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Interpreting the Costume Designs of in the Next Room Through Victorian Fashions of the 1890S Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2016 Interpreting the Costume Designs of In the Next Room through Victorian Fashions of the 1890s. Devario D. Simmons Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons, and the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4277 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Interpreting the Costume Designs of In the Next Room through Victorian Fashions of the 1890s. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Costume Design at Virginia Commonwealth University. By Devario D. Simmons BA in Production Studies Clemson University ‘13 MFA in Costume Design VCU 2016 Director: Toni-Leslie James, Associate Professor Head of Design/Tech, VCU Theatre Virginia Commonwealth University Richmond, Virginia May 2016 Acknowledgements I first would like to thank my mother, Kimeco Livingston, for being not only an inspiration but also the best mother I could have asked for. To Toni-Leslie James for seeing the potential and believing that with the proper teaching and training that the talent within me would mature to something greater. To Neno Russell for continuing to challenge me with my knowledge of the craft, but also how to stay true to myself in the process. To Isabela Tavares De Melo for being my best friend, and so much more, I needed during my time at VCU. To Xiaolin Lan and Hannah Chalman for being understanding during what we all may consider the most difficult time in our education. To Tanya Boucicaut for the spiritual guidance I relied on from day to day. To Dr. Noreen Barnes for being a listening ear when I seemed unsure about educational decisions. To Bonnie McCoy for teaching me that it is perfectly fine to make painting mess ups; just do it once but not again! To Kendra Johnson, Shannon Roberts, Kerrie Brown Seymor, Matthew Leckenbusch and many more at Clemson University for igniting the fire within me which still burns today. Lastly I would like to thank my grandmother Helena Williams, my sister Shakirie Simmons, my little brother Raymond Simmons Jr. and the rest of my family for supporting me and being there to help with plane tickets, bus rides and much more; I would not have gotten through it without you all. I would also like to thank my father, Raymond Simmons Sr., who I lost in 1997; for teaching me in the few years we had together how to be a loving, respectable and a courageous human being. ii ©Devario D. Simmons 2016 All Rights Reserved iii Table of Contents List of Figures……………………………………………………………………………………..v Abstract…………………….……….…………………………………………………………...viii Introduction………………………………………………………………………………………..1 Synopsis……………….…………………………………………………………………………..3 Directors Concept and Concerns….………………………………………………………………4 Plot Summary……………………………………………………………………………………..5 Character Analysis………………………………………………………………………………...8 Historical Background and Clothing Research…………………………………………………..11 The Importance of Wigs…….……………………….……………………….………………….28 Designing Transitions In…………………………………………………………………………29 Swatching and Color Palette …………………………………………………………………….30 Sketching and Costume Renderings……………………………………………………………..32 Production Bible and Paperwork………………………………………………………………...33 The Production…………………………………………………………………………………...36 Conclusion……………………………………………………………………………………….39 Appendix I……………………………………………………………………………………….40 Appendix II………………………………………………………………………………………57 Bibliography……………………………………………………………………………………..70 Vita……………………………………………………………………………………………….71 iv List of Figures Figure 1: Victorian Advertisement for Treatment………………………………………………...1 Figure 2: Kendall, William - An Interlude (1907)…….……………………….………………...11 Figure 3: John Singer Sargent, Lady Agnew of Lochnaw…….……………………….………...11 Figure 4: Late Victorian Fashion- Shirtwaist- 1890s Vintage Cabinet Photograph……………..11 Figure 5: Mrs. Givings Production Photo Act 1 Sc 1……………………………………………12 Figure 6: Mrs. Givings Production Photo Act 1 Sc 2……………………………………………12 Figure 7: Mrs. Givings Production Photo Act 2 Sc 2……………………………………………12 Figure 8: Met Museum 1890’s Day Dress……………………………………………………….12 Figure 9: Brown dress with velvet treatment…………………………………………………….13 Figure 10: Blue day gown with Lace details…………………………………………………….13 Figure 11: Mrs. Givings Production photo Act 2 Sc 2…………………………………………..13 Figure 12: Portrait of Samuel-Jean Pozzi………………………………………………………..14 Figure 13: College Student c 1890's Munich portrait…………………………………………....14 Figure 14: Dr. Givings Production photo Act 1 Sc 1…………………………………………....14 Figure 15: Thomas Edison holding light bulb…………………………………………………...15 Figure 16: Dr. Givings Production photo Act 2 Scene 1………………………………...