10 - Friday, March 2, 1984 - North Shore News FOR THE APPA REL OFT SSeeess 0O9S89O6OOOOS +--+ tb + +> 1@ 890@ 22S S9OSSSO6S S2OOO6e a” JY OCLAIMS THE a ae tae as ee a sehen MAN THEATRE is more than just actors playing parts. There is a whole world of technical backup that enhances the illusion vital to a play. By NANCY WEATHERLEY One group of lesser known heroes can be found in a back workroom, Mouths full of pins, tape measures draped around their necks, — they whalebone an 18th century corset one day, create a vi- sien of futuristic fantasy the next, all in the name of play- acting. Inside the red and blue cas- tle that houses the Vancouver Playhouse staff on West 7th Avenue in Vancouver pro- duction is in full swing on Amadeus, which opens in Victoria and comes to the Playhouse main stage March 23-April 21. The department takes its job setiously. Every care is taken to make a garment authentic, comfortable to wear, and above all durable, so no actor is ever in the position of ex- iting stage left leaving his or her costume centre slage. Philip Clarkson is the cOstume designer for this production. His name often appears on the programs for local plays in rival theatres. A freelance costume designer he stays ‘apolitical’ and works happily for any production that can afford him. His sketches decorate one wall of the Playhouse’ war- drobe department. Richly colored and beautiful, they costume -design represent various costume changes for Amadeus characters - all traditional designs from the late 18th to early 19th century. Clarkson, who has a bachelor of fine arts from UBC, chose theatre over the fashion stage because ‘‘this is sO much more exciting than fashion.’’ This period excites him because it is so ‘lavish’ he rolls the word slowly over his tongue. a Clarkson will read a play two or three times to get costumes right for the characters. ‘‘A lot of it comes through the writing of the play.’’ Then he'll talk to the director ‘‘and get his in- sights’’ and consult the set designer so there is no clashing of color or design. Apart from Clarkson, the fashion department is very much a woman's domain, but the women who will turn Clarkson’s sketches into real clothes think the tall, soft- spoken designer is ‘‘just wonderful.”’ His designs give the superficial look and colors but it ts up to a team of cutters and seamstresses to work out the details of con- struction. For instance, cor- sets during their vogue went through more variations than modern brassieres have, with corsets changing shape accor- ding to what part of a woman’s body it was fashionable to emphasize. A whole shelf of books is con- sulted by the staff to make sure their costumes are as ac- curate as possible. The look and style of the “ NEWS photos Stuart Davis All ina day's work SEWING, a sleeve onto a day dress to be worn in the upcoming pro- duction of Amadeus ts culter Cheistine Mooney (lef). At right Mooney discusses one of the designs scetched by Philip Clarkson who drew over 40 costumes for this production. ¥ * ) influence _ the costume designer’s choice. No matter how lovely a costume, it can be ruined by an actor who doesn’t know arid actor also. how to wear it and move in it. In dealing with actors Clarkson has learned to ‘‘use a lot of diplomacy, you try to make the actor feel good in what they’re wearing.”’ . » Actors are generally most troublesome when it comes to wigs - they don’t mind chang- CONTINUED ON PAGE 11 Buy one sult at regular price and get the second suil of equal value for $1 FALL SUIT CLEAROUT MARCH 1,283 HWARINANE apparel | 1p 3151 Edgemont Blvd. N.V. 987-9722 Hours Mon 105 Tues-Sat 9 30-5 30