BLACK ENSEMBLE THEATER’S WOMEN+ IN THEATRE: MODERN TECHNOLOGIES JACKIE TAYLOR UNIQUE CHALLENGES FOR MODERN STUDENTS 2019 TECH EXPO HIGHLIGHTS THEATRE DESIGN & TECHNOLOGY SUMMER 2019

ELEVATING THE EXPLORING THE MARRIAGE OF COSTUME DESIGN AND THROUGH TWO AMERICAN CLASSICS CONTENTS SUMMER 2019 | Volume 55, Issue 3

FEATURES

8COSTUME DESIGN Elevating the Dance By E. Shura Pollatsek with photography 22LEADERSHIP by Mitchell D. Wilson 18 In dance, the performer’s body is the LUMINARIES Building a Better Workplace medium of expression, and so the By Caitlyn Garrity costume is often the fulcrum of the 2019 USITT Keynote Address: A survey of female-identifying theatre overall design. This feature explores the Jackie Taylor design and production practitioners re-envisioning of two beloved American The founder and CEO of Chicago’s found two significant obstacles that classics by two dance companies as an Black Ensemble Theater shares her women+ face in theatrical design example of the essential collaboration story of founding the iconic theatre and production industry careers: lack required of costume designers and committed to eradicating racism of support for parents and negative choreographers. and enlightening audiences with its workplace environments. The theatre outstanding original productions and community has an opportunity to take exceptional educational outreach some successful steps towards creating programs. an inclusive environment for women+.

DEPARTMENTS ON THE COVER The Cowardly Lion (Liang Fu) in The Wizard of Oz at Kansas City , a co-production with Colorado Ballet and the 4 From the editor Royal Winnipeg Ballet. Choreography by Septime Webre and Book reviews costume design by Liz Vandal. Photo by Mitchell D. Wilson. 54

2 | THEATRE DESIGN & TECHNOLOGY | SUMMER 2019 Elevating the Dance When the performer’s body is the medium of expression, the relationship between costume design and choreography requires careful collaboration

BY E. SHURA POLLATSEK WITH PHOTOGRAPHY BY MITCHELL D. WILSON

8 | THEATRE DESIGN & TECHNOLOGY | SUMMER 2019 or designers trained in other performance genres, de- signing costumes for dance presents new challenges but also creates distinctive opportunities. Designers may be called upon to create giant skirts that fill the stage, gos- samer-thin tunics that withstand acrobatics, or nearly- Fnude unitards that highlight each dancer’s unique muscles and curves. Beyond the logistics of creating costumes that move and function well, another key feature of dance costume is the cen- trality of the body itself, and therefore, by extension, the garment that covers and reveals it. In other forms of stage design like op- era and theatre, directors tend to start either with the whole de- sign team or with scenery. However, in dance, the performer’s body is the medium of expression, and so the costume is often the fulcrum of the overall design.

The Cowardly Lion, The Tin Man, Dorothy, and Scarecrow (Liang Fu, Lamin Pereira dos Santos, Amanda DeVenuta, and James Kirby Rogers). Photo by Mitchell D. Wilson.

SUMMER 2019 | THEATRE DESIGN & TECHNOLOGY | 9 Dancers from Nashville Ballet performing Appalachian Spring. Note the Mother, played by Katie Vasilopoulos, is wearing her shawl look. Photo by Mitchell D. Wilson.

