Vital stats:
- Robin Shane
- 33 years old
- Grew-up in Wayland, Mass.; Now lives in Murray Hill
- Costume Designer and future sensible baby product mogul
Robin's World:
You recently worked with Maurice Sendak on two operas (Brundibar and Comedy on the Bridge) adapted by Tony Kushner for the Chicago Opera Theater. How did you get this opportunity?
My friend and frequent collaborator, set designer Kris Stone, was hired to associate design, and as she got further along in the project she discovered that they wanted her to do costumes as well as sets. She felt she wasn’t qualified to do the clothes, too, so she gave Maurice my number. He called me when I was on the set of the PBS short film Cosmopolitan; we spoke for a total of 4 minutes, and he hired me on the spot!
I was hired only four months before the production was actually scheduled to open, so I had to work really fast. I had never done anything to that scale before, and I was quite intimidated by the thought of working for Maurice Sendak and Tony Kushner. They are two of the greatest artists and geniuses of our time, but being with them is often more like listening to an Abbot and Costello routine mixed with a bit of Borscht Belt humor -- a lot of Jewish kvetching. I learned quite a few Yiddish phrases along the way. Being the only other “member of the tribe” on the production put me in a great position as well!
Other than thinking you were in the Catskills, what was the work experience like?
It was overwhelming and intimidating at first to be given these beautiful drawings (the designs for the opera were taken from the galleys of the book “Brundibar” before the book was even published!) and told, “OK, translate them into costumes.” Maurice is an illustrator, so he doesn’t think in three-dimensions. He doesn’t think about what the closure of the back of that dress looks like, or where the hem is on those pants. In fact, what makes him so genius at drawing characters is his ability to play with proportion (many of his characters seem sort of squished down and often have clothes that are too big), but that makes it very hard to translate into real-life. Maurice gave me pretty much free reign, however; I was able to take what he did, change it around, and make it work for the stage, while retaining his genius color sense and playful sensibility.
Did you learn "Where the Wild Things Are"?
Maurice told me where the Wild Things are, but I signed a confidentiality agreement, so I can’t tell you.
Many of those costumes are included in the current exhibit "Wild Things: The Art of Maurice Sendak" at the Jewish Museum. What involvement did you have in the exhibit?
I was hired as Costume Installer/Stylist for the exhibit, which meant I got to pick out the mannequins the costumes were displayed on, and set them up in the vignettes you see at the museum. It was an interesting problem, though; of course the costumes were not meant to be seen from 3 feet away on a non-moving form. They are meant to be worn on a living, moving person, seen under stage lights, from 20 feet away and by people with less than perfect eyesight. The stage is much more forgiving! Plus, the mannequins are designed to display fashions, not real-life costumes, so their proportion is much more elongated- exactly the opposite of Maurice’s figures. At one point I was sitting in the middle of the gallery with a matte knife in hand, cutting the neck down on one of the mannequin heads and stuff. It was rather gory. It’s also great for museum-goers to see Maurice’s sketches hung right next to the finished costumes. They are works of art in themselves.
Did you always want to be a costume designer? Why costume design as opposed to other forms of design—textile-related or otherwise?
I always knew I wanted to do something in theater, but I thought I’d act or direct. I knew I wanted to be a theater major. I went to Wesleyan, and all theater majors had to take "Basic Production Techniques," which was your typical slave-labor class where each student worked in the costume shop, scene shop and hanging lighting. I started in the costume shop because I was one of the few people who could sew. I stayed there pretty much the entire semester because of a fear of heights. (I never ended up hanging a light my entire time at Wesleyan!) I ended up doing a double BA in theater and psychology, and did set and costume design for my senior project in theater.
Do you feel designing for specific characters is more restrictive or liberating than if you were a fashion designer or personal stylist?
Costume Design is a great combination of theater and psychology. I was able to use my two majors in a combination that I found really interesting. Unlike many of my peers, especially at NYU where I went on to get my MFA, I didn’t come to costume design from a fine-arts background. The drawing part of designing actually interests me the least. I’m not really a visual artist. I’m much more interested in getting into the character’s head and figuring out what he or she would have in his or her closet. Then I think, what would this person pick to wear in this particular situation? Of course, keeping in mind historical period, social status, economic situation, color palette of the entire scene, and practicalities such as budget, whether I have to stitch this or can buy it, size of actor, etc.
I have done a little bit of dance design, and did a show last winter called “Heliantha” which didn’t really have a script, more like a story-line. The design for that was quite challenging because it was basically coming up with an aesthetically pleasing dress that was inspired by sunflowers, but I had entirely free-reign as to shape, color, form, and fabric. I find that much more difficult than being able to use research and historical documentation. I get very inspired by research. I am not a great “design out of thin air” designer.
What do you think most people don't know or understand about the job of being a costume designer?
