susan hilferty design

So if you look through Hamlet, there are outside scenes. I did all of Athol Fugard’s plays for the last 20 years. So I deal with all aspects. I know it"s mean to pick favourites, but how could I not? It was very, very simple—you could figure it out afterward. Wicked "Morrible" Costume (Side) Design By Susan Hilferty. If we make the decision that this is a world where Hamlet has a sense of paranoia, but there’s real tension in the court in terms of everybody being nervous about losing their head or job, I could start to use that. We’re dealing with the three dimensions of a space—a living space— but we’re also dealing with time and silences. Hamlet is such an interesting play because, for the actor who is playing the role, so much happens before he even comes on. “I don’t think it’s any accident that my most recent plays have been bold experimental efforts,” he says. Once I’ve established that there’s going to be a monarchy, that gives me the essence of the place. I’m one of the luckiest people I know. It’s a great experience for the students at the beginning, because we make it clear before they even start classes that they are going to be close readers. Hilferty seems as adept at grappling with the barest of details as she is working with the more unusual productions. During her junior year she studied abroad in Young Vic Theatre London La Traviata 2018. Roles (23) Present Laughter (2017) Opened Apr 5, 2017: Costume Design ; Lewis Black: Black to the Future (2016) Opened Sep 12, 2016: Visual Consultant ; … I’ve got one character who is a kind of ditzy, sweet woman, and by the end she’s a power-hungry killer. Hilferty … Once you step into the play, everything that you do, you start holding up and asking, “Is this right?” That’s why research for students is critical, in order to expose them to everything. And that they will design based on the text. “It was ravishing in its simplicity,” Fugard says of the designer’s handiwork. You have to design the purple flower. Blood Wedding 2019. Susan Hilferty is an American costume designer for theatre, opera, and film. Not only the designers, but the director and each of the actors. $400.00. Gradually the wig and other elements disappeared. Fortinbras [the Prince of Norway] is coming through: what is that about, and what is the sense of place? It was like being in this huge playpen.”, Out of the discussions between Hilferty, Woodruff and set designer Doug Stein two basic ideas emerged: a busy marketplace and Turkey. And never—or very rarely, because I never work with that person again—do I have a director who either gives me nothing to play with or is dictatorial. Wicked - San Francisco (Jan 27, 2009 - Sep 05, 2010) Costume Design by Susan Hilferty MusicalSit-DownOriginal. Spring Awakening "Melchior" Costume Print 8/50 By Susan Hilferty. She won the 2004 … Willows even permed one half of his hair while bleaching the other. They talk about him wearing some sort of uniform, or his armor from a previous battle. Initially, Hilferty says, “Nobody had a clue what we were doing. I spend as much time as I have reading. Susan Hilferty. Take Wicked, because it’s simple storytelling without a lot of loops in the story. “Whenever there’s time I do a complete rendering. And in terms of who’s occupying it. More than a style or trademark, her career seems to be based on close collaborative relationships with various directors. Juggling, for example, requires tight fitting sleeves; juggling of fire limits the range of fabrics that can be used. You’re going on a complex journey, but you’re not going to be abandoned somewhere in the middle of it. For her, design is not really possible without paying close attention to details and uncovering them as a professional dramaturg would. And then I went to London, and once a week, or sometimes twice a week, I saw professional shows. At the same time students have to really develop as visual artists, so we try to braid together all these threads, so that they can understand how to make connections like an artist. “In costumes, I always start sketching,” Hilferty says. The productions have often offered Hilferty the chance to exercise her ingenuity and her noted sense of whimsy. Susan Hilferty. Susan Hilferty Biography Awards Tony Award for Best Costume Design for Wicked. When I did all my work with Garland Wright, he almost always began our conversations with what the play sounded like. As a designer I work with actors, and they’re changing the actors all the time. We spend a lot of time connecting text to students’ work. Awards Susan Hilferty , John Lee Beatty ... of the Irene Sharaff Lifetime Achievement Award and Robert L. B. Tobin Award for Sustained Excellence in Theatrical Design, respectively. By the end he wore a mismatched suit, shirt with no tie and shoes that were too big. So I worked as a scenic artist, in all the different shops. We have to be so close to the actor’s journey that we actually get to see the actor in both lives. So the impetus on us, as designers, is always to create a world. There’s no one I feel as comfortable with talking about the entire play.”, Similar sentiments are expressed by the directors Hilferty works with often, particularly Ott, Athol Fugard, Robert Woodruff, Des McAnuff and Carole Rothman. So I have to be privy