Still Here
Head of Running Wardrobe
Sophie Meechan
Contents Page
Title page: Page 1
Contents: Page 2-3
Cast and crew info: Pages 4-8
Cast list: Pages 9-11
Schedules: Pages 12-16
Production week/tech schedule: Pages 17-23
Script breakdown: Pages 24-26
Show reports: Pages 27-30
Research: Pages 31-46
Measurement cheat sheet: Page 47
Laundry: Page 48-49
Alterations: Page 50-53
Dressers checklist (Sonnys section): Pages 54-57
Dressers checklist (Charlottes section): Pages 58-60
Dressers checklist (Moss’ section): Pages 61-63
Dressers checklist (Larks section): Pages 64-66
Dressers checklist (Ediths section): Pages 67-70
Dressers checklist (Edwards section): Pages 71-73
Dressers checklist (Roys section): Pages 74-76
Dressers checklist (Jennifers section): Pages 77-81
Dressers checklist (Martins section): Pages 82-86
Dressers checklist (Harrys section): Pages 87-91
Dressers checklist (Nancys section): Pages 92-96
Dressers checklist (Mollys section): Pages 97-98
Dressers checklist (Roy in play section): Pages 99-101
Dressers checklist (Molly in play section): Pages 102-104
Dressers checklist (Jennifer in play section): Pages 105-107
Dressers checklist (Martin in play section): Pages 108-110
Dressers checklist (Michelles section): Pages 111-114
Dressers checklist (Wills section): Pages 115-118
Dressers checklist (Ambers section): Pages 119-120
Dressers checklist (Sarahs section): Pages 121-122
Costume plot: Pages 123-125
Presets/dressing notes: Pages 126-132
CPD hours: Pages 133-135
Bibliography: Page 136
References: Page 137
Figures List: Page 138-139
Cast and Crew info
Cast List
Darcy Watkins
Jennifer
Ed Smith Lark
Evie Prasse
Charlotte/Molly
Robin Gee Smith Moss
Jade Cleal
Nancy
Lou Edwards
Roy
Cast List
Luan Clery
Edward
Peter Graham Harry
Becky McKinnon
Edith
Owen Hudson Martin
Tonie Ortiz Westermark
Sonny
Cast List
Auditionee/Stage hand
Auditionee/Stage hand
Auditionee/Stage hand/Guard
hand/Guard
Amber Tormey
Michelle Sakyi
Sarah Astbury
Will Rosander Auditionees/Stage
Schedules
F i t t i n g
F i r s t
i t t i n g
S e c o n
i t t i n g
h i r d
r eA s s e s s m e n t S c h e d u l e
Production week/tech Schedule
Script Breakdown
Show Reports
Research
How attending rehearsals benefitted me
I found watching rehearsals super helpful as it helped me write my script breakdown and get a better understanding of the show. Most importantly it helped me start to figure out all the quick changes and which side of stage the actors come off so I can start making a plan for my dressers. I also took it as a good opportunity to crack on with alterations. I also appreciated being able to go to rehearsals as I was able to start learning who everyone is which is super important when you are head of running wardrobe. I could also report back to my supervisor Megan with images like the ones on the right of fight scenes to discuss with her if the costumes can accommodate this.
Quick change research
This came in handy when I was working on the show as I had to remove someones top layer incredibely quickly so I ended up doing the same thing and applying poppers all the way down.
I went to see The Great Gatsby on the 1 of May 2025 and it ended up being a very good learning experience. One of the quick changes happened on stage and the character Myrtle changes from her rags that she wears at home into a party dress. I came to the understanding that they used poppers down the back of her dirty dress and pulled it away to reveal the dress underneath. It is important to also consider necklines when carrying out changes like this.
Interview with industry professional
I interviewed Bethan Price who has worked her way up to the role of Head of Wardrobe currently for the Chicago international tour to get an insight into how she got to where she is and gain some valuable tips and tricks for the industry. Bethan’s credits also include 42 street, Bat out of Hell, &Juliet, Aladdin, Puss in Boots She worked as either Head of Wardrobe, Wardrobe supervisor, Dept head of costume, Wardrobe assistant.
1. What are your top tips for executing a smooth and fast costume change?
Make sure that it’s been rehearsed and that everyone knows what they’re doing and in which order. Take the time to talk through it and do it slowly first before running it at full speed. If other departments are involved such as wigs for a wig change or sound to check a mic, make sure that they are also aware of where they will be standing and if they need to pass anything.
2. What are your must have tools or items in your backstage kit for quick fixes and emergencies?
Definitely a needle and thread - ideally a couple pre threaded in the main colours of the show and a black and white to save time, little scissors, a seam ripper and a head torch so you can see what you need to fix. Safety pins are also good too for absolute emergencies
3. How do you troubleshoot and stay calm when last minute wardrobe malfunctions happen? Especially in the midst of a quick change?
I think staying calm during malfunctions comes with experience. Also having a good knowledge of the show and the costumes helps to work out what can be done to provide a quick solution during a quick change, whether that’s using a different costume if it would work for the scene or having to quickly sew. Knowing how long you’ve got until the cast member is back on stage also helps to work out the best solution for the situation.
4. What are your go to techniques for dealing with sweat, makeup, or stubborn stains on costumes during a show run? Favourite product?
For sweat a vodka and zoflora mix works well for clothes that are dry clean only between the times when they can be cleaned. Also putting white vinegar in the washing machine with particularly sweaty clothes such as sweat tops or shirts helps to eliminate the smell. For makeup on something that can’t be washed always try a make up wipe first and if that doesn’t work a spot clean is the next best usually with a bit of a vanish bar for very stubborn stains. Favourite products would be Dawn dishwasher liquid, vanish bars and oxi action. Dawn and oxi-action together and leave the item to soak usually performs miracles!