The re-envisioning of beloved Amer- Prior to putting pencil to sketchpad or Appalachian Spring performed March 2017 ican classics by two dance companies toe to studio floor, the choreographers By Nashville Ballet and Nashville Symphony Choreography by Paul Vasterling provides an example of the essential and designers on each show met to talk Music Composition by Aaron Copland collaboration required of costume de- through images and ideas, and to distill Music Performance by Nashville Symphony signers and choreographers. The Kan- the foundational text to its essentials. Conducted by Music Director Giancarlo Guerrero Costume Design by Holly Hynes sas City Ballet (as a co-production with Both choreographers chose a costume Lighting Design by Scott Leathers Colorado Ballet and the Royal Win- designer with whom they had a well- nipeg Ballet) presented The Wizard established history, and their familiar of Oz, and Nashville Ballet produced mode of communication made the de- Aaron Copland originally com- Appalachian Spring with the Nashville sign process flow smoothly. Vasterling posed Appalachian Spring in 1944 for Symphony, and the author and pho- and Webre both like to have design choreographer Martha Graham. The tographer visited both companies. In ideas in place before finalizing choreog- evocative music written for a small en- detailed interviews, costume designers raphy. They wanted to create movement semble used quintessential American and choreographers shared their influ- already knowing the shapes the clothed styles like fiddle tunes and hymns, in- ences, inspirations, and challenges as body would form, the way the fabric cluding the famous Shaker hymn “Sim- they balanced paying tribute to what would flow, and which features would ple Gifts.” The setting was a pioneer came before with developing a unique, be revealed or concealed. settlement, which also symbolized the relevant work. Acclaimed photographer wider ideas of America. Graham’s bal- Mitchell D. Wilson documented both let followed a young couple about to be productions in his dynamic style and Appalachian Spring married, with additional characters of a has provided the images for this piece. In 2017, Nashville Symphony initiated preacher, an older pioneer woman, and Choreographers for both produc- a collaboration on Appalachian Spring an ensemble of fellow settlers. tions wanted support and inspiration between the Symphony and Nashville Vasterling’s first task was to find a from trusted colleagues to help steer Ballet. Artistic Director Paul Vasterling new take on the classic by developing the production toward the desired end. jumped at the chance to stage the beau- choreography that would pay tribute Choreographer Septime Webre did not tiful Copeland music with the danc- to Martha Graham, but in his own lan- begin his journey with The Wizard of ers at Nashville Ballet. He chose his guage. To create his own work, Vaster- Oz until costume designer Liz Vandal frequent collaborators Holly Hynes for ling, of course, started with the music. was on board. Choreographer Paul costumes and Scott Leathers for light- After studying the storyline from the Vasterling knew costume designer ing. The symphony itself would be the original, he chose to simplify the char- Holly Hynes would have the right ap- backdrop for the dancers, so no scenery acters to a mother figure and a group proach for his Appalachian Spring. was used. of young people. “I started thinking

10 | THEATRE DESIGN & TECHNOLOGY | SUMMER 2019 about the Graham version, and how Katie Vasilopoulos the central figures were a man and as The Mother a woman making their way through and dancers from the world, and decided to have a more Nashville Ballet. Photo by Mitchell D. Wilson. feminist view and make it just about a woman,” he says. As he continued to work through the themes of the piece, he went back to the essentials of the work itself and the original creators. Vasterling explained how, during a con- versation with a friend, they realized the irony that this quintessential American work “was written by a group of outsid- ers: a woman, a gay Jew, and a Japanese man in 1944. [Graham, Copland and Artist/Set Designer Isamu Noguchi] … That really set the theme of [my version of] the ballet—a central figure that rep- resents a mother [but also] the idea of America. There is opportunity and then there are outsiders and the outsiders are always trying to get in.” Although not a practitioner of Gra- ham’s technique, Vasterling wanted his expressionistic ballet choreography to pay homage to the icon. However, his personal to the material deepened as he developed previous work, Layla and the Majnun, She chose earthy textures and colors the work. His usual mode of working they visited the Islamic Art section of with an added touch of stronger hue on is to finish the concept before begin- the Metropolitan Museum in New York, each dancer, and also used pattern to ning choreography. He weaves together wandering the galleries, responding to create a “relaxed and simple” feeling— disparate influences—ideas from texts artifacts and images, and pointing out plaid skirt panels for the women and he reads, research, etc. For this work, details to each other. For Appalachian striped shirts for the men. The Mother while he developed it from what he Spring, they visited a Shaker village. character’s outfit is the most related to terms “a confluence of events,” he didn’t Hynes studied the colors and textures Shaker clothing, while she let more skin resolve everything until he had worked of Shaker artifacts, as well as the bal- show on the younger characters. for a while with the dancers in the stu- anced simplicity. The designer was To develop this alternate silhouette, dio. “I couldn’t figure out how to finish struck by the idea that they are “people Hynes looked to Graham and Copland’s this ballet and then suddenly realized it of the earth but also of the heavens.” era for inspiration, the 1930s and ’40s. was a tribute to my mother,” he says. Hynes begins any dance costume She kept the flavor of Graham’s full Vasterling works with a variety of de- design by connecting with the music. skirts, but only the mother figure has signers, but he likes Holly Hynes’ style for She strives to translate not only what the long, covering length. Hynes devel- his more minimalistic pieces. Her years of the music says to the choreographer, oped a skirt shape with inset panels that experience designing for top companies, but also what it says to her. “Shutting open and close like a fan as the dancer including New York City Ballet, Ameri- your eyes, and seeing what you imagine twirls; the touch of colorful plaid gives a can Ballet Theatre, and the Paris Opera as you listen—maybe that morphs or bit of a surprise for the audience. Hynes Ballet have honed her ability to bring out changes [your ideas] or gives you some describes her connection with Gra- thematic ideas without overwhelming the other new direction.” Edithe Gilfond’s ham’s work being that she “didn’t want expressive power of the dancer’s body. As costume design for the original Appala- to lose the heaviness and the flow of the his concept developed more layers, and chian Spring featured Graham’s signa- skirt, because it takes so long for that he worked on interweaving the abstract ture full skirts, but as part of a realistic, big old skirt to come back to earth.” The themes of outsider-ness, tradition, and his although simplified, translation of Shak- designer chose silk noil for the women’s family connection, he confirmed his feel- er clothing to modern dance. Hynes costumes for the rough texture, the dye- ing that she was the right collaborator for developed a more abstract look, while ability, and the flow. The Nashville Bal- this ballet. keeping to Vasterling’s request that the let costume shop did an admirable job When developing a work, Hynes dancers look like individual people in integrating the stiffer taffeta plaid pan- and Vasterling not only discuss ideas real clothes. Together, they created a els into the drapey skirt fabric. She also and look at sketches, but they also ex- character for each dancer—the trouble- found fabrics for the men’s costumes plore research together firsthand. For a some one, the youngest, the quiet one. that stretched and moved as needed for

