Posts

WNO Costume Director Marsha LeBoeuf // Photos: Rich Kessler

Inside the Living, Breathing World of the Washington National Opera’s Costume Design

“They think of the costumes as living, breathing things. They develop intense relationships with the costumes themselves as they’re literally forming them with their hands.”

Timothy O’Leary is describing the love story between the Washington National Opera (WNO)’s costume team and the works of art they fit to singers not like a glove, but like a second layer of skin, an extension of their very being. And it’s an easy romance to get swept up in.

As WNO Costume Director Marsha LeBoeuf walks me through her vast costume shop in Takoma, my little performing arts geek heart begins to pitter patter. There’s a wig-making studio and a fabric-dying room and walls lined with every brightly colored shoe imaginable, not to mention never-ending rows of textures organized by production and drawers upon drawers of tiaras and pearls and other costumed jewels.

I’m sent over the edge when she pulls out a cape from the 1981 opera The Magic Flute, made particularly notable by Where the Wild Things Are author Maurice Sendak’s iconic design aesthetic. The ticking along the fabric looks remarkably like Sendak’s costume sketches and illustrations from his classic children’s book, and though not totally sure, she’s pretty convinced we’re touching fabric hand illustrated by Sendak himself.

“I’m just in awe of a costume shop like hers,” O’Leary says of LeBoeuf and her team’s 20,000-square-foot space. “The people who work there feel so strongly about doing everything exactly right.”

This devotion not only to precision but to the craft itself is evident in my hour spent with LeBoeuf, as she shares insight into the meticulous level of detail and care her staff must treat each individual costume with – and her own lifelong love affair with opera.

The 64-year-old costume director has been with the WNO, an artistic affiliate of the Kennedy Center, for 31 years, describing herself as “one of the lucky ones” for being able to spend her career doing what she went to school for. She started out as a freelance costume designer after receiving two theatre degrees, playing the role of designer, patternmaker, stitcher, painter, dyer and more before landing her a job with the District’s opera company in 1998.

Not only does she oversee costuming needs for all WNO productions, LeBoeuf and her team support other Kennedy Center programs as needed like its Theater for Young Audiences and Broadway Center Stage, including last fall’s Little Shop of Horrors. She describes the WNO costume studio, which has housed her staff’s robust operations since 2001, as a building shop.

When the WNO embarks on a new production or needs to create new costumes, her team works with designers to acquire the right fabrics for whatever they’re making. And though many of the operas brought to the Kennedy Center are touring productions with existing costumes, she notes that they still have to be customized to the WNO singers’ bodies.

“That’s our job, no matter if you’re the title character of if you are just in a crowd scene,” LeBoeuf says. “Every single costume on our stage is custom-fit to whoever gets to wear it.”

There’s much, much more that goes into each customization than the average audience member might realize, as opera singers have very specific needs onstage.

“Singers have a different kind of movement that they have to do,” she continues. “They have to be able to breathe. They have to be able to hear. We answer a lot of those types of questions in the fitting. It’s fun. I have so much respect for the way a singer prepares for a role, and it’s always been my secret delight to have something to do with that. We’re here to support.”

The scope and breadth of how the proverbial sausage is made is overwhelming: custom colorization of flesh-colored inserts to perfectly match singers’ flesh tones; crafting accurate, realistic hairlines for every single wig; and the stealthy insertion of cooling gel packs into wool uniforms for singers to avoid sweating profusely onstage, to name a few. But of paramount importance is giving singers as much flexibility and range of motion for their vocal cords as possible – often requested by male vocalists in particular is extra breathing room in fabric covering their throats.

“I like to think of costumes as a bit of armor that our performers put on to face what they call ‘the mouth of the wolf,’” LeBoeuf says. “That means you’re saying, ‘Good luck,’ because when the curtain opens and you face the audience, they are the wolf and you’re facing the mouth of the wolf. Those Italians, they’re so passionate and illustrative. I like to think of the costume as a bit of armor to help with that process.”