……....15 Figure 17: Victorian Nurse CDV Stratford- Peter Maleczek……………………………………16 Figure 18: Annie Production photo Act 1 Sc 1………………………………………………….16 Figure 19: Annie Production photo Act 1 Scene 2………………………………………………16 Figure 20: Portrait Photograph of Edward VII…………………………………………………..18 Figure 21: King Edward VII…….……………………………………………………………….18 Figure 22: Mr. Daldry Production photo Act 2 Sc 2……..………………………………………18 v Figure 23: Front Mourning Dress. 1894-1896. The Metropolitan Museum of Art……………...20 Figure 24: Mrs. Daldry Production photo Act 1 Sc 1……………………………………………20 Figure 25: Mrs. Daldry Production photo Act 1 Sc 2……………………………………………20 Figure 26: Day dress ca. 1890's From the Nordiska Museet…………………………………….21 Figure 27: 1891 Walking Suit with black and white details……………………………………..21 Figure 28: Velvet bodice featuring turquoise trim (1894)……………………………………….21 Figure 29: Mrs. Daldry Production photo Act 2 Sc 2……………………………………………21 Figure 30: Camisole and Bloomers Set 1890s…………………………………………………...22 Figure 31: Women in Victorian Corset………………………………………………………….22 Figure 32: 1890’s Lace featured petticoat……………………………………………………….22 Firue 33: Mrs. Daldry Production photo Act 2 Sc 1…………………………………………….22 Figure 34: Portrait of Wet Nurse………………………………………………………………...24 Figure 35: Elizabeth Production photo Act 1 Sc 2………………………………………………24 Figure 36: Organza and Lace 1890’s Robe/Nightgown…………………………………………24 Figure 37: Elizabeth Production phot Act 2 Sc 1………………………………………………..25 Figure 38: Google Search Men’s Medium Hairstyles…………………………………………...26 Figure 39:Polish School, 19th Century, portrait of a young man……………………...………...26 Figure 40: Leo Irving Production photo Act 2 Sc 1……………………………………………...26 Figure 41: Portrait of Victorian Woman with Pompadour………………………………………28 Figure 42: Megan Bucker in wig as Mrs. Givings……………………………………………….28 Figure 43: Sean Pugerude in wig as Mrs. Daldry………………………………………………..28 Figure 44: 1890s Beige Gown with Day Bodice………………………………………………...29 Figure 45: 1890s Beige Gown with Evening Bodice……………………………………………29 vi Figure 46: Details in Victorian Bodice 1890s…………………………………………………...30 Figure 47: Initial Black and White Sketch for Annie……………………………………………32 Figure 48: Action Chart for In the Next Room VCU 2016…………………….……………...…33 Figure 49: Sample of Budgeting for In the Next Room………………………………………….34 Figure 50: Sample of Shopping list for options of suits for Leo Irving…………………………35 Figure 51: Fitting of Dante Piro as Leo Irving…………………………………………………..36 Figure 52: Mock up for Rendering 7…………………………………………………………….37 Figure 53: Final Fitting for Rendering 7.………………………………………..………….……37 Figure 54: Mock up for Rendering 15.………………………………………..…………………37 Figure 55: Final Fitting for Rendering 15.………………………………………..……………...37 Figure 56: Mock up for Rendering 4.………………………………………..………..…………37 Figure 57: Final Fitting for Rendering 4.………………………………………..……………….37 Figure 58: Mock up for Rendering 19.………………………………………..…………………37 Figure 59: Final Fitting for Rendering 19.………………………………………..……………...37 vii Abstract Interpreting the Costume Designs of In the Next Room through Victorian fashions of the 1890s. by Devario Simmons BA in Production Studies Clemson University ‘13 MFA in Costume Design Virginia Commonwealth University 2016 Major Director: Toni-Leslie James, Head of Design/Tech, VCU Department of Theatre This thesis explores and describes key factors in my process of designing the costumes for In the Next Room or the Vibrator Play by Sarah Ruhl. The document encompasses justification of decisions made through the researching and producing of period costumes for live performance and the challenges and obstacles faced to make seamless transitions during performance. viii Introduction I had the pleasure of designing In the Next Room for a paper project my first year in graduate school at VCU. The content of the play was interesting to me because it is a contemporary drama exploring female sexuality in the late Victorian era. The late Victorian era, with its proper and uptight society, seemed to be a foreign place for sexual themes of the play. After discovering and researching the period I was delighted to know that the situations and science of the play were a mostly accurate depiction of the treatment of women, which gave the play even more truth to the Victorian period than I had initially thought. Figure 1: Victorian Advertisement for Treatment. Having the opportunity to design a realized production of the play brought forth its own challenges, because I was now trying to develop
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