Costume design is difficult: you have to know a lot about a lot of different things. It combines fashion, practical knowledge of fabric and sewing, psychology, history, research ability, MAJOR people skills, literary analysis, and general knowledge about day-to-day life. And, of course, I have to also be able to make actors trust me, because, frankly, they strip down to their underwear (or less!) in front of me. Then I give them clothes to wear that they would NEVER pick out for themselves, and I tell them what I think their character would wear. I use the skills I learned getting my BA in psychology much more than I use my life-drawing skills!
Do you prefer to work on shows that involve large costume construction and a lot of design from scratch or other projects that are more like personal shopping for the characters?
I prefer period pieces, but only when I have lots of money to hire a shop or to rent really good-quality stuff. I love getting into the research and figuring out really interesting period details that distinguish one character from another. Unfortunately, those shows are few and far between, because the budgets are just too low for me to take the jobs. I am at the point now that I don’t want to be sewing all day and all night just to get the show up. I have a baby now, and I’d much rather be home with her than making myself crazy trying to approximate the look I want because there isn’t enough money.
Modern shows are actually harder because the actors often have their own idea of what they want to wear. I mean, everyone is a costume designer every morning they wake up and figure out what they want to wear! If I’m hired for a modern show, I usually say I want to be credited as “Costume Consultant,” and let the actors do more of the work.
Can you describe your actual process from the moment you receive a script?
I don’t usually start to think specifically about each character until I digest the overall feeling of the piece. I then will give the piece a second, more specific read, keeping track of things like change of time, the weather, what other characters say about the person, what the playwright has or hasn’t told me about the character. I do what is called a costume plot, which then tells me how many costumes each character needs. Then I start to gather research, and do a binder with a section for each character. The research can be something very specific, like pages from fashion magazines of the time (if that is applicable) or portraits of people of the period; or the research can be purely emotional, like pictures of flowers or textiles or anything that for some reason feels right. Then I sit down and sketch. I usually can’t explain where I get my ideas; in fact, I rarely talk about my sketches. I feel they should stand on their own and explain themselves.
If it’s a modern piece, I’ll do a collage of different looks for each character. The actual getting of the pieces -- be it at thrift stores, retail stores, shopping for fabric, or renting -- is next, which usually can take between a week and a month. Then we have fittings on everything, usually a week before we open. Alterations, any further shopping and finishing and distressing (if necessary) is next, and then we go into dress rehearsals. I like to get costume pieces, especially shoes, on the actors as soon as possible. Shoes are the most important piece to inform how a character walks, moves and stands, and it’s important for the actors to have plenty of time in them. I like lots of dress rehearsals, because it gives me time to tweak, the director time to react, and then the actors time to really inhabit the clothes. By opening night they feel true to the character.
The majority of your work has been for theater and opera, but you've also worked on a few low-budget films. What are the primary differences from your experience?
I find the pace and the rhythm of film quite annoying. It’s like "Hurry up, get everything together, plus three or four other options to bring to set in case the lead actress hates everything you’ve done because she’s not coming in from LA until the night before we start shooting and she can’t possibly meet with you." So you show up at the crack of dawn to a set where there’s no heat because we’re on location at a vacant house in the dead of winter, find out they’ve changed what scene you’re supposed to shoot first so you have to run out to the local WalMart and fake it, and then you somehow make it through 3 weeks of shooting 20 hour days, six days a week, and it’s the last shot and you’re so tired so you just leave without saying goodbye to anyone, and then 9 months later you all meet again at the screening and you have nothing to say to anyone because it’s been so long you barely remember their names.
I much prefer theater. You work at a steady pace; there’s lots of collaboration and give-and-take; you make great friends with everyone; you go through tech week hell together; and then it’s finally opening night and everything works out because of the magic of theater. You get to celebrate and have real closure, and then you leave and it’s over. Much nicer.
How conscious are you of modern fashion trends and styles?
I am always about 2 years behind in my knowledge of modern fashion, which is fine because even a modern piece doesn’t call for up-do-date runway fashions. Of course, I know where to find the most modern looks if I need to, and that’s what is the most important skill
How do you describe your own personal style?
My own personal style lately has been pretty boring- trying to be hip city-mom is completely impossible when you spend your days walking on your knees at the park and cleaning up toys and books. So practicality and cost-effectiveness are the key words in terms of my wardrobe!
How hard is it to break into the theater industry as a costume designer? Do you find yourself battling other designers – especially former NYU classmates -- for jobs?
For a really long time I had no trouble getting jobs, and very infrequently I was competing with former NYU classmates. They were really small off-off-Broadway jobs, and I had been working with the same 3 or 4 directors and theaters for repeat shows, so they kept me working. I felt that I was moving at a really good pace, and getting the kind of jobs I wanted. I would hear about other friends from NYU who were quitting the business, but I kept on keeping on, as they say. But then I started to feel really stuck, like things weren’t moving forward, except then I got the job with Maurice and Tony, and it seemed my career would pick up again.