SUMMER 2019 | THEATRE DESIGN & TECHNOLOGY | 11 the dance, but still gave the appearance becomes less significant. In ballet—clas- The Wizard of Oz at Kansas City Ballet of structured trousers and vests. sical or even neoclassical—we speak performed October 2018 Hynes made sure that the period fla- A co-production with Colorado Ballet and the so much with the legs. So, this makes Royal Winnipeg Ballet vor of the piece did not overwhelm the it a little more contemporary because it Choreography by Septime Webre primary objective—showing the lines of focuses the movement up to the torso Music Composition by Matthew Pierce the dancers’ bodies and the subtleties of Scenic Design by Michael Raiford and the arms,” says Vasterling. Hynes’ Costume Design by Liz Vandal the choreography. The men’s costumes fabric choices captured exactly what Lighting Design by Trad A Burns have the V neckline of the vest without Vasterling was looking for and were in Projection Design by Aaron Rhyne shirt collar to showcase collarbone and Puppetry Design by Nicholas Mahon harmony with the score. He appreciated Design Coordination by Trad A Burns neck, and the pants are cut fairly lean, that the men’s sleeves had movement so the shapes of the legs are still clearly to them, “kind of like the music, it has apparent. The younger women’s halter this ecstatic wave to it.” The total stage Webre had wanted for years to do an shaped bodice shows the shoulders to picture, accented by the clean lines of adaptation of the L. Frank Baum story, advantage. Although the Mother’s cos- Scott Leathers’ lighting, has simplicity but waited until he felt that he had some- tume stayed more covering than the rest but also texture, pathos and joy. thing new to add. Despite beginning his of the cast, Hynes streamlined her de- choreographic career in more abstract sign from her original version. Designer The Wizard of Oz dance styles, he felt himself drawn to and choreographer decided that a nar- narrative and sought to create his own rower sleeve would better show the lines Unlike the abstracted Appalachian contemporary style of story . He of the dancer’s body in her solo work, Spring, Septime Webre and Liz Vandal began with classics, first trying his hand and the shawl and head covering should transformed a tale best known on the at Romeo and Juliet. However in Webre’s only be worn during part of the dance. page and the screen into a classic yet up- estimation, when choreographing from The weight and flow of the skirts in- dated story ballet. While they did explore an existing ballet score, a composer fluenced Vasterling’s choreography, and what it means to take a fantastic journey, such as Prokofiev “has already done 75 he developed the movement with Hynes’ their initial conversation about the Wiz- percent of the work. He has structured designs in mind, knowing that, as he ard of Oz was about solving some of the the dance and the choreographer just described, “It’s not just what [the skirt] staging challenges as a frame for their needs to make up steps to that glorious can do, it’s what it masks. The leg work overall approach. music.” After working through a number

