‘Can you go any tighter, Emma?’
It’s not the typical question for ten a.m. on a Wednesday
morning, but as I stand in Production Room 2 at Jerwood space, slightly too
full of marmite and toast for comfort, this is precisely what David the
Corsetiere asks me. I’m being cinched into the bespoke corset he’s making me
for Half A Sixpence. My waist is the
smallest I’ve seen since I discovered my penchant for late night cheese and
crackers, there are whalebones running like rivers through calico from armpit
to hipbone, and my boobs are currently floating somewhere around my ears. It’s
a beautiful, brilliant period shape and one the costumes will look stunning upon.
I love shows in a corset. I love singing in a corset, and I
really love the posture I can only achieve when tightly embraced by one. There’s
something rather delicious about the structure of period costume compared to
the lycra-heavy clothes we wear these days. I’m sure I wouldn’t be quite so
enthusiastic if I had to wear it day in day out but for now, it’s a pleasing
experience, if somewhat restrictive in the sitting down department.
Learning how to adjust your frame to a costume design is
quite a big part of finding a character, in particular making sure that your
movements feel natural and unrestricted. We have a rail of practice corsets and
skirts in the rehearsal room so cast members can frock up whenever they want.
Getting used to how dance numbers and singing feel when your ribs are
constricted is vital so that it doesn’t come as a huge shock to the body when
we finally begin teching the show in full costume days before we open. Corset
practice also makes you very aware of not eating a massive dinner before trying
to put one on!
Shoes are also a huge part of building a role. There is a
surprising amount of influence on the way a character walks in the shoes that they
wear. We will often rehearse dance sequences in trainers for comfort and
safety, particularly if trying lifts and jumps, but at some point the shift
over to ‘show shoes’ must be made. Beautiful leather brogues and button up
boots, small heels and pointed toes, they can all have an affect on the choices
you make as a performer. It always amazes me how much the roles I play are
discovered so much more through the design of them than just the words on the
page.
A plethora of show shoes!
Many of the costumes for Half
A Sixpence are being made from scratch as per Paul Brown’s designs, in
particular when a number calls for a matching set of costumes for the full
company. However a few costume pieces are being sourced from a brilliant
costumier in North London called Cosprop. It’s a treasure trove of fabulous
fashions from every period you can imagine and on Friday I had the pleasure of
spending a few hours playing dress-up in some of their early 1900’s collection.
Before I arrive, Rachel, costume supervisor, and Paul peruse
the vast warehouse for several hours, pulling out costumes for numerous
characters in the show based on their ideas for the roles and our personal sizes.
Obviously there’s no way I’ll fit into a size 2 dress, no matter how much you
hoik the corset laces, but there’s always a chance that a slightly too large
dress can be adjusted to fit. We need as many options as possible if we’re to
find the right outfit not only for the show but also for my character Helen’s particular
design so that it works seamlessly with the bespoke items we’re making.
We’ve been working on creating a cohesive colour palette for
Helen based around blues, which I’m thrilled about because it’s my favourite
colour. This helps to create a constant through line for a character. Entering
the changing area at Cosprop I’m greeted by a plethora of outfits in every
shade under the sun. Long skirts, buttoned jackets, lace blouses, crepe
dresses… you name it, Paul has found it in the store’s vast archive of
costumes.
Fabric colour swatches
Laced into my corset, we commence trying on outfits. It’s a
fairly speedy process as we’re only looking for a few items to add to my
character wardrobe and some items are dismissed rather rapidly, looking better
on the hanger than they ever could do on my body shape. Others are put on one
side to wait for one of the seamstresses to do a quick unpick, as they’ve
previously been adjusted for other actors and need a little attention before we
can see if they work. And then there are the items that are simply perfect. The
ones that have clearly been waiting impatiently for your arrival as if to say
‘There you are! Where have you been?!’ These are the pieces that make mine and
Paul’s eyes light up with glee, the outfits that transport me from Emma to
Helen effortlessly and the costumes that are given a green light almost before
I’ve finished fastening them up.
Fabric detailing for added pizazz!
Aside from these stunning pieces I’m also having several
costumes made by the brilliant David Plunkett, he of aforementioned corset
fame. At our first fitting David took a whole new set of measurements due to
the way the corset affected my body shape, smoothing and lifting and hugging me
into a more streamlined yet womanly version of myself. With this done I was
slipped into a couple of different outfits that David had begun making based on
my original measurements, before almost an hour of meticulous pinning. Taking
tiny amounts of fabric out here and there with pins and tucks, David can thus
ensure that the costumes fit in the most flattering manner, highlighting the
frame of the performer whilst retaining the lines and fluidity of the era. It’s
amazing to watch his already beautiful costumes being perfected and polished
with incredibly fine attention to detail. I feel truly honoured to be having
costumes made by him and if everyone else’s costumes are as stunning as Helen’s
then the audience are in for a real treat!
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