You've worked a lot over the last several years, but it also seems like it's always the same small group of people actually getting the big, high-profile jobs, especially on Broadway. Is there any level of upward mobility that isn't based to a degree on luck in the theater world?
The great thing about theater is that you can do it until you absolutely collapse under the weight of your shopping bags and scripts. The bad thing about theater is that no one ever retires, so once you start to get Broadway shows you just keep getting hired again, which leaves no room for younger artists. That part is incredibly frustrating, but up until a few years ago, I had the drive to keep moving forward and I was convinced that I would be the one to stay in the business and make it.
But now you're not? Are you thinking about getting out? You've always been very career driven, but you had your first child about a year-and-a-half ago. Has motherhood changed your ambitions?
When I became pregnant in early 2003, I started to streamline my jobs, quitting a job I had at Manhattanville College for 4 years, and being very picky about what I chose. Soon after Cecily was born in Oct. 2003, I did two shows -- one on top of the other. I hated being away from her and resented the jobs. I decided I wouldn’t take any other shows for a while so I could just concentrate on being home with her. I have done a couple since, and because I am committed to Brundibar and Comedy on the Bridge, I’m going to see this production through until Fall 2006. However, after that I think I might take a break from theater for a while. I want to explore other design options.
Such as?
I have just started a business with a friend of mine designing and manufacturing baby products, called Go Baby. I am finding the baby market is missing well-designed, good looking and practical baby accessories -- our first product is a waterproof playmat for the park -- so we’re going to try to break into that field. I still feel fulfilled creatively, and I can do this in my own time, and still be home with Cecily.
Growing-up, did you always have the best Halloween costumes?
Everyone always asks me about Halloween. Frankly, I hate Halloween. It’s a busman’s holiday for me. But you can bet Cecily will have the best costumes for her school plays!
Ten things to know about Robin:
What's the best thing you've ever purchased/salvaged off the street?
I like to shop the sample sales outside the showrooms in the garment district. Now that I finally lost the baby weight I fit into the clothes again!
Personality Problem Solving: Would you consider your personality more hysterical or more obsessive, and have you changed since living in New York; has "New York" become a part of you?
Definitely more obsessive. I think that’s why I love living in New York. I’ve always been a little obsessive; now that I live here I have a reason to be. People seem surprised when I say I grew up outside of Boston. I’ve always belonged here, I just didn’t always live here.
NYC Confessional: Do you have a local guilty pleasure?
Tasti-d-lite. I admit it.
When you just need to get away from it all, where is your favorite place in NYC to be alone, relish in solitude and find your earthly happiness? (We promise not to intrude.)
I love the Temple of Dendur at the Met Museum. Especially when it’s snowing outside.
What's one thing you've done (or regularly do) in NYC that you could not have conceived doing anywhere else?
Take out!
Assuming that you're generally respectful of your fellow citizens, was there ever a time when you had to absolutely unleash your inner asshole to get satisfaction?
No, but I wish I had, especially when it was August, and I was 7 months pregnant, and no one would give me a seat on the bus.
Describe that low-low moment when you thought you just might have to leave NYC for good.
Never happened. In fact, the first night after I moved here (when I was 24), I called my parents and told them to never ask me to leave NYC, because I never would!
Besides more square footage, what luxury would you most like to have in your apartment?
A washing machine. Baby = Dirty Laundry!
311: Help or hoopla? Have you ever put it to use?
Help. But I hate the phone, so I make my husband call.
There are 8 Million stories in The Naked City. Tell us one, but try to keep it to a New York Minute.
During my first month living in New York, I went out to dinner with a friend and had a couple of glasses of wine. While crossing Astor Place to get to my apartment, I got hit from behind by a cab. Some passers-by stopped, called an ambulance and everything! Fortunately I wasn’t hurt at all -- maybe it was the wine -- and since I was a student I couldn’t even sue for lost wages or missed work or anything. But it made me rather wary of cabs!
"Wild Things: The Art of Maurice Sendak" is currently on exhibit through Aug. 14 at The Jewish Museum, located at 1109 Fifth Avenue at 92nd Street. The museum is closed on Saturdays but otherwise opens daily at 11 AM, closes at 9 PM on Thursdays, 3 PM on Fridays, and 5:45 PM every other day. Adults are $10, students and seniors $7.50, and children under 12 get in for free. For more info, visit www.thejewishmuseum.org.
Brundibar and Comedy on the Bridge will open at Berkeley Rep in Berkeley, CA in November, and at the Huntington Theatre in Boston in Fall 2006. New Yorkers can see the show at the New Victory Theater from April 28-May 21, 2006. Tickets are already on sale for New Victory members, and become available to the general public on August 1. For more information, visit this link at Telecharge. For more information about Robin's work including photographs from some of her productions, check out www.designstudionyc.com. And look for the brand new line of Go Baby products at your local boutique next spring.
-- Interview by Aaron Dobbs and Lily Oei
