Costume Designs: Historical Period
MUCH ADO ABOUT NOTHING, Directed by Michael Walker, University of Montevallo, 2017. Makeup Design: Asia Nicole Lilly '18, Mask Design: Jacqueline Kliner '18, Mask Construction: Pandora Jones, '19
This production set Shakepeare's comedy in late 1940s New Orleans at Mardi Gras time. Don Pedro and his companions take a break from war to participate in Leonato's fun krewe, Dogberry and her companions roam the Garden District busking for "a dollar make you holler." The director chose this period and location to have color, flash, and also represent the permissiveness of Leonato's household; Beatrice is not scolded for her bold wit but celebrated and rowdy puns dominate everyone's wit and conversation.
SPRING AWAKENING, Directed by David Callaghan, University of Montevallo, 2016. Makeup Crew Chief: Asia Nicole Lilly '18
Moving away from the boxy period of the play, we chose to infuse a modern aesthetic into the costumes to reflect the music and message. Ensemble members not playing teens or adults wore modern, indie rock styles to show the current day counterparts to these characters. Makeup looked to create a hormonal glow, hinting at budding fertility and the sweaty fever of "awakening."
CABARET. Directed by David Callaghan, University of Montevallo, 2014. Assistant Makeup Designer: Katy Beddingfield '16
Cabaret is a world where anything goes, so characters have no sense of direction. All except the MC feel confusion as to what they should do facing a group with very rigid rules and structures. The MC is a chameleon, he can survive in any situation, and for that reason he is dangerous. Our MC, we joked, did not suffer under new restrictive codes, but because of his slippery skills retired happily to Brazil to entertain tourists and "old pals" from home.
ASSASSINS. Director: Dr. David Callaghan, Univ of Montevallo 2013
As part of the studio musical series where rehearsal and performance are part of a semester-long class, this production took place conceptually in a liminal space where the Assassins relive their mania and crimes amongst artifacts of their times. Of utmost import was that they were not ghosts or visions, but active, present beings that would come to influence Oswald as well as surround the audience.
COMPANY. Director: Dr. David Callaghan, Univ of Montevallo, 2008
Produced in Palmer Auditorium, a converted sanctuary-style space with a large seating area and tall proscenium, these characters are gleeful figures from the confusing post-liberation times of the early 70s: although freedoms of choices were narrowing, any print was acceptable!
PARADE. University of Montevallo and Magic City Theatre. Dir: David Callaghan, Fall 2009
A hallmark of UM's performance and production style is to allude to periods, but skew the aesthetic towards modern garments and items.Directorially, the goal is to keep the themes present and avoid allowing the audience to dismiss important social statements to the realm of nostalgia, or to coin a phrase: "the old timey." This production was tricky to balance period garments for actual historical characters, but also maintain a sense that you could find this community in modern times.
BIG RIVER (studio-style production). Directed by: Marcus Lane, University of Montevallo, 2014
A studio production as part of a class, this production of BIG RIVER featured a flexible ensemble (except for Huck and Jim) that filled in parts regardless of gender or race. Pap and Tom Sawyer were played by women, The Duke was a person of color. Design wise, the concept was to create a unified, "countrified" group that could move amongst the parts easily, sometimes even playing bits of scenery. Ensemble members were in warm tones while Huck and Jim shared a denim and linen palette to distinguish them from the movable characters they encountered on their journey.
THE SEAGULL. Director: Vladimir Rovinsky, University of Montevallo, 2007
An Art Nouveau-inspired design that wanted to avoid the rigidity of period garments and underpinnings to suit modern, realistic performance styles.
ON THE VERGE. University of Montevallo, 2009. Director: Tammy Killian
ON THE VERGE is a witty, trippy longform play on words that mixes modern with Victorian structure. For the three main characters, world travelers through time, the goal was to present pseudo-period shapes in very modern fabrics (mostly synthetic).
HAIR. Director: Dr. David Callaghan. Univ. of Montevallo, 2008
This production of HAIR had an awareness of what came next... performed immediately after the first election of President Obama, this was a set of hippies slightly tainted by the knowledge of a generation represented by the referenced unborn baby waiting inside one of the tribe members.
Heartbreak House. University of Montevallo, 2012. Director: Tammy Killian.
A weird little family at the fringes of polite society- some members are still clinging to outdated morals, some have moved forward towards what awaits after The Great War.
GOLDEN BOY. Director: Heidi Cline, Aurora Theatre 2003
One of my early professional designs, a nice 1940s piece on a budget for a fantastic company right before they became an influential force in Atlanta theatre! Still in the old hardware store, at this point!