to their journey from the mundane to the complicated, in order to be able to help them get there. John is basically what I would call the dramaturg of the department. What’s its importance? I’m extremely lucky. In the end, the novel’s surrealist style and sensibility set the tone for the production as a whole—costumes included. I remember Garland Wright once did this beautiful production of Medea, and he said he was laughing at himself because he was in a bookstore and saw this book, Susan Faludi’s Backlash, and thought, “Oh no, I’ve already done Medea, I don’t need any of that.” He just laughed at himself. The Wicked story is an interesting one. As the production developed, one performer, Alec Willows, ended up with two roles, the Second Merchant and Angelo the goldsmith. The work we did for Rodney’s Wife, Richard Nelson’s play—it was just over; it was being compared to great plays, it was a great production, but it’s gone. “It’s become a sort of endless dialogue between us. But that was always the trigger that released my imagination, taking with it all my other senses of what the play was about. You can’t say, “This is the way to do it.” But I can guide them and say, “These are the things I think you should do.”. “I spend a lot of time in rehearsal, with the actors, with the other designers. $400.00. We have to know about history and its relationship to the world, whether it’s about the sciences, war, or politics; we have to know about literature, because almost every great play references other great plays before it. Designer. “The thing that attracted me to being a designer attracted me to being in theatre,” she says. Hilferty grew up in a big family in Arlington, Massachusetts, where her greatest source of joy was the library. “It’s a collaborative art. “That’s the way I like to work,” she notes. She majored in painting and with a minor in fashion design at Syracuse University. The first week, before they even start classes, we ask them questions about the text. Sesigned over 300 productions from Broadway to the Bay area- and internationally including Japan, London, Australia, Germany and South Africa. When Sharon Ott decided to set the Berkeley Repertory’s production of Twelfth Night in the 1920s, costume designer Susan Hilferty suggested the director read Roger Shattuck’s The Banquet Years , a novel based in the period of France a few years prior to that roaring era. To be constantly questioning and trying to understand what the impulse is, so that you do it and say, “That’s what I thought, but what is wrong with this?”. What happens? I understood what the process of design was, or I guessed the goal. For me, designing the costumes always starts with the play. Recent work includes: Set and Costumes for Hamlet (Gate Theatre, Dublin, Ireland; nomination for Irish Times Theatre Awards for Best Set Design), Salomé (Olivier Stage National Theatre London and NT LIVE); Costumes for Sam Shepard’s Buried Child (London and New York); Richard Nelson’s three play cycle THE GABRIELS: Election Year in the Life of One Family (Public Theatre, … I would include whether or not there’s a lot of talk in Hamlet about war. Such details are clearly secondary to the real thrust of Hilferty’s work—immersing herself in a play’s ideas and working with others to convey them visually. What we’re doing is creating a world, and the audience is looking through a window and observing a specific element of that world—they only see and know very specific things: particular actors in relationship to that scenery, lit in that way, saying those lines. I always believe that you’re exploring a play each time, instead of solving it. And I approach each play differently, so I wait for the script to give me, not information, but inspiration. If my initial impulse with Hamlet is the sense that it’s inexorably driven, as a set designer I start to have a sense of what the transitions are, what the ideas are in terms of the transitions. John Napier, who did Cats, designed the set. In this interview Susan Hilferty explains how “Every single show I do starts from a different place.” But regardless of its starting point, they are all a response to the text. Hamlet is also one of those plays that’s really driven by one character, seen through his eyes. For me, that’s the trigger to almost every design: the timing, the rhythm; trying to understand what that rhythm is, and then including silences—great moments of silence used correctly, like punctuation in the course of storytelling. The extraordinary physical demands of the performance presented more practical challenges, Hilferty says. Susan Hilferty is known for her work on ABC Weekend Specials (1977), National Theatre Live: ... She was nominated for a 1983 Joseph Jefferson Award for Costume Design for "The Comedy of Errors" at the Goodman Theatre in Chicago, Illinois. Spring … … And then John Conklin and I do a test. If you"re up for a bit more Susan Hilferty admiration (which honestly, who wouldn"t be?) And this one, well I think it"s my favourite. Susan Hilferty is an American costume designer for theatre, opera, and film. You can’t teach it to students, but you can question them. Speaking about costume design, she says, “There’s no such thing as a good costume design separated from a good production.” The two go hand in