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<\/a>An example of one of the main sister’s costume<\/p><\/div>\n
Bradley\u2019s fall show, \u201cLittle Women, the Musical,\u201d features intricate sets, fleshed out characters and a cast that\u2019s dedicated to the show. Though those efforts are what make the show, costuming is an aspect that also plays as large of a role.<\/p>\n
For Rebecca Arnold, costume design constructor and associate professor of the Theatre Department, the task of finding out costumes for \u201cLittle Women\u201d was something considered when planning for the musical.<\/p>\n
\u201cNormally, we build [the costumes], a combination of build and shop [for the costumes] and pull from our stock,\u201d Arnold said. \u201cThis show was too big \u2026 [The costumes] are all period garments, so we could not put a build like that through our costume shop\u201d<\/p>\n
To rent the pieces, Arnold said she took two students with her to a Broadway costume shop in Chicago and spent two days there looking for the perfect costumes to fit the characters.<\/p>\n
\u201cI did the research for the time period,\u201d Arnold said. \u201cI am well-versed in fashion history and costume history, so I knew the silhouette. I knew the trims, and I know the look, but we specifically went into color and things like that.\u201d<\/p>\n
In finding the costumes, Arnold said the experience was different than the usual option of purchasing costumes or making them, and it had it\u2019s own difficulties.<\/p>\n
\u201cIf I had done the show on my own versus renting [costumes] \u2026 I would have had more control over [certain] things, whereas renting, I had ideas of what I wanted, and I had parameters which was their stock in which to deal with,\u201d Arnold said.<\/p>\n
Despite the challenges, Arnold said there are many reasons why costuming is considered important to a show.<\/p>\n
\u201c[Costuming] is huge, especially in a period show when [the actors] are wearing clothing they\u2019re not used to,\u201d Arnold said. \u201c[For example], the gentlemen\u2019s pants actually wear at their waists; they don\u2019t sit down on their hips. The women\u2019s skirts and dresses are much heavier and more elaborate.\u201d<\/p>\n
According to Arnold, costuming in not the only factor into make the actors become their characters, but makeup and hair play a part as well.<\/p>\n
\u201c[There are] multiple wigs in the show and hairpieces,\u201d Arnold said. \u201cWhen they put those on, it really transforms the actor.\u201d<\/p>\n
For the show, the four main characters have eight costume changes each, so Arnold said cooperation is necessary when the show is going on.<\/p>\n
\u201cA show like this isn\u2019t possible without the support staff, without the people that were helping in the [costume] shop and the wardrobe crew backstage\u201d Arnold said. \u201cThey don\u2019t sit down. They are constantly moving.\u201d<\/p>\n
Because of that, Arnold said anyone who wants to make a career out of theatre, both on-stage and off, needs to be committed to it.<\/p>\n
\u201cAnybody that does theatre has to be passionate about it and has to love it because it\u2019s so work intensive,\u201d Arnold said. \u201cIt\u2019s not a nine to five job\u201d<\/p>\n