My transition back to creative work has been a slow one post-pandemic. I assumed an enormous amount of administrative work for my department (using those costume attributes that lend themselves to leadership), and found fresh new work through ATCA. I explored writing as an outlet for scholarship by amplifying our new process for season selection. But this past year, I was delighted to be back in the fitting room and in the theatre, professionally. In the fall, my design for The Elixir of Love was remounted at the Florentine Opera, and I was delighted to be back at the Detroit Public Theatre in their new home on 3rd Ave, Midtown, Detroit.
In January, Pearl Cleage's Blues for an Alabama Sky opened at DPT directed by Brian Marable. This play is very specifically set at the dawn of the Great Depression on the heels of the Harlem Renaissance. Given our somewhat limited resources of time and money, the show was rented and purchased and adapted. I was very happy with the color palette, and the close collaboration with scenic designer Monique Essen to define the world. In the spring, Clyde's by Lynn Nottage opened. I love this play; since DPT doesn't have a costume shop it was a terrific scale and scope for the theatre, and allowed me to take a really deep dive in character specific details. Fittings turned into character interviews: How long has Raphael been in recovery? How old is Tish's kid?
It was great to be back in the theatre telling stories again.
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