, Inc., 1983.
Couch, . Nena. .. Dramatu rg Statement Provided to Desi gn Team." (Columbus, 1994).
Cunnington, C.W., and Cunnington, Phillis E. Handbook of English Costume in the 16th Centu ry. 2nd ed. Boston: Plays Inc., 1970.
Dangerous Liaisons. dir. Stephen Frears with Glenn Close, John Mal kovich, Michelle Pfeiffer, Keanu Reeves. Warner, 1988.
Davenport, Millia. The Book of Costume. New York: Crown, 1948.
Frenchman's Creek. dir. Mitchell Leisen with Joan Fontaine and Basil Rathbone. Paramount, 1944.
Fujimura, Thomas H. The Restoration Comedy of Wit. New York: Barnes & Noble, 1968.
30
I I I ~ 31
Hill, Margot Hamilton, and Bucknell, Peter A. The Evolution of Fashion: Pattern and Cut from 1066-1930. London: B.T. Batsford, 1963.
Hollis, Stephen. "Director's Design Concept Statement." (New York 1994).
Tom Jones. dir. Tony Richardson with Albert Finney, Susannah York, Hugh Griffith, Edith Evans, Joan Greenwood, Lopert Pictures, 1963.
Ki llani n, Michael Morris. Si r Godfrey Kneller and His Times 1646-1723. London: Batsford, 1948.
Laver, James. A Concise History of Costume and Fashion. New York: Scribner, 1974.
Pepys, Samuel. Samuel Pepys, Diary. ed and arranged by Willis L. Parker. New York: III ustrated Ed itions Company, 1932.
Peterson, Roger Tory. A Field Guide To the Birds East of the Rockies. Boston: Houghton Mifflin Company, 1980.
Russell, Douglas A. Costume History and Style. Englewood Cliffs, N.J.: Prentice-Hall, 1983.
Tremain, Rose. Restoration: A Novel of Seventeenth-Century England. New York: Penguin Books, 1989.
Waugh, Norah. Corsets and Crinolines. New York: Routledge Theatre Arts Books, 1954.
The Cut OF Men's Clothes 1600-1900. New York: Drama Book Publishers, 1964.
The Cut of Women's Clothes 1600-1930. New York: Theatre Arts Books, 1968.
Yarwood Doreen. European Costume: 4,000 Years of Fashion. New York: Larousse & Co., Inc.,1975.
·1 1 T
S38IaN3ddV ss
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V XIaN3ddV 34
TABLE 2: ACTION PLOT
I CHARACTER I I II II~.- I~~ I I III/i I IV/i I IV/i i I I
I I I /11 ii/III II
I X X i X i[ ALITHEA I X I . BOY X X ,I Ii Iii : I i I I I I DAINTY I XX I ! I I I I I I I II i DORILANT I XXI X I I
I I HARCOURT X X X X
HORNER X I X X X
JASPER I X I X X X I I LUCY X X X X I I
I MARGERY X X X X
M'LADY X X X
I PARSON I I
PINCHWIFE X X X I X X
I I QUACK X X I I I I I SPARKISH X X i X X I
II i SQUEAMISH X i X 35
TABLE 2: ACTION PLOT, continued
CHARACTER IVI I Vii Viii I V/iii I V/iv iv I II I I I I I i I ALITHEA X X I I I BOY I X I I X DAINTY ! X DORILANT X I I I HARCOURT X I I i I HORNER X X
JASPER X X
, I I LUCY X I X I X ! ! ! i MARGERY X X X X I
I M'LADY X
I I , PARSON I X ! I i I I PINCHWIFE X X I X X X i I i ! QUACK X X I
SPARKISH X X I X
SQUEAMISH X X 36
TABLE 3: COSTUME BREAKDOWN - WOMEN
ALITHEA 1. Tube, corset, tights, hiproll, petticoat, under ski rt, bodice, sk i rt, wi g, head piece, shoes. 2. ADD hooded cloak. 3. CHANGE underskirt, gown, headpiece. 4. ADD capelet.
DAINTY 1. tube, corset, tights, hiproll, petticoat, under skirt, gown, wig, headpiece, shoes. 2. ADD capelet.
L. FIDGET 1. tube, corset, tights, hiproll, petticoat, under skirt, gown, wig, headpiece, shoes. 2. ADD capelet.
MARGERY 1. tube, corset, tights, hiproll, petticoat, under skirt, bodice, headpiece, shoes. 2. CHANGE TO chemisette, vest, breeches, coat, hat. 3. REPEAT #1 - ADD cloak. 4. CHANGE underski rt, bodice, ski rt.
SQUEAMISH 1. tube, corset, tights, hiproll, petticoat, under ski rt, gow n, wi g, shoes. 2. ADD capelet.
