Behind the Curtain ordinary is repurposed into exaggerated articles of clothing. This really makes the set come to life in another dimension. opera: What are some interesting aspects to the designs that are different than “traditional” opera costume design?
Sew What? Joanna Schmink is the costume designer and coordinator for The Atlanta Opera. She has hundreds of costume designs for opera, ballet and theater to her credit, including work for regional companies such as the Alabama Shakespeare, the Alliance Theatre, Memphis Ballet, Augusta Opera and Georgia Shakespeare. Her costume design work has been seen in most of Atlanta’s theaters including the Aurora, Theatrical Outfit, Actor’s Express, 7 Stages, the Center for Puppetry Arts and Horizon Theatre. Ms. Schmink sat down with The Atlanta Opera to discuss the original costume designs by David C. Woolard for The Italian Girl in Algiers. The Atlanta OperA: What is the most interesting costume featured in The Italian Girl in Algiers? Why? Joanna Schmink: I think the Pappataci costumes for the chorus are my favorite because they are very whimsical and imaginative in their look. They’re actually created from found set objects, much like moving scenery. With these costumes, the
JS: Compared to this season’s other operas (Carmen and La traviata), which had more traditional design aspects (think ballgowns and darker colors with heavier fabrics), the costume palette for The Italian Girl in Algiers is very neutral with pops of rich jewel tones (teal, orange, red, purple). There is also a nice amount of pattern and texture. The costume design for The Italian Girl in Algiers is set in the 1930s and incorporates a mix of traditional country clothing of Algiers (Mediterranean) with the European fashion of the ’30s. Also, the costume design has Isabella, our leading lady, as an aviatrix. This look establishes her as a confident strong leading character before she ever sings a note. It’s fun to see that, later, Isabella wears a Jean Harlow-esque old Hollywood glam gown — perfect for her to use her charm and beauty to outwit the bey of Algiers and save Lindoro. Her costumes really add to her character and help tell the story. opera: Looking forward to next season, which opera are you most excited to see the costumes for — Tosca, Faust or The Barber of Seville? JS: It is great to have a totally periodbased season for 2013-14. I am most looking forward to The Barber of Seville because it has been more than a few years since we have seen this period on our stage (late 18th century). I will enjoy both Tosca and Faust because I love the larger shows that show off our wonderful chorus. n 39