The Costume Department Team

Interview with Costume Designer Howard Vincent Kurtz and Costume Shop Manager Denise R. Warner

Costume Designer Howard Vincent Kurtz and Costume Manager Denise R. Warner talks to us about dressing the characters of Miss Bennet: Christmas at Pemberley and exceeding the expectations of creating the beloved world of Jane Austen for the stage.

As costume designer, Howard Vincent’s work for Miss Bennet: Christmas at Pemberley started in the summer of 2019 by reading the script and analyzing the specifics of the characters and their arcs, as well as analyzing the time period, location, and style of the play. He also worked with Director Anne Hering, whose charge was a simple and clear one, “Give [the audience] what they expect.” Many people know and love Pride and Prejudice and audience members will have some knowledge of the characters, the time period, and setting and his job was to create an “historical silhouette” for them.

The conversation continued with Scenic Designer Chris McKinney, who creates the world of the play, and Howard Vincent paid specific attention to the overall look and color palette. Denise and Howard Vincent attended four official design meetings, where they shared their progress on the costumes with all the other designers for the production, including the scenic, lighting, and sound designers. Through this communication, the different teams are able to collaborate to create a cohesive vision. As costume manager, Denise’s job is to assist with the reality of the production regarding time, manpower, and, most of all, the budget. At the first meeting, when asked about the progress of the costumes, both joked, “we went to the Jane Austen store.” But in fact, Howard Vincent had eighteen costume renderings out the gate of the design process. These renderings included swatches, which are small samples of fabric, used for each costume to help the costume shop build the garments. “It’s not a requirement, but working with a designer who understands costume construction is a huge benefit and that’s what it’s like to work with Howard [Vincent],” Denise commented.

Draper Tabitha Lyons makes alterations to a dress for the production.

The production now has an impressive 29 looks and approximately two hundred costume pieces for a play which takes place over four days, including Christmas. While they reused some existing items from previous productions, such as men’s coats, eighteen costume pieces were custom built for this show in the costume shop. The costume crew includes drapers, tailors, first hand/stitchers, and wardrobe who help pattern and construct the costumes. Ultimately, it is a highly collaborative process among the costume shop’s nine staff members, in addition to overhire employees and skilled volunteers. Altogether, the team worked through a seven month process from design to opening night.

Howard Vincent’s favorite part of the process is being with the actors during their fittings. He shared, “the actors come into the shop, knowing their character because they have considered how they would dress and move in their clothing. How they sit, stand, walk. And it can be an emotional experience for everyone involved.” Denise agreed that the actors provide another insight into the physicality on stage. For instance, actor Cameron Francis, who plays Arthur de Bourgh, discussed with Howard Vincent about the sort of tie his character would wear at his fitting. “Howard Vincent mentioned that he would tie it with a simple knot, nothing fancy,” Cameron agreed, adding, “My character is pragmatic and doesn’t put a lot of effort into fashion.”

Costume Shop Manager Denise R. Warner styles a hairpiece that will be worn by Mary Bennet in the production.

It generally takes three or so fittings with the actors to get everything right. During that process, the men learned how to sit and move with jackets that have coat tails, a staple for garments in period dramas. For the women, each of the dresses are at least one inch off the floor with no trains to accommodate the actresses’ movements around the furniture pieces on stage. In regards to hair and makeup, there are no full wigs in Miss Bennet: Christmas at Pemberley but the team added pieces to match the actors’ hair color and adapted weaves to their hair. The costume department teaches actors how to apply their own makeup for shows in period style.

The final stages of costuming happen during the week before opening, known as tech rehearsals. Costumes, hair, and makeup are added to the rehearsal process and any adjustments are made during “tech”. Once the production opens, the Wardrobe Lead assists the actors with changing costumes, as well as maintaining the clothing by washing, ironing, and repairing when required.

Howard Vincent has some advice to anyone who may be inspired to get involved in costuming: “Volunteer to do all aspects of theater, not just costuming but set design, lighting, sound, directing, acting. Be a people watcher and be aware of the world and then go to school for design courses. Most importantly, grow into your talent with guidance and understand that you want to collaborate with other creative people in your career. It’s a lot of collaboration.”

When asked what do they hope the audience takes away with them after they leave the theater? And both Howard Vincent and Denise agreed – “to appreciate the production.”

Featured photo: Alison Reid, Draper/Tailor and Howard Vincent Kurtz, Costume Designer discuss the details of Elizabeth Darcy’s costume.