LUCY 1. tube, corset, tights, hiproll, petticoat, under skirt, bodice, wig, headpiece, shoes. 2. CHANGE underskirt, bodice, skirt.
CHORUS #1 1. tube, corset, hiproll, petticoat, tights, under skirt, bodice, headpiece, shoes.
CHORUS #2 1• tube, corset, hiprol l, petticoat, tights, under skirt, bodice, headpiece, shoes.
I I I IIIIIiI. 37 TABLE 4: COSTUME BREAKDOWN - MEN
BOY 1. socks, breeches, shirt, vest, coat, wig.
DORILANT 1. socks, breeches, shirt, stock, coat, baldric, sword belt, wig, shoes.
HARCOURT 1. socks, breeches, shirt, vest, coat, baldric, sword belt, wig, hat, shoes. 2. CHANGE coat, breeches,robe, hat, jabot, remove wig. 3. REPEAT #1.
HORNER 1. breeches, shi rt. 2. ADD socks, vest, coat, shoes, wig, hat.
J. FIDGET 1. chemisette, socks, vest, breeches, baldric, sash w/muff, shoes.
SPARKISH 1. socks, rhinegraves, shirt, jacket, baldric, sword belt, wig, hat. 2. CHANGE rhinegraves, jacket, baldric, REMOVE sword belt. 3. rhinegraves, shirt, jacket, baldric, hat.
CHORUS #1 1. socks, breeches, shirt, vest, coat, wig, shoes.
CHORUS #2 1. socks, breeches, shi rt, vest, coat, wi g, shoes. 2. CHANGE breeches, coat, jabot, hat. REMOVE wig.
1 38
TABLE 5: BUDGET BREAKDOWN
BUDGET ACTUAL
HORNER $ 256.00 $ 162.00 SPARKISH #1 253.50 36.00 SPARKISH #2 153.50 58.50 SPARKISH #3 197.00 27.00 BOY 6.25 -0 DORILANT 70.00 97.20 JASPAR 86.80 33.44 HARCOURT 166.00 113.80 PINCHWIFE 180.00 149.71 QUACK 145.00 168.10 ALITHEA #1 170.85 180.90 ALITHEA #2 231.56 200.40 MARGERY #1 177.50 180.23 MARGERY #4 45.00 23.62 SQUEAMISH 227.00 78.32 DAINTY FIDGET 173.50 160.65 LADY FIDGET 278.50 158.71 LUCY 56.00 -0 TRIM 200.00 500.00 NOTIONS 67.50 98.02 SOCKS & GARTERS 150.00 150.00 WIGS 108.00 108.00
SUBTOTAL 3398.96 2684.60 DRYCLEANING 250.00 575.00
TOTAL 3648.96 3259.60
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NO SA ON PATTERN 1fe" = 1 inch
A - BODICE BACK B - SIDE BACK C - SIDE FRONT D - CENTER FRONT E - SLEEVE BAND F - COLLAR G - SHOU LDER H - SKIRT I - UPPER SLEEVE J- UNDER SLEEVE K - PEPLUM #1 y L - PEPLUM #2 M - PEPLUM #3 N - PEPLUM #4 o - PEPLUM #5
FIGURE 1 - SCALED PATTERN: Lady Fidget Gown / B 41 / c A
--, I .CY E
Q
NO SA ON PATTERN 1h" = 1 inch
A - COAT FRONT B - UPPER SLEEVE C - UNDER SLEEVE D - FLAP E - COAT BACK / I I I I F F - VEST FRONT G - VEST BACK
FIGURE 2 - SCALED PATTERN: Horner Coat 42
EMBROIDERED ORGANZA MOB CAP BASE
: SIDE VIEW
LAPPETS _
\. "
BACK
PINK SATIN RIBBON LAYERED OVER HORSEHAIR BRAID WITH TAPESTRY GROSGRAIN OVERLAID
FONTAGE FAN WIRED ON UPPER EDGE TRIMMED WITH LACE AND BRAID
HEADPIECE COMB • • FRONT VIEW
FIGURE 3 - COSTUME ACCESSORY: Lady Fidget Headpiece
~ 43
ALUMINUM SILVER LACE APPLIQUE INDUSTRIAL ATTACHED WITH SCULPT OR COAT DOOR KNOB ANTIQUED WITH BLACK RUB & BUFF
SI LVER ROPE
SILVER SOUTACHE FEV AGED METALLIC TASSELS
STOCK POOL CUE I PAINT CREAM THEN SEAL WITH WHITE SHELLAC
59" MAXIMUM ALUMINUM CHAIR LEG TIP
FIGURE 4 - COSTUME ACCESSORY: Jaspar Walking Stick ~ I !
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