hand, and costume design cannot stand on its own. She also discusses costume design in relation to other design elements, such as set and lighting design, and how and why they are ultimately related. So when we do Brecht, we have to know Shakespeare—they’re referencing each other and we can’t take them out of context. Is it about movement? So as a costume designer, you don’t get credit for a great performance, but rarely do you have a great performance with a terrible costume. And you have to keep asking all these questions, until you get to: Is this a place of sexuality? To give playwright/actor Athol Fugard the look of an aging minister in The Road to Mecca at the Promenade Theatre (sketch, above), Hilferty used a slightly oversized old wool suit. Saved by Milena Radeva Broadway Costumes Wicked Costumes Theatre Costumes Look Fashion High Fashion Mens Fashion Fashion Design Fantasy Costumes Character Outfits Broadway has different values. Does he just creep on? “In fittings,” she adds, “this show was hilarious. “We didn’t have a television,” she says. Choisissez parmi des contenus premium Susan Hilferty de la plus haute qualité. “I knew nothing about art really,” she says, self-effacingly, “and my mind was opened with incredible teachers there, understanding not only myself as an artist, but understanding the world of art.” She credits the rise of performance art at the time as fueling … My Africa! Hilferty's Broadway credits include the costumes for Wicked, Lestat, Spring Awakening, Radio Golf, Assassins, the revival of Into the Woods, Jitney, Dirty Blonde, and How to Succeed in Business Without Really Trying. And I like that it builds slowly within the idea of the production.”. Oh! I was really connected to what people called Conceptual Art, like Laurie Anderson, Claus Oldenberg. And that leads to a long conversation. Underneath (photo, right), Hilferty employed a leather cowl reminiscent of fish scales and used more mineral colors, purples, greens, and oranges in the painted stretchy trousers and a leather top that tied across the chest. It’s unbelievable what happened to Wicked: it’s taken off as a production, and there’s something really interesting about having a huge success. Annie "Miss Hannigan" Orig. Feb 4, 2014 - Costume designer . Website by tinymill.com. One thread is understanding the technique, whether it’s stagecraft or model making or drawing, and bringing it in. And you know that about 20 people. You’ll see this even in the ghost scene, and how it moves from place to place. Gershwin Theatre New York The Oresteia 2019. You come out of it in a different way, depending on the space. , produced at the Market Theatre in Johannesburg last spring, the playwright envisioned a minimalist approach to focus attention on the ideas of the play, which centers around a black male student and a white female student caught up in the country’s political and racial turmoil. There’s no such thing as good costume design separated from a good production. Exaggeration and animal imagery were the hallmark of Hilferty’s design for the character of Baboon in the BAM Theatre Company’s production of Jungle Of Cities (sketch and photo, above). The thing is not recognizing that the essence of any culture is the arts, and that at this moment—when we are at war and at a crisis moment in terms of our time—silencing the inquisitors and those who are asking questions, that’s a crime. I’ve done all his plays since he started directing his own. I thought, “This is it.” Hilferty returned to the U.S. to work at the Berkshire Theatre Festival and then spent several years designing productions in New York. “But if you don’t put it down on paper, you don’t really know what your ideas are. I use the timing, or rhythm, to begin to establish the essential nature of the world. So I’m constantly going in. I believe that every designer has to think holistically. At the start, one character, who is a count, is wearing a Spanish period costume—tailcoat and trousers—and a wig. All of that work, including the performance work, was influential on my thinking, even though I was (and continue to be) an influential painter. $250.00. And I’ll do anything that Richard Nelson does. I look for signals other than just another time period to help me identify the placement of the clothes. Eventually, she enrolled in the MFA program at Yale. Just as an actor is trying things from the moment they read the role— it might be with an accent, or in the way they move—so a costume designer has to be doing exactly the same thing. I think that’s really the journey the actor takes, and ultimately it’s a secret that the actor has, so you don’t feel that you’re solving a play. Spring Awakening "Melchior" Costume Print 7/50 By Susan Hilferty. Hilferty was randomly assigned as costume designer to Fugard’s production of A Lesson From Aloes . The play progresses in time from the 18th to the 20th century, tracing the decline of an aristocracy. Shakespeare Theatre Company Washington D.C. Costume designer Susan Hilferty gives an up-close look at her Tony Award-winning costume designs for the Broadway hit Wicked, and shares insights into her design … Hilferty says she uses such sketches “the way a set designer would use a model.”, © 2021 Susan Hilferty. 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