Falling down the rabbit hole into Wonderland would not be possible without the creative prowess of our beloved Scenic and Costume Designer, Margie Jervis. With ninety-eight different costumes, Alice in Wonderland is quite the undertaking. Twenty-four distinct character costumes, nine mushrooms, thirteen flowers, twenty-one oysters, seven maids, one flying pig, one walrus, one carpenter, one king, one ship, one caterpillar, one Cheshire Cat, two crabs, eight cards, three hedgehogs, two footman, one fish, and one frog make up the seemingly endless cast of costumes that effortlessly transport us into Alice’s world.
In general, how long does the creative process take?
Initially, it takes about a month of work. An assistant and I take about a week to inventory everything that we already have in the costume shop. We then try to supplement special items by utilizing items that we already have. We also borrow costumes.
How long does it take to assemble costumes from scratch?
So new costumes take another week or so to prepare the designs. They are then assembled by parent volunteers during cooperative work days. We generally have about six or so people who volunteer during these sessions. We then do our costume fittings and measurements for the kids during the rehearsal process. Any adjustments or alterations needed are also done throughout the rehearsal process.
What are some of your favorite costumes/props in the show?
Well, the one prop that I really enjoy is the trick baby that turns into a piglet. It’s kind of like a puppet.
Many of the costumes are very unique in their assembly. Can you tell me a little bit about some of the more unconventional pieces?
The caterpillar costume is actually a giant articulated costume that is composed of several hoops fastened together by these DayGlo strips of fabric. The actor steps into it and is secured by these suspender-like shoulder straps. His body is operated by two other actors to create his movements.
The mushroom caps in the caterpillar scene are umbrellas that we have designed to look like mushrooms. We found that it was easier for our actors to come on and off of the stage with costumes that are able to collapse.
The neck of the flamingo is actually a dishwasher hose from Home Depot. I find a lot of inspiration in the plumbing aisle of Home Depot.
With a cast of only twenty-four and a total of ninety-eight costumes, there must be a great deal of changing going on backstage.
Many of the costumes have a layered effect. The actors wear a base of all black and the pieces are incorporated on top of it. As part of their Learning Theater training, they learn how to not only change into these costumes by themselves, but they also learn how to help their fellow cast-mates with quick changes as well as how to properly take care of their costume once they are finished wearing it.
When designing a show, how do you find your inspiration?
For this production, I wanted to stay true to John Tenniel’s original illustrations in the Lewis Carroll book, pulling directly from the Victorian influence of the costumes with collars and lace. I decided to put Alice and her sister in black and white to show that they are existing in the world outside of Wonderland. Once Alice journeys to Wonderland, I chose to create a fantasy world with colors that are more present, giving the show a more dreamlike hallucination with vivid colors.
In general, how long does the creative process take?
Initially, it takes about a month of work. An assistant and I take about a week to inventory everything that we already have in the costume shop. We then try to supplement special items by utilizing items that we already have. We also borrow costumes.
How long does it take to assemble costumes from scratch?
So new costumes take another week or so to prepare the designs. They are then assembled by parent volunteers during cooperative work days. We generally have about six or so people who volunteer during these sessions. We then do our costume fittings and measurements for the kids during the rehearsal process. Any adjustments or alterations needed are also done throughout the rehearsal process.
What are some of your favorite costumes/props in the show?
Well, the one prop that I really enjoy is the trick baby that turns into a piglet. It’s kind of like a puppet.
Many of the costumes are very unique in their assembly. Can you tell me a little bit about some of the more unconventional pieces?
The caterpillar costume is actually a giant articulated costume that is composed of several hoops fastened together by these DayGlo strips of fabric. The actor steps into it and is secured by these suspender-like shoulder straps. His body is operated by two other actors to create his movements.
The mushroom caps in the caterpillar scene are umbrellas that we have designed to look like mushrooms. We found that it was easier for our actors to come on and off of the stage with costumes that are able to collapse.
The neck of the flamingo is actually a dishwasher hose from Home Depot. I find a lot of inspiration in the plumbing aisle of Home Depot.
With a cast of only twenty-four and a total of ninety-eight costumes, there must be a great deal of changing going on backstage.
Many of the costumes have a layered effect. The actors wear a base of all black and the pieces are incorporated on top of it. As part of their Learning Theater training, they learn how to not only change into these costumes by themselves, but they also learn how to help their fellow cast-mates with quick changes as well as how to properly take care of their costume once they are finished wearing it.
When designing a show, how do you find your inspiration?
For this production, I wanted to stay true to John Tenniel’s original illustrations in the Lewis Carroll book, pulling directly from the Victorian influence of the costumes with collars and lace. I decided to put Alice and her sister in black and white to show that they are existing in the world outside of Wonderland. Once Alice journeys to Wonderland, I chose to create a fantasy world with colors that are more present, giving the show a more dreamlike hallucination with vivid colors.
Margie Jervis has a long and multifaceted career in visual art, from fine art exhibited internationally, to theatrical design. She began her theater work as a Scenic Painter and Sculptor at both the Seattle Repertory Theatre and the Seattle Opera. She was head of the Scenic Art Department for the Seattle Opera in the 1990's and Design Associate from 1996-2000. After moving back to the East Coast, she designed set, costumes and puppets for the Washington National Opera's Children's Opera Program, the Ashlawn Opera in Charlottesville, and costumes with Keira Hart for Uprooted Dance. She is now in her 9th season as Resident Designer and Visual Arts Educator for Creative Cauldron. In 2010, she received a Strauss Fellowship Award from Arts Council of Fairfax County, and again in 2017, in recognition for her work in theatrical design and puppetry.
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