She describes each singer’s relationship with their costume as deeply personal, noting the often transformative and vulnerable moments that occur during the first fitting.

“Just about the most rewarding part of this job – aside from seeing those designs become three-dimensional costumes, that presents its own joy – is when you get to go in the fitting room and introduce a singer to a costume. You see them start to adapt those clothes as part of their character. That’s a huge moment for me. To get to see that brought to bear onstage is what keeps me here. It’s so much fun.”

LeBoeuf and her team act as translators of sorts, walking singers through the intricacies of their costumes while also honoring the conception of each individual production as envisioned by the stage director and designers.

“Within the context of the inevitable conversations we have when we are in a fitting situation, which is very personal as you would imagine, it is our job to answer any questions and give any information that we can to help that performer understand why they’re being asked to wear this particular costume this particular way.”

O’Leary has great respect for LeBoeuf and what he describes as her very high-pressure job to meet the costuming needs of performers who are doing something incredibly physically intense with their bodies onstage.

“People like Marsha and all the people who work within the costume shop are magician problem solvers because of the enormity of the task of putting an entire cast, chorus and dancers into all of the costumes that have to be fitted exactly to them. There’s an absolute deadline: opening night curtain. Everything’s got to be ready.”

The WNO’s general director reiterates how much the costumes matter to the singers, allowing them to truly inhabit their characters. He waxes poetic about how opera is a completely vibrant art form in the 21st century, and an enormously expressive medium.

“It’s not worth telling a story in opera if there’s no reason for the characters to express their feelings through this kind of singing,” he says. “Some stories make more sense as a play or a movie, but some stories make sense as an opera because they deal with the deepest emotions that we have.”

The kind of singing he’s referring to is what LeBoeuf describes as “different from anything else that’s amplified.”

“The amplification is natural,” she says. “The loudness you hear from those instruments comes from the instruments themselves. The voices you hear in your seat in the second tier are not coming to you through speakers. They’re coming to you from those singers’ vocal apparatuses.”

Both WNO leaders rave about the upcoming season, with Otello opening on October 26 and the aforementioned The Magic Flute opening on November 2. O’Leary describes Otello as a blood-and-guts Italian opera that lives up to the traditional definition of opera with every fiber, and playfully refers to The Magic Flute as a “gateway opera,” a great introduction to the genre for Sendak fans and opera newbies alike.

Magic Flute is adorable,” LeBoeuf says. “If heavy drama isn’t your bag, come to Magic Flute. It’s uplifting like crazy, and colorful. It was created originally by Maurice Sendak and it has been loved for many years. The original scenery was lost in Hurricane Katrina and has been lovingly recreated. Some of the original costumes did survive and they are from his creative source. They’re very Sendakian looking.”

She and O’Leary mention the highly anticipated opera Blue, coming to the Kennedy Center next March, about a family’s tragic experience losing their teenage son to a police shooting. LeBoeuf embraces the unique challenges of getting the costumes just right for a 21st-century production.

“This is a contemporary tragic tale ripped right off the headlines, so people are going to know what they’re looking at. If you’re putting a New York cop onstage, it’s got to look like a New York cop. If you’re putting his troubled teenager onstage, you’ve got to know who that is. You don’t come out of those performances screaming about the costumes. They don’t take an overt presence in your mind. But the characters get under your skin, so you’ve got to get that right.”

O’Leary views this new opera as a modern version of works that came before it, a window into the breadth of the art form.

“Opera is so weighted down with stereotype that the broader public often doesn’t realize that a piece like Blue is just part of a continuum,” he says.

When I ask LeBoeuf why she thinks opera remains relevant, she tells me that every time she’s subconsciously put the genre in a box, her eyes have been opened.

“People who are not in my generation – and not just 30-somethings, I’m talking about teenagers – I will encounter them and realize they have discovered this performing art form, and really think it’s great and want to be exposed to more of it. This amazing combination of orchestra music, theatre and some incredibly beautiful singing can just take you to a different place emotionally.

