Costume Design   

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Machinal

Machinal

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by Polina Minchuk

Business

Business

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by Polina Minchuk

Business

Business

Gouache, marker, colored pencil, Photoshop

Telephone Girl

Telephone Girl

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by Polina Minchuk

Telephone Girl 2

Telephone Girl 2

Gouache, marker, colored pencil, Photoshop

At Home

At Home

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by Polina Minchuk

Mother

Mother

Gouache, marker, colored pencil, Photoshop

Hospital

Hospital

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by Polina Minchuk

George H Jones rendering

George H Jones rendering

Gouache, marker, colored pencil, Photoshop

Prohibited

Prohibited

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by Polina Minchuk

Speakeasy

Speakeasy

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by Polina Minchuk

Prohibited

Prohibited

Gouache, marker, colored pencil, Photoshop

Intimate

Intimate

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by Polina Minchuk

Domestic

Domestic

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by Polina Minchuk

Domestic

Domestic

Gouache, marker, colored pencil, Photoshop

Courtroom

Courtroom

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by Polina Minchuk

Condemned

Condemned

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by Polina Minchuk

Machinal (Adelphi University - Alumna Guest Designer)

 

Sophie Treadwell wrote Machinal as a reaction to the story of  Ruth Snyder, who became the first woman to be executed by electric chair in the United States after murdering her husband in 1927. Our all-women+ design team sought to focus on what happens to a woman's voice in a world where the forces of technology, industry, and patriarchal influence are overwhelming. 

My design concept uses color to isolate Young Woman from the characters who are part of the "machine;" soft and vulnerable pinks evolve to intense red as power and energy build. Ultimately, color is stripped away as Young Woman is sentenced to death. Texture and silhouette were crucial visual elements in collaboration with the Lighting and Scenic designers. 

She-She-She

She-She-She

Directed by Chad Lindsey / Lighting Design by Alejandro Fajardo / Scenic Design by Patrick Burlingham

1930s campers

1930s campers

Directed by Chad Lindsey / Lighting Design by Alejandro Fajardo / Scenic Design by Patrick Burlingham

Rivka

Rivka

Gouache, marker, and colored pencil

Maureen

Maureen

Gouache, marker, and colored pencil

Cornelia

Cornelia

Gouache, marker, and colored pencil

Ani and Ranger

Ani and Ranger

Directed by Chad Lindsey / Lighting Design by Alejandro Fajardo / Scenic Design by Patrick Burlingham

Ani

Ani

Gouache, marker, and colored pencil

Park Rangers

Park Rangers

Gouache, marker, and colored pencil

Tria

Tria

Directed by Chad Lindsey / Lighting Design by Alejandro Fajardo / Scenic Design by Patrick Burlingham

Tria

Tria

Gouache, marker, and colored pencil

Jolene

Jolene

Jolene

Jolene

Gouache, marker, and colored pencil

Eleanor Roosevelt Ensemble Voices

Eleanor Roosevelt Ensemble Voices

Directed by Chad Lindsey / Lighting Design by Alejandro Fajardo / Scenic Design by Patrick Burlingham

She-She-She
(Actors Fund Art Center)

 

"Six Women - Two Decades - One Mountain: This vibrant collaborative piece tells a modern tale of alienation through the stories of six women across generations. Set in a New Deal-era women’s work camp on New York’s Bear Mountain, She-She-She highlights the nonlinear nature of progress, and explores how we wrestle with the intersections of our inheritance as we are informed and molded by our past." 

She-She-She, by Cynthia Babak, combines narratives from the 1930s and today. While my designs needed to distinguish between time periods, I also used color to link the contemporary women with their ancestors, and chose styles to give clues about the socioeconomic factors driving their journeys. 

Generation T

Generation T

Directed by Maggie Lally / Scenic design by Jessica Jalal / Lighting design by Paul Passaro

Ray and Irene

Ray and Irene

Directed by Maggie Lally / Scenic design by Jessica Jalal / Lighting design by Paul Passaro

Irene and Lopez

Irene and Lopez

Directed by Maggie Lally / Scenic design by Jessica Jalal / Lighting design by Paul Passaro

Lopez

Lopez

Directed by Maggie Lally / Scenic design by Jessica Jalal / Lighting design by Paul Passaro

C-Dog

C-Dog

Directed by Maggie Lally / Scenic design by Jessica Jalal / Lighting design by Paul Passaro

Kelly

Kelly

Directed by Maggie Lally / Scenic design by Jessica Jalal / Lighting design by Paul Passaro

C-Dog and Kelly

C-Dog and Kelly

Directed by Maggie Lally / Scenic design by Jessica Jalal / Lighting design by Paul Passaro

Ray and Lopez

Ray and Lopez

Directed by Maggie Lally / Scenic design by Jessica Jalal / Lighting design by Paul Passaro

Fuzzy Pete, C-Dog, Irene, and Lopez

Fuzzy Pete, C-Dog, Irene, and Lopez

Directed by Maggie Lally / Scenic design by Jessica Jalal / Lighting design by Paul Passaro

Generation T 
(Adelphi University)

 

Generation T, by Pia Wilson, was a new play first produced at Adelphi. It tells the story of two young men who return from serving as Marines in Afghanistan and struggle to reconnect with their friends while battling PTSD, depression, and schizophrenia. We see the different ways that young people react to war, mental illness, and terrorism in a post-9/11 nation.

