Antonio, Hero, Don Pedro, Beatrice, and Benedick at the masked ball
First Folio's Jeff Recommended Much Ado About Nothing opened last Friday at the Mayslake Peabody Estate in Oak Brook and runs through August 17.
Director Michael Goldberg and I discussed several possible time periods to set the play in. We needed a time period that a free and independent woman like Beatrice could fit in to; but also one that held women's honor at the highest level - where death would be preferable to living with the shame of infidelity. I also felt that it was important to choose a time period with a flowing, loose, and pretty silhouette. I didn't want a time period that had stiff corsets or large amounts of fabric on either the women or the men. Since it's an outdoor summer show it was important to me to keep the fabrics light, cool, and breathable for both the women and the men. The characters within Much Ado had an ease about them that perfectly fit the Regency period.
Director Michael Goldberg and I discussed several possible time periods to set the play in. We needed a time period that a free and independent woman like Beatrice could fit in to; but also one that held women's honor at the highest level - where death would be preferable to living with the shame of infidelity. I also felt that it was important to choose a time period with a flowing, loose, and pretty silhouette. I didn't want a time period that had stiff corsets or large amounts of fabric on either the women or the men. Since it's an outdoor summer show it was important to me to keep the fabrics light, cool, and breathable for both the women and the men. The characters within Much Ado had an ease about them that perfectly fit the Regency period.
Beatrice and Benedick
All of the women's dresses, overlays, aprons, petticoats, and corset-lettes were made for the show by my assistant Lucie Adler and myself, with the exception of one ensemble dress that I rented. The historical color scheme for Regency women is very light, if not white. I wanted a little color in their costumes for theatricality's sake, and designed Ursula, Maraget, and ensemble women's dresses in a very light color pallet of light blue, soft green, and a touch of yellow. Beatrice and Hero's costumes were in light creams. This slight distinction in color pallet kept all the women historically in the correct period, but also allowed Hero and Beatrice's dresses to pop a bit more on stage than the other women's.'Elsa Hiltner's handsome ethereal gowns lend an air of easy elegance to the ladies of Messina.'
-Kerry Reid, Strong First Folio Cast Delivers This Summer's Straight-Up 'Ado', The Chicago Tribune, July 16th, 2008
Sketch of men's military uniformsNapoleon was the main influence for the men's military uniforms. There are two factions within the military men's group: Don Pedro's men, and Don John's men. I distinguished between these two groups (who were essentially wearing the same uniform) by the color of the waist sash. Don Pedro's loyal men wore gold sashes, while Don John's men wore jealous olive-black sashes. Within the groups individual men wore their uniforms slightly differently. As the Prince, Don Pedro had a more regal coat, military medals, and more lace on his shirt and jabot. The other men's coats had front flaps that could be fully buttoned, folded down, or left completely open. This offered a wide variety of looks within the same uniform. For example, Borachio - Don John's often drunk companion, wore his uniform with very little regard, often with the coat flap fully unbuttoned or discarding the coat all together.
I also wanted the men to arrive in full uniform, and then begin to loose pieces as they became more relaxed and at home on Leonato's estate. In several scenes in the garden the men do not wear their coats or jabots. This furthered the feeling of ease at Leonato's house, and created a clear difference between Claudio and Don Pedro's attitudes towards Leonato and his family before the first wedding and later in the play. After Claudio hears of Hero's infidelity he looses his former ease and wears his full uniform.
Benedick, Don Pedro, and Claudio in full uniformI created a complementing neutral pallet for the ensemble men, and used the same pallet with more contrast for Leonato and Antonio's costumes. I pulled richer fabrics for Leonato's costume, yet allowed the pieces to be worn in the same relaxed way that the soldiers wear their uniform, creating a strong sense of ease on Leonatos' estate.
Extra costume pieces were added over the ensemble men's base to create characters such as the watch or gardeners.
When I began designing Dogberry's costume I had a lot of discussions with Director Michael Goldberg on what direction he wanted to take the character. I created a costume based on our discussions, but allowed to make changes on the design based on the rehearsal process. One of my favorite aspects of Dogberry's costume was the old, dirty powdered wig I gave him for the trial of Conrade and Borachio. That wig summed up Dogberry's attitude about himself as an upstanding citizen and a gentleman of style - and clearly would not have the effect on others that he was assuming it would. In the end very little needed to be changed from our original discussions.First Folio Shakespeare Festival has posted a video clip of Much Ado About Nothing on their site.
Here are some reviews (I'll post more as they come):
"Elsa Hiltner's handsome ethereal gowns lend an air of easy elegance to the ladies of Messina."
-from Strong First Folio Cast Delivers This Summer's Straight-Up 'Ado' by Kerry Reid from The Chicago Tribune (July 16th 2008)
"Goldberg updates the play to the Regency Era, which is reflected exclusively in Elsa Hiltner's dapper, early 19th-century costumes: dark tailcoats and buttery yellow trousers tied with gold sashes for the noblemen; simple, pale blue and off-white empire dresses for the women; and rough-hewn, earth-tone garb for the middle-class rustics."
-from Barbara Vitello's First Folio Presents A Merry 'Much Ado' The Daily Herald (July 18, 2008)
" Make a mental note of the beautiful Regency-era clothing by costumer Elsa Hiltner;..."
-from THEATRE 'Much Ado About Nothing' by Scott C. Morgan from Windy City Times (July 23, 2008)
First Folio's 'Much Ado' A Clever, Funny Staging by Sandy Illian Bosch from Pioneer Local (July 17th 2008)
Terrific Humor from an Outstanding Cast Propels 'Much Ado About Nothing' by Tom Williams from ChicagoCritic.com
"Nick Sandy’s stylized fight choreography is highly effective, as are Elsa Hiltner’s delicious period costumes."
-from 'Much Ado' At First Folio by Randy Hardwick, ChicagoCritic.com
Review 'Much Ado About Nothing' At First Folio by Scott Zacher from Chicago Theatre Blog, July 24, 2008
Photos thanks to David Rice.