FABRICS PROJECTION SUPPORTING THE ENTERTAINMENT INDUSTRY FOR OVER 70 YEARS

(800) 369-3695 www.gerriets.us FLOORING [email protected] EQUIPMENT

12 | THEATRE DESIGN & TECHNOLOGY | SUMMER 2019 The “Yellow Brick Roadies,” dancers who of classics, Webre decided to make a bal- embody the idea of the let completely from scratch. He chose Yellow Brick Road. Photo Alice in Wonderland, which he created by Mitchell D. Wilson. at the Washington Ballet in collaboration with Liz Vandal and composer Matthew Pierce. This 2012 ballet laid the ground- work for The Wizard of Oz, and he used the same approach for both. He created a libretto in collaboration with Vandal, who served not only as costume design- er but also as a dramaturg, helping him to see deeper into the characters and their function in the story. He worked with Pierce to decide the shape of the music for each section of the story. Webre waited until he had several concrete staging ideas for L. Frank Baum’s story before proposing The Wiz- ard of Oz to producers. Once he decided to personify the yellow brick road, stage the winged monkeys with puppets and projections, and use a bold color palette for Munchkinland, he began to see where his version might lead. Delving into the secondary characters also helped him to develop his own take on Oz—“what they might look like, dance like, and maybe even what the music might sound like. One of the things that makes The Wiz- ard of Oz special is the ensemble of char- acters that Dorothy encounters—their outlandishness, their humanity, and the sense of fantasy that is made available in the book,” Webre says. Equally important to solving these design challenges was having the right Toto (Jeremy Hanson puppeteer) gets to know a member of Munchkinland (Joshua Bodden). Photo by Mitchell team in place. Pierce’s music and Van- D. Wilson. dal’s costumes were part of the package Webre proposed to potential producers. ing from her roots in fashion and honed chose not to re-watch the movie or read After five collaborations with Pierce and during her work designing costumes the book. “I wanted to be intuitive about 20 years of work with Vandal, Webre for prominent companies like Grands the story itself, be the one on the produc- knew they were essential to realizing his Ballets Canadiens de Montreal, Marie tion team who was—feeling it on an in- vision. As the production progressed, Chouinard, Mannheim Theater, and tuition level instead of the background puppet designer Nicholas Mahon and Cirque du Soleil. Webre recalls that he and history,” Vandal says. She based her projection designer Aaron Rhyne proved saw Vandal as his “artistic soulmate. We ideas on Webre’s descriptions of how he equally vital to making the magic hap- just clicked right away.” They brainstorm saw the characters and the story. pen. Mahon created not only Winged very quickly, and Vandal enjoys the great Webre wanted the Yellow Brick Road Monkey puppets in forced perspective trust Webre has in her to take his ideas to be more than a scenic element. To him, behind the humans in Vandal’s stern and translate them into costumes. She the road is a metaphor for Dorothy’s ad- leather biker looks, but also a stylized shows him sketches and swatches al- venture, and he and Vandal created the yet life-like Toto who wriggled and leapt most as a formality, knowing that she idea of Yellow Brick Roadies—eight men across the stage alongside a puppeteer can create costumes and characters he who are whimsical, but also a bit danger- dressed like a Kansas farmhand. Rhyne will connect with. Her style is to work ous. Starting with Vandal’s idea of the created the tornado, the Wizard’s dis- very intuitively. Being Canadian, Vandal straw as a Mohawk hairstyle, they came guises, and many other magic effects. had less history with The Wizard of Oz up with a lithe, punk-influenced Scare- Webre and Vandal have a very dy- than most Americans do, and she de- crow. They wanted the Cowardly Lion namic working relationship that began cided to use her outsider perspective to to have a flashy, macho look that he put on their first meeting 20 years ago. her advantage. Although she was famil- on like a mask to hide his tender nature Vandal has a distinctive style, originat- iar with images from the classic film, she underneath. Thus, Vandal developed a

SUMMER 2019 | THEATRE DESIGN & TECHNOLOGY | 13 The Wicked Witch (Elysa Hotchkiss) and Glinda (Taryn Mejia) face off in Munchkinland. Photo by Mitchell D. Wilson.

