Dee Dresses 1000 Homosexuals
by guest blogger Dee Deringer Piquette (aka backblogger Xena)
My name is Dee and I am a costume designer.
I am currently making costumes for an original play commissioned by the Adrienne Arshi Center for the Performing Arts in Miami, Florida, called "1000 Homosexuals." It's described as a new comedy that recounts the story of Anita Bryant's 1977 crusade against gay rights in Miami-Dade County, written by Michael Yawney, produced and choreographed by Octavio Campos of Camposition, and directed by Sheldon Deckelbaum. It may be hard to describe those days of homophobia and the orange juice queen as a comedy, but it portrays Anita Bryant just the way she would want: as a "musical Joan of Arc battling a powerful and perverse gay mafia," to quote the publicity material. The play is a challenge--I have to dress the Guys and Anita through a zillion costume changes, plus create an ensemble of Dancing Penis Marionettes. In contrasting colors. Visible from the back row. But more about that later.
You may wonder how somebody becomes a costume designer. It's a gift you are born with, a combination of nature and nurture and art. My mother and grandmother sewed. My grandmother made all of her clothes and then my mother's costumes and clothes and then she and my mother made all of mine. I grew up dressed like a doll. I had sun suits and play clothes (think Sound of Music) and all that, but always looked adorable for kindergarten and church. We had mother/daughter dresses and even mother/daughter/father/son square dance outfits. So naturally, I started sewing when I was 6 or 7 and I started costuming with my Betsy McCall doll. A sweet-faced, normally proportioned girl with bangs and flip hair style and no boobs. She needed outfits! She needed to marry the little Dutch boy doll my grandmother brought back from Holland. The poor little Dutch girl, in her lace hat and wooden shoes, had to settle for sister of the groom and no new dress. Betsy was very fashionable. My mother and grandmother saved me scraps from our outfits so I could make her something to go with us, so we had mother/daughter/doll ensembles.
Fabric speaks to me. I hung out at Burdines when I was a kid, like kids today cruise the mall, but it wasn't looking at the ready-made stuff. My mother and I would spend delicious Saturdays at Burdines looking at patterns and fabric and then having lunch at the Hibiscus Tea Room upstairs. We would buy three yards to make whatever we thought would be perfect for the design and then take it home. Sometimes it would sit on the fabric shelf and wait. One day we'd see it and say, "perfect for that pants suit" and down it would come and become a reality. My mother modeled for Burdines when she was younger, and I was on the Teen Board and did my share of modeling, too.
My father sold shoes at Burdines, and Christmas gifts at our house were shoe boxes with a pattern and fabric in it. Clothes were always an imaginative mix of style and color and occasion at my house. Birthday party invitations involved a trip to the fabric shelf and a look in the pattern box for the perfect dress. Making something out of nothing is amazing, even more so when you realize that nobody in the world had a dress that you made for yourself. I was always walking the red carpet.
So couple of weeks ago I was in Boston, driving through the Ted Williams Tunnel after renting a car at Logan, and my cell phone rang. A male voice said, "Hi, I'm Sheldon Deckelbaum and I'm directing 1000 Homosexuals and I want to talk to you about costuming it." (I'm thinking: costuming 1000 gay men? I've done elephants. I've done an entire high school senior class in the Orange Bowl for a German soap commercial. I can do this, too.) "Sheldon, I'm in the Ted Williams Tunnel in Boston looking for the 93 South exit. Can you call me back in say 10 minutes?"
He did call me back. And after spending 2 days at Logan trying to get on one cancelled flight after another (it was August and hurricane season) I finally returned to Miami and met with the production design team. They were impressed that I coudl be creative on a budget: my most recent budget miracle was creating a suit of armor for a community theater production, and I ended up cutting Styrofoam packaging trays into armor pieces and hammering them with a meat hammer for texture and spraying it with Rustoleum. From beyond the footlights it looked like pewter. They hired me.
