It was from the managing director of a small theatre in Aurora, Colorado where I had auditioned a few months earlier. I had also mentioned to the managing director that I did costumes as well.
Apparently, the costumer for Young Frankenstein had just lost her father...would I be able to come in and help her get the show on its' feet??
I said yes, and thus began a crazy snowball of musicals, plays and operas. But it all started with "Puttin' on the Ritz".
Three weeks later, I had the cast fully decked out in tuxes, gowns and peasant wear ( I take no credit for the monster's GORGEOUS makeup- that is the work of the amazing Todd Debrecini) I do however take full credit for the ladies wardrobe and the fact that the tuxes actually look white...Not an easy feat with all that green makeup being flung around!
Due to the number of quick changes, I ended up being a one-woman wardrobe crew and occasionally moved parts of the set (my highlight was running the mechanical rat each night!)
Not such a highlight: Getting my wrist slammed in the revolving door the next to last show. I was incredibly lucky to a) not break anything and b) be surrounded by medical professionals (how many other shows boast two nurses in the cast?) I was sore and impressively bruised, but it easily could have been far worse!
Costuming thoughts: It's a tricky thing to come in and finish someone else's work, especially when they are still technically working on it! It is equally hard to see their name attached to praise for the show, when most of the work is yours. Lots of important things learned with this show - how to read contracts, not to put anything you want back on stage, wigs aren't as scary as I thought they were... but without question I'd go back and work on it again - maybe one day...
Next up: Working with people who know exactly what they want, and lord help you if you don't deliver...
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