glam-rock influenced style for him, his fur-trimmed sleeveless vest bedecked with jewelry. They kept the classic green skin for the Wicked Witch, but the rest of her costume came from Vandal’s riff on a crow. The beak inspired her curved hat shape and the green and purple accents lend highlight to the black, like the bird’s iridescent feathers. Vandal’s designs do pick up on some of the classic images associated with the story, but she has also created her own worlds. Kansas was done in grays, both warm and cool, in shapes that evoke a deconstructed version of the early 20th Dorothy (Amanda DeVenuta) and Toto swept century. She cleverly brought in hints away by the tornado. The of the Oz characters to foreshadow the tornado is created by flags farm hands and crotchety neighbor be- carried by dancers and also with projections. Photo by coming the Scarecrow, Tin Man, Lion, Mitchell D. Wilson. and Witch. As she passes by on her bi- cycle, Miss Gulch wears a hat decorated

14 | THEATRE DESIGN & TECHNOLOGY | SUMMER 2019 with a crow and her tight bodice and full skirt echo the shape of the witch’s dress. “I decided for some reason that [the bal- let] would be all asymmetrical and I’ve never done that,” the designer explained. “Normally I like symmetry.” Dorothy is the only character in the ballet whose costume is symmetrical. Vandal sought to give each part of Oz its own unique look, with contrast between angles and curves, juxtaposing matte against shiny. “I wanted people to travel as she is trav- eling, as if it’s different planets.” From Webre’s request that Munchkinland be a garden of flowers, she created rounded costumes in a riot of color and graphic pattern. Emerald City is angular and fac- eted and glittery “like a disco ball planet. The lighting [by designer Trad A. Burns] makes it all come alive.” Vandal’s goal with all her designs is to give each danc- The Tin Man (Dillon er a “sexiness,” which for her means a Malinski) dancing in sense of power and beauty, and the feel- front of a projection ing of honoring and being “in the body.” representing the Great and Terrible Oz. Photo by The influence of the costume design Mitchell D. Wilson. on the production was magnified by the fact that they had to change set design- ers mid-stream. Set designer Michael

SAVE THE DATE AND CELEBRATE USITT’S 60TH ANNIVERSARY AT THE GEORGE R. BROWN CONVENTION CENTER HOUSTON TEXAS APRIL 1-4, 2020

More info at usittshow.com

SUMMER 2019 | THEATRE DESIGN & TECHNOLOGY | 15 live performance. “Every time I watch [a piece], I see something different I hadn’t seen before,” says Hynes. “And that’s just thrilling. That’s a living piece of art.” And although the choreographer is the one who signs off on the designs, dancers have to be comfortable and empowered in their costumes. “Dancers are in their bodies—if you make them beautiful and honor their bodies, they glow,” Vandal ex- The “three ruffians” played plains. “You made them happy.” by Angelin Carrant, Joshua Bodden, and Cameron While, of course, there is no right Thomas. These characters way to collaborate or to make art, a key pay homage to the Lollipop aspect of the designer-choreographer Guild in Munchkinland. Photo by Mitchell D. Wilson. relationship is finding an effective mode of communication in order to develop ideas together. Some choreographers re- spond best to a lot of preparatory work like exploring research and talking about sketches, while others prefer to move quickly into three dimensions, looking at prototypes on the body. Trust and mutual understanding take time to build. Most artists like to develop a relationship with collaborators, and gradually find a com- mon language or shorthand. Especially for a first collaboration, many designers suggest responding to the piece being de- signed but also responding to the chore- ographer’s overall body of work, as well as to the aesthetic and style of the dance company commissioning the work. The Wicked Witch of the West (Elysa Hotchkiss) Costume design for dance is best and members of the corps learned through experience, working with portraying Winkies. Photo the medium’s unique demands. When by Mitchell D. Wilson. designs are due prior to the start of re- hearsals, even seasoned designers must B. Raiford joined the team after the shape helped him develop “cocky and be able to adjust and adapt later in the costume sketches were finished, and he preening” choreography for them. At process as choreography develops. While took his cues from the colors and shapes times, the influence goes even further. designers hope that most choreographers Vandal developed. He echoed the graph- The “Yellow Brick Roadies make a lot of have respect for the timeline and don’t ask ic colors and patterns of her costumes graphic shapes in the air that mirror the for changes on a whim, both designers in the giant geometric flowers that fly costumes themselves,” Webre explains. and choreographers need to be willing to in for Munchkinland, and the dynamic, start fresh if a costume is no longer serv- angular sunbursts in the Witch’s castle Relationship Advice ing the piece well. Holly Hynes, who has complement the swirling strips of the designed more than 250 ballets, explains Winkies’ Cossack-like coats. Interviews with choreographers and de- her strategy: “Better to have it all and then Webre explains how “the DNA of signers reveal that most agree on the key take it away than to get on stage and think the costumes worked themselves into components of successful dance costume ‘that’s not enough.’ Because then you’re not just the set design but also the steps.” design. Designers must see the choreog- [creating new garments] at the last min- He began choreographing the ballet raphy in rehearsal as often as possible ute and it’s not your best work.” For Ap- after the costumes were completely de- and provide prototypes well ahead of palachian Spring to be a success, Hynes signed. He prefers to work in this way. dress rehearsal to be able to truly evalu- stayed tuned to the needs of the piece and The costume illuminates the character ate the look and function of the costumes the ideas of her collaborators from the and helps him develop the way that they as the dancers move. They must strive to initial meetings through the final dress re- move. The three “ruffians,” Webre’s hom- deeply connect to the piece, the music, hearsals. She found plaids with the right age to the Lollipop Guild in the movie, and to all of the individuals involved in texture to add interest to the simplicity. are three athletic men in fluorescent col- the collaboration. Successful designers She looked at her work with fresh eyes ors with flanges protruding from hip and like Hynes not only plan for but embrace and saw that even a simple cap or shawl shoulder. Their David Bowie-influenced the constant change that comes with seemed over-detailed.

