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Posts Tagged Rebecca Bernstein

How To Dress A Pirate (and Other Zany Characters)

Park Square Theatre‘s adaptation of The Pirates of Penzance by Doug Scholz-Carlson has Gilbert and Sullivan on a steamer, heading to New York for its opening. But–oops!–they’ve left the score in London! Forced to recreate the show from memory during their voyage, they use their ship mates as the cast and all the costumes they’d packed along in their trunks. In the world outside of the play (and the play within the play), the person who created all those clothes and accessories for our production is Costume Designer Rebecca Bernstein.

Rebecca gave the costumes for The Pirates of Penzance a Victorian-like feel but didn’t make them super-realistic. This stage costume-y aspect to the clothes supports the idea that the passengers on the ship (the real people) are playing parts in a show.

The premise is also that Gilbert and Sullivan have to make do with what’s on the ship, which includes just a small number of available people to play all the roles so Rebecca used color to help audiences more easily identify the characters. For instance, all the pirates have red, black and gold in their costumes, and the police are in blue. This color-coding also helps the actors make fast costume changes.

What I could not help noticing about Rebecca’s design renderings is how beautiful they are–like beautiful children’s storybook illustrations. This turns out to be a common compliment that Rebecca has heard many times before.

Rebecca feels like she’s been designing costumes “forever.”

“I’ve always liked clothes even as a kid,” Rebecca recalled. “My mom taught me to sew when I was five. I was interested in clothes as an art form and liked going to museums with fashion exhibits. I was also always interested in theatre–seeing plays.”

In junior high, Rebecca attended a magnet school that focused on the arts. They offered a costume class that produced the costumes for school plays. When she took the class in eighth grade, as Rebecca put it, “The sky opened; the angels sang. I knew I wanted to be a costume designer.”

Rebecca went on to attend an arts-oriented high school and obtain a BA in General Theatre. She then got her master’s in Costume Design from New York University.

Three years ago, Rebecca and her family moved from New York City to Minneapolis when her husband became the head of the sound department at the Children’s Theatre Company. Rebecca herself has found the Twin Cities to be a great arts community for professional opportunities, which includes her current stint at Park Square Theatre. Be prepared to keep seeing more creative works from this talented New York transplant on our stages for years to come.

 

 

NOTE: All renderings shown are by Rebecca Bernstein

Tickets and information here.

A Look Over His Shoulders: How Eli Schlatter Designs

The set of The Liar is moving onto Park Square Theatre’s Proscenium Stage for the play’s September 9 to October 2 run.  Scenic Designer Eli Schlatter has spent months getting us to the moment when concepts become reality, following similar steps that he’d taken many a time for other productions.

After reading the script twice, Schlatter met with both Director Doug Scholz-Carlson and Costume Designer Rebecca Bernstein to get their input.  His collaboration with Scholz-Carlson involved going through each scene in the play to discuss what would be needed and Schlatter’s providing research images as possible concepts.

Now armed with some sense of what the show should look and feel like, Schlatter did further research and conceptualizing with thumbnail sketches.

A sketch

A sketch

Once Schlatter and Scholz-Carlson decided to go with a very classic and two-dimensional set design (refer to the August 28 blog, “Flat Land: The World of The Liar“), Schlatter made what is called a white model.  This is an unpainted white cardboard model of the set scaled according to actual Proscenium Stage measurements to determine how the set will fit and look in the space.  Schlatter used a ruler with a quartering scale (one inch equals four feet) for measuring and added model people for perspective.

A white model

A white model

His next step was to create a means within the design for scene changes.  For The Liar, the two back center walls could be opened or shut like doors to change the space for the action to move upstage or downstage. Schlatter then produced a color model of the set.

The color model

The color model

After meeting with Lighting Designer Mike Kittel, Schlatter made further decisions about such matters as surface texture before producing paint elevations–very detailed, scaled plans that show the scenic painter exactly where, what and how something must be painted onto the entire set.  They look somewhat akin to drafting plans with specific painting specifications throughout. The shop crew is also provided with a section view, which shows how the set looks from different directions, as well as execution drawings that show all the dimensional details.

Eli Schlatter (left) with Assistant Technical Director Ian Stoutenburgh (right)

Director Doug Scholz-Carlson (left); Eli Schlatter (center); Assistant Technical Director Ian Stoutenburgh (right)

The Park Square shop crew have been busy building and painting the set. While it is quicker to build a two-dimensional set, more pressure is placed on the painting to be especially well done, though luckily the human eye tends to fill in any details on scenery that’s not represented on the stage.

As Schlatter completes his work for The Liar, he won’t be putting his feet up to relax anytime soon. He’s already working with the Artistry in Bloomington to design for Little Shop of Horrors and Bad Dates.

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