I really think that sitting quietly and letting opera happen to you is a very rewarding experience if you will take the time to let it happen.”

Otello runs from October 26 to November 16 with tickets starting at $45, and The Magic Flute runs from November 2-23 with tickets starting at $25. Learn more about the WNO’s upcoming season at www.kennedy-center.org/wno.

The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; 202-467-4600; www.kennedy-center.org/wno

202Creates Helps District Connect Arts Community

Three years ago, a month became a movement for the DC creative community.

“There were so many things coming to the forefront of the creative community,” says Angie Gates, director of the DC Office of Cable Television, Film, Music and Entertainment (OCTFME). “It started out with the intent to highlight our diverse and vibrant community. The original [idea] was to have the month of September be the main focus of highlighting our creatives. What we quickly realized after year one was: we can’t stop.”

DC Mayor Muriel Bowser established 202Creates in September 2016 to celebrate the city’s creative economy and culture, with input from the DC’s OCTFME, Commission on the Arts and Humanities, and Office of Planning and Economic Development. What began as a designated month of events has since transformed into a relationship between the local government and its luminaries including fellowships, studio space and networking opportunities.

“To know that the mayor and the community are behind the creatives speaks to the climate of where we are and [the community’s] understanding of the arts in the District,” says local musician James Poet of indie group FutureBandDC. “There’s such a melting pot of creatives in the area. There’s so many visual artists and filmmakers and [musicians]. They’re part of the pulse of the community. It makes sense for the city to come in and make sure we have a voice and platform.”

Though the idea rapidly outgrew 30 days, September still holds significance for 202Creates. This year’s kickoff event on August 29 at Eaton DC will promote art installations, musical performances, dance activations and more. Other festivities included in the celebration are Art All Night on September 14, the DC Radio Anniversary event on September 19, and the 202Creates Month closeout event on September 28 featuring Poet and his band.

“I think 202Creates is a staple in DC,” Poet continues. “It’s the go-to for creatives in providing a platform for us to elevate our talents. They’ve created this platform to support the creativity community in all its functions, and we definitely wanted to make sure we support this initiative.”

The 202Creates community has grown because of the city’s willingness to increase support and provide a foundation for people looking to get their foot in the proverbial creative door, Gates says, mentioning the OCTFME television and radio stations.

“Nothing surprises me anymore,” Gates says. “I fondly refer to DC as the capital of creativity. Not only have [we] had an impact here in the District, but nationally people are [recognizing] what we’re doing here.”

And this form of support isn’t limited to people in the entertainment industry or people who deal in traditional mediums like photography or painting, as the city also considers practices like cosmetology and cooking to be artistic expressions that fall under 202Creates’ purview.

“It wasn’t so much about the government as much as this is how the government can help you find a creative pathway to the middle class,” Gates says. “What it really does is highlight the different resources and platforms that we have as a government that we can provide our creatives. It’s really about the creatives having a seat at the table and showcasing the talents of the city.”

Three years in, she says there are still people just learning about 202Creates and its programs, whether it be artists-in-residence or the coworking office on 200 I St. Through installations and social media, the movement has touched all eight wards of the District, unearthing and shepherding talent in a supportive manner.

“I think it would be a travesty if we didn’t grow each year,” she says. “When you have other artists and other things to spark your creativity around you, you start to expand and grow and develop. That’s the beauty of it all: to look at where we were in 2016 and where we are today.”

So how can locals gain access to these resources? Gates says it’s as easy as sending an email via www.202creates.com, but she’s also fielded pitches in person and over Instagram.

“We’re asking everyone to just come out and meet us,” she continues. “We have an open-door policy at our studios. The goal is to make sure our creatives can work closely with us. The main thing is to get engaged once you’re here and familiar with it.”

For a list of participating 202Creates Month events or for information on the initiative, visit the website at www.202creates.com or www.entertainment.dc.gov. Follow along with the community on Instagram @202Creates.