Now before you start wondering if I can make the jump from Sir Rodney of Recycle suit of armor to costuming 1000 people, gay or not, I have to tell you that the 1000 part of the title refers to something else. You will have to see the play when we open on November 20th to learn what it is.
So it's on to the next step, which is to read the script and then let the research being. The play is set in 1977. I was 25 years old back then and into the whole "Saturday Night Fever" Bee Gee's music and dress thing. Most of my male friends were gay. Even the straight men wore very wide everything--wide collars, wide lapels, wide pants, wide ties. And there was no color off limits. Raspberry, pink and fuchsia were all over the place. Light blue polyester leisure suits and full sleeved print shiny shirts were very fashionable. I'd label them "Victims of Fashion," but they were too busy strutting their proud peacock selves to notice us women folk tee-heeing in the powder room. So yes, I remember the 70's.
There are six men in the cast who play about 15 parts each with super fast costume changes in this production. Talk about a challenge. The Village People crusing' bar types, drag queens and makeup artist fairies are definitely going to be fun but not everybody is a caricature. Time to re-visit the photos, movies and pattern books from then. I'm going to be using a lot of black vinyl leather and I'm going to need a bigger sewing room.
The Anita Bryant character, however, is something else. She was very conservative and very conscious of her image. She was the image of wholesomeness. Former beauty queen, recording artist, wife and mother. Baptist Sunday school teacher and lest we forget the Florida Citrus Commission's spokesmodel on top of it all. Who of us boomers out there cannot sing "Come to the Florida sunshine tree" or remember their slogan, "A day without orange juice is like a day without sunshine?" I am recreating some of her album cover dresses. Very un-revealing white or teal fitted strapless numbers to the mid knee with a full sheer trapeze cape over it. They always had strategically placed trim around the bodice. Suggestive but not sexy. She didn't even show toe cleavage.
Costuming on a budget requires being on a first-name basis with Goodwill and flea markets. I am the queen of the thrift stores. If I can't find it there then I'll make it but I can usually find it. I need wide collared men's clothes. Sure, I could go into a store that carries vintage clothing and drop $1000, but it would not be what I personally had thought of in my mind. I am sure they do not have pastel fairy costumes with attached tool belts, for example. And the days of "Let's put on a show--my mom can make the costumes" are over, honey!
There are some construction issues in this play also. I had to create a bunch of marionettes in the form of--well--"Dancing Penises." They have to . . . move . . . realistically, so certain parts need more . . . heft . . . and I filled those parts with rice. My favorite is the one I made out of leftover Dorothy dress blue gingham check fabric from The Wixard of Oz. Very appropriate. Another one is red with silver foil Disco hearts, and one is tie dye crushed velvet panne. The actors strap them on and then use a wooden dowel rod control with strings to maneuver them. I am still laughing. Then there is what I refer to as the QUAD choir robe for a mock Baptist choir--a choir robe that fits four boys at once, with eight arm holes.
I can make anything.
And as I told you, the changes are FAST! This adds another complication to your design. It cannot be a three piece suit with a tie. It needs to be 1-2-3 back out on stage or in the case of Anita--a 1-2-3 costume change on stage. She never leaves. I told you costume designing was a challenge. It is a collective creative juice (pun intended) mix between what the author, the producer, the director and the costumer envision the character to project to the audience visually. It's like watching YouTube without the sound on. The costumes have to go with the direction the play is going in, or the audience gets confused. Unless you're costuming "Oh, Calcutta" it is an important part of the theater process. I have solved the quick-change problem by sewing all the pieces together and Velcro-ing it up the front. A shirt and jacket and tie take 30 seconds to put on. They put their arms through the sleeves, tuck in the shirt tail and close the front. Tah-dah!
So that is my current project. I know Halloween is coming up and some of you are ready and some of you are still wondering what you'll dress up as if at all. I'm making a moose head with styrofoam meat tray antlers to go with the boss's Palin costume. Betsy is going as a Bride. What are you wearing? If you're hard up for ideas, give me a call. I'm Dee, and I design costumes.