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‘Time and the Conways’: Interview with the Costume Designer of a Long-Lost Broadway Masterpiece

4. A lot of people don’t realize certain fabrics, colors, and styles are off limits for the sake of lighting and movement on stage. What do you have to avoid using for a show like this?

Plays are a lot more forgiving than musicals, but we had to remove some beading and bling because it was catching on some of the charade “dress up” pieces we were using. We also, sometimes, have to use a non-period closure like a big zipper up the back for quick changes (instead of hidden delicate hooks).

5. For this show, what was the most challenging part of your job?

Figuring out our Charades costumes was tough! (Old British charades involves costumes and props as well as acting). It’s very meta when your characters play dress-up. We ended up using a lot of antique pieces, but have had to recreate them as they deteriorate during the run. It’s also involves very subjective comedy, so we went through a lot of options in front of everybody and had to decide “was that funny enough?”

6.What did you like most about working on this show?

I loved getting to do so much custom beading for the Act I costumes, but I really do love, love, love making clothes that are both beautiful and sad, which I got to do a lot of for 1937.

 

“Time and Conways” closed its limited-time run on Broadway on November 26th. 

 

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