 

In my design, I focused on the contrast between urban and suburban styles and how they reflect the importance of classism  and cultural appropriation in the play. I also incorporated subtle elements of Middle Eastern garments, such as scarves and military uniforms, that were meant to act as triggers to the two main characteres. 

Hopper

Hopper

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by John McDermott

Lily's Date Outfit

Lily's Date Outfit

Gouache and Colored Pencil

Hopper and Willow Nani

Hopper and Willow Nani

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by John McDermott

Daisy's Halloween Party

Daisy's Halloween Party

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by John McDermott

Lily and Daisy's Halloween Costumes

Lily and Daisy's Halloween Costumes

Gouache and Colored Pencil

Tad and Hopper

Tad and Hopper

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by John McDermott

Hopper and Tad's Halloween Costumes

Hopper and Tad's Halloween Costumes

Gouache and Colored Pencil

Hopper

Hopper

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by John McDermott

Daisy

Daisy

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by John McDermott

Whiff and Willow Nani

Whiff and Willow Nani

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by John McDermott

Willow Nani and Whiff

Willow Nani and Whiff

Gouache and Colored Pencil

Tad and Librarian

Tad and Librarian

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by John McDermott

Daisy and Lily at the Puritan Parade

Daisy and Lily at the Puritan Parade

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by John McDermott

Hopper  (Adelphi University)

 

Hopper, a new musical by Anton Dudley, is a modern re-telling of the classic fairy tale, the Frog Prince. In this version, the title character is a high school nerd cursed with geekiness and bad hygiene, who meets a witch by a magical well and believes he must get the most beautiful girl in school to kiss him and reveal his inner prince. Bullying, respect, and self-esteem become major themes in this interpretation of the story. 

 

The design team for this new work had to create a world where magic could believably exist. For the costumes, this meant that I created whimsical styles with exaggerated shapes and colors. 

 

 

The World Game

The World Game

Directed by Chad Lindsey / Scenic Design by Ryan Howell / Lighting Design by Christopher Weston / Projection Design by Weston Wetzel / Photo by Mitch Dean

Hugo in the Dome

Hugo in the Dome

Directed by Chad Lindsey / Scenic Design by Ryan Howell / Lighting Design by Christopher Weston / Projection Design by Weston Wetzel / Photo by Mitch Dean

Hugo renderings

Hugo renderings

Gouache, marker, and colored pencil

Skip and Hugo

Skip and Hugo

Directed by Chad Lindsey / Scenic Design by Ryan Howell / Lighting Design by Christopher Weston / Projection Design by Weston Wetzel / Photo by Mitch Dean

Skip renderings

Skip renderings

Gouache, marker, and colored pencil

1920s Flashback

1920s Flashback

Directed by Chad Lindsey / Scenic Design by Ryan Howell / Lighting Design by Christopher Weston / Projection Design by Weston Wetzel / Photo by Mitch Dean

The Senate Hearing

The Senate Hearing

Directed by Chad Lindsey / Scenic Design by Ryan Howell / Lighting Design by Christopher Weston / Projection Design by Weston Wetzel / Photo by Mitch Dean

Hugo, Skip, and Ida

Hugo, Skip, and Ida

Directed by Chad Lindsey / Scenic Design by Ryan Howell / Lighting Design by Christopher Weston / Projection Design by Weston Wetzel / Photo by Mitch Dean

Edith as the Professor

Edith as the Professor

Directed by Chad Lindsey / Scenic Design by Ryan Howell / Lighting Design by Christopher Weston / Projection Design by Weston Wetzel / Photo by Mitch Dean

Edith rendering

Edith rendering

Gouache, marker, and colored pencil

Ida

Ida

Directed by Chad Lindsey / Scenic Design by Ryan Howell / Lighting Design by Christopher Weston / Projection Design by Weston Wetzel / Photo by Mitch Dean

Ida renderings

Ida renderings

Gouache, marker, and colored pencil

Undergrads

Undergrads

Directed by Chad Lindsey / Scenic Design by Ryan Howell / Lighting Design by Christopher Weston / Projection Design by Weston Wetzel / Photo by Mitch Dean

Undergrad renderings

Undergrad renderings

Gouache, marker, and colored pencil

Hugo, Ida, and Skip

Hugo, Ida, and Skip

Directed by Chad Lindsey / Scenic Design by Ryan Howell / Lighting Design by Christopher Weston / Projection Design by Weston Wetzel / Photo by Mitch Dean

God is a Verb (Actors Fund Art Center)

"In 1969, an eccentric professor gathers a team of offbeat academics to play a game with one goal: make the world work for all humanity. What unfolds tears spacetime as we are whisked from a beatnik cafe to a treetop congressional hearing and back by way of a university telephone. As the clock ticks, the lines blur between the game and the real world and we wonder if we've detached from reality altogether." 

 

Written by Gavin Broady and directed by Chad Lindsey, this new play is inspired by the philosophies of Professor R. Buckminster Fuller. This production was my first design as a college graduate. 

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Machinal

Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by Polina Minchuk