16 | THEATRE DESIGN & TECHNOLOGY | SUMMER 2019 For The Wizard of Oz to be a suc- But it can’t overtake the dance—it must Millie and All Shook Up, and for the cess, Vandal drew on her years of expe- support the movement. It’s got to under- Metropolitan Opera. After many years as a rience to choose the right fabrics and stand how the body moves, how the body freelance artist, she is now based in Kentucky create silhouettes that not only show is complemented.” where she is professor of costume design and character and scene, but also work with technology at Western Kentucky University. partnering and lifts. She created gar- E. Shura Pollatsek is a ments that moved well with the body, versatile costume designer Mitchell D. Wilson is well known for such as the streamer-like skirt on the whose work spans theater, cinematic eloquence, impressionistic historical Wicked Witch and the poppies’ buoy- dance, opera, film, and re-creations, and striking juxtaposition of ant circle skirts, and made sure that the television. She is the author of photojournalism and visual metaphor. Recent dancers had ample rehearsal time in the the book Unbuttoned: the Art and Artists of work includes four projects for PBS’ series specialized shapes. She used techniques Theatrical Costume Design, as well as Frontline, and When Worlds Collide that she learned at Cirque du Soleil de- multiple articles for TD&T and other about the origins of Latino Culture, also signing OVO to create unusual body national publications. Pollatsek and her for National PBS. Other favorite projects shapes, support headpieces, and handle collaborator from Unbuttoned, photographer include Andrew Jackson: Good, Evil and athletic movement in harnesses. But she Mitchell D. Wilson, are currently at work on a the Presidency and the four-hour PBS thinks her best accomplishment is her second book, documenting the collaborative series The New Heroes, hosted by Robert ability to relate to her collaborators. “I process between costume designers and Redford. His cinematography for the series connect myself to what is right for the choreographers. The new book will continue was nominated for a National Emmy award. group. I am a giver and receiver of infor- their style of weaving together interviews His work has been recognized with numerous mation. We can’t be neutral receivers, with artists, background information, and awards including Primetime Emmys, the though, because of our personalities. I photos that capture the spirit of the creative DuPont Columbia Award, and the Peabody try to be as receptive as I can without any work. Favorite costume design credits include for Excellence in Broadcast Journalism, as well judgment but I feel as it passes through Halcyon and Thirst with choreographer as being named National Press Photographer my body.” Christopher K. Morgan, The Duel and of the Year. He began his career as a combat Septime Webre sums up it up well. Woodrow Wilson on PBS' The American cameraman and underwater photographer in A successful dance costume should Experience, and The Kingdom of David the elite Combat Camera Group of the U.S. “have its own unique point of view in and Andrew Jackson, also for National PBS. Navy. He is also a member of the Directors addition to the dance—[it should] el- She has been assistant costume designer for Guild of America. evate the dance, not just complement it. Broadway, including Thoroughly Modern THEATRE MFAACTING COSTUME PRODUCTION TECHNICAL PRODUCTION THAT MOVES.

drama.unc.edu

playmakersrep.org Shanelle Nicole Leonard ‘19 Sense & Sensibility Photo by HuthPhoto.

SUMMER 2019 | THEATRE DESIGN & TECHNOLOGY | 17