The End of All

Yes, that's toilet paper. I use it to blot the water colors.

Well, Richard III: The Terrible Reign is over. "His knell is knolled" (from Macbeth).

Here is what I do to relax after a big production is completed—start on the next one. We mount the opera Aida in just 16 short months, so I'm working to get some painted renderings to the costume room this week. I've already been working on this show for about 9 months and made one trip to NYC for fabric. But this production will have over 200 new costumes, so I'll head to Mood Fabric again this January.

I will probably do some Richard debriefing here on this blog at some point, e.g., notes about the webcast last Friday (my wife was a chatter), things I'd do differently from a design/directorial, things I learned from this experience, etc. But for now, I have designs to work on. . . .

The Thrall of Margaret

Beneth Jones as Queen Margaret
with me as pleased costume designer

Detail of Margaret's ruff, bodice, sleeve, & Starbucks

Mad Queen Margaret is one of Shakespeare's most interesting females (not that there are that many). She is the widow of King Henry VI, who has, like so many, been killed off by our title character Richard. Margaret's son Edward was also killed by Richard. (Before you feel too sorry for Margaret, you should know that in the Henry VI plays, Margaret was not only involved in the murder of Richard's younger brother, Rutland, but she also flaunted it by waving a napkin drenched in Rutland's blood in Richard's face.) So Margaret haunts the castle at the mercy of the York family, who she believes destroyed her life. She proceeds to curse a number of characters in the play. At first everyone ignores her rantings as those of a crazy woman and a "hateful, bitter hag," but when the curses start to come true, Richard and others have to pay attention to her. Mad Margaret's big scene in Act I, Scene 3, is emotionally charged and a challenge for any actor.

Beneth Jones is taking on this role, and I'm so excited to be working with her. Get a load of the hair, makeup (thank you, Alicia & Dan), and this incredible costume (thanks, costume room stitchers). I am thrilled with the sparkly, cobwebby material I found in Atlanta and the wonderfully gauzy fabric on the ruff. Margaret's costume is a mix of styles—the ruched sleeves come down over the edge of the hand reminiscent of the 15th century; the high-necked ruff smacks of the Victorian era, and the metal straps and buckles on the bodice seem to be from a future time. 

Like an Angel, with Bright Hair

Alicia puts extensions in Marg's hair

Dan works on the lips

Elizabeth, the future Queen

Three photos on this one. I just couldn't resist. And still so many more to post from the photo shoot earlier this week. These are of my daughter Margaret (now you see why I couldn't resist), who will be playing the part of young Elizabeth.

She doesn't have any lines in the play—just walks in, stands around, and has a great costume. Check out that shimmering, sequined, wine-colored fabric from Mood. It's fantastic. And the folks in the costume room did a great job with the cartridge pleats I asked for on the dropped waist. Elizabeth's costume is another example of the play's melding of period styles—the 15th century waistline/silhouette and simple crown mixed with the modern fabrics and cartridge pleats at the hips.

A word about hair and makeup in the production. Dan Sandy and his team are pulling out all the stops on this one. The makeup is fresh and forward thinking. And the hair designs that Alicia Carr has come up with are beyond my wildest hopes. I am loving working with these folks!

Keep watching for more amazing stuff from the hair & makeup people. (HINT: Lady Anne looks like she's stepped off a Paris runway.)

Fashions to Adorn

Today was a photo shoot for what we call our SMART (Sharing Masterworks of Art) guide. It's a pamphlet we put out for high school students/teachers and anyone else interested in a little background for the play—family trees, Shakespearean information, etc. We also take portraits/photos of the characters to give a visual reference for understanding the relationships. Photographer Hal Cook does an incredible job with helping make the costumes and the people in them look great. We got some wonderful images today.

These are shots of Ron Pyle as Richard III and his boot. Love the spikes and buckles that Barb Filipsic came up with. That boot is on only one leg—his right—and has sort of a prosthetic feel, steampunk style. And those big square buttons are fantastic on Richard's vest. Thank you, Mood!

More great photos to come in the next few days.