The Marvelous Wonderettes
Directed by Ed Reichert Arundel Barn Playhouse, Maine August 2014
Challenges
-$50 Budget (No Act I 1950's pink dress in stock, no yellow or orange dress that fits respective actor)
-Use of mic packs under very fitted strapless/sleeveless corset style bodices of 1950's prom dresses, with black cords travelling up actor's backs to microphones placed under front of wigs
-Coordinating matching colors for Act I and Act II dresses for respective characters/actors (Act I, 1950's/ Act II, 1960's)
-Making 4 almost identical dresses different (other than the colors) for Act I (1950's)
-Varying heights of actors (Coordinating height of heels of all final appropriately fitted shoes with lengths of skirts of all final appropriately fitted, altered dresses, keeping in mind once fabric is cut it cannot be put back, and actors' legs cannot be shortened or lengthened)
-Natural hair and skin color vs. Wigs: Making wigs work and look appropriate for a 1950's "do" for Act I, and then creating a whole second round of matching colored wigs to look good and be believable for the '60's in Act II
-Being provided 5 pairs of white patent go-go boots for 4 actors and told to make sure 4 of those 5 pairs will work because we cannot buy any more. (Keeping in mind actors feet cannot be altered)
The Great Stuff
-Four fabulous, talented actors that were a joy to live and work with during the process, plus the most talented, caring and heartfelt stage manager, costume/wig assistant, and design team ever... putting this show together was a rocky road for sure, but everyone that touched this show left their own special mark on it, and it showed each and every night.
-A lovely, talented and kind director, who persevered under some pretty crazy circumstances... and even made us the most fabulous dinner I remember from my whole time in Maine.
-$50 Budget (No Act I 1950's pink dress in stock, no yellow or orange dress that fits respective actor)
-Use of mic packs under very fitted strapless/sleeveless corset style bodices of 1950's prom dresses, with black cords travelling up actor's backs to microphones placed under front of wigs
-Coordinating matching colors for Act I and Act II dresses for respective characters/actors (Act I, 1950's/ Act II, 1960's)
-Making 4 almost identical dresses different (other than the colors) for Act I (1950's)
-Varying heights of actors (Coordinating height of heels of all final appropriately fitted shoes with lengths of skirts of all final appropriately fitted, altered dresses, keeping in mind once fabric is cut it cannot be put back, and actors' legs cannot be shortened or lengthened)
-Natural hair and skin color vs. Wigs: Making wigs work and look appropriate for a 1950's "do" for Act I, and then creating a whole second round of matching colored wigs to look good and be believable for the '60's in Act II
-Being provided 5 pairs of white patent go-go boots for 4 actors and told to make sure 4 of those 5 pairs will work because we cannot buy any more. (Keeping in mind actors feet cannot be altered)
The Great Stuff
-Four fabulous, talented actors that were a joy to live and work with during the process, plus the most talented, caring and heartfelt stage manager, costume/wig assistant, and design team ever... putting this show together was a rocky road for sure, but everyone that touched this show left their own special mark on it, and it showed each and every night.
-A lovely, talented and kind director, who persevered under some pretty crazy circumstances... and even made us the most fabulous dinner I remember from my whole time in Maine.