5. Are there any time saving shortcuts you swear by when prepping costumes pre show?
Make sure that everything is turned the right way as it gets hung up or once it’s been washed. Also make sure that you take everything to stage before you start setting quick changes - then you know that you’ve got everything in the one place and don’t have to waste time looking for it.
6. What steps did you take to move up in the wardrobe department, and what advice would you give to someone just starting out?
I took my first big scale Head of Wardrobe job by moving up from Deputy mid contract. I found this was the perfect way because I already had a good knowledge of the show and prior to my Head leaving, she was able to teach me the bits that where gaps in my knowledge such as petty cash receipts and timesheets as well as other paperwork aspects. Prior to this I had worked as a deputy for a while and as an assistant prior to this, so had gained a lot of knowledge through that. I do think that it’s a career where you are always learning and you should be open to learning new ways to do certain things that might be more efficient. I think that for someone just starting out it is important to take every opportunity even if it seems small and might not be the path you see yourself going down in the future. It’s important to make contacts and the more jobs or opportunities you take, the more people you will meet and you might discover that you enjoy some aspects more than others
7. What are the biggest mistakes to avoid during a quick change, and how do you train new dressers to avoid them? Is there a time where a quick change went wrong?
The biggest mistake to avoid is not setting the costume properly. Making sure that everything is the right way round and in the correct order is essential as well as making sure everyone stays calm, if people are panicking it makes it much more difficult. A quick change that has gone wrong is when a local dresser had set two identical costumes the wrong way round for two actors. This led to them having to get changed again before they went on and more people having to step in to help. Therefore it’s important that if you are working with new local dressers, that you check their presets for changes that you are helping with.
8. How do you manage and schedule laundry (especially with a quick turnaround) for a large cast with multiple costumes per actor?
If it’s a costume heavy show and washing can be done during it then it should. For example, if a shirt is only worn in act 1, then it can go in the wash in the interval. It’s important that the schedule is stuck to every day and the most efficient washing cycles used. Hand washing should always be done straight after the show, as that reduces the amount needed to be done the next day. A laundry shift should be scheduled for after every show and the costumes that take the longest to dry or need ironing/steaming should be washed first. Making clear baskets to sort the laundry into is also extremely helpful as well as instruction cards for what needs to happen to each basket of laundry. This helps if someone else is called for the laundry shift who doesn’t dress on the show.
9. And finally, what was your first job in wardrobe, and how did you land it?
My first professional job after graduating was as a Costume Assistant for the Thursford Christmas Spectacular which is a variety show that happens annually. I was approached for this job after meeting the Head of Wardrobe at my final year Graduation Showcase. This was a short 4 week contract just setting up the show and doing alterations and fittings but I was also asked to return the following year for a longer period of time
(Price, 2025)
the Little theatre
‘Still Here’ is about The Little Theatre which is the old name for The Palace Court Theatre which is in use today so I thought it was only right to explore its history. ‘In the 1960s, changing holiday habits and rising costs meant that the amateur drama company could no longer afford to run the theatre, and in 1970 the building was sold to Louis I. Michaels’ LM Theatres. The former clubroom on the lower ground floor was converted into the Galaxy Cinema, whereas the main 595-seater theatre was renamed The Playhouse and operated as a repertory theatre for eight years After this, in light of dwindling attendances, The Playhouse eventually became a full-time cinema. In 1983, upon the death of Louis Michaels, the building was put on the market and sold to the Assemblies of God, who'd been hiring it for Sunday services Change of use to a church was allowed on appeal, and was also made personal to the owners so that, upon any change of ownership, the permission would lapse. In 2021, AUB purchased the building, and has since begun restoring its use as a theatre venue’ (AUB – Arts University Bournemouth, 2025)
Hampshire Wardrobe
This 1968 dress is a beautiful medley of orange, yellow, white flowers and emerald green. It is a fashionable mini dress with spaghetti straps, perfect for a summers day. It is made of lightweight cotton, very breathable and has been machine stitched with a semi invisible zip down the back of it. I can definitely picture the character of Jennifer wearing this
I absolutely love this 1965 baby blue and white dress. The white pattern is such a unique and bold design. It is made of heavy weight cotton and lined with a lighter white cotton. Again long semi invisible zip at the back but I believe parts of this dress were hand sewn and as you can see on the image above the hand sewing is rough and coming apart whereas the rest of the dress has held up well.
AUB Archive
I had a look at this black and white dogtooth patterned dress with a red trim. This is a 1960s size 18 Crimplene Lerose dress. The belt has been well worn as the eyelets have popped off and it is slightly frayed at the button holes and the label has gone yellow from sweat.
Next I looked at this black duster coat. It was tailored by Baracuta in the 1960s. Baracuta is a company in Manchester that specialises in rainwear and is best known for its Harrington jacket made in the 1930s. It was lined with a beautiful blue satin fabric and was machine stitched. On its left hand side there is a beautiful brooch which I believe has yellowed over time but the flower in the centre remains lovely and pink. The coat is quite lightweight and might have been used as a rain jacket as the fabric doesnt feel absorbant.
Fig 1 Veronica Fig 2 Noel
Fig 3 Noel and Veronica
Fig 4 John, Elaine, Anne and Michael
These images are of my Step-Dad’s family. In figure 1 and 2 we have his parents in the early 1960s. Veronica’s dress is a beautiful buttery yellow satin dress paired with white gloves, white heels and a white clutch bag. This dress caught my eye as it is very similar to something Jennifer would be put in according to Mollys designs. In figure 2 we see Noel wearing a classic 1960s tie, it’s bold pattern and slightly larger look make me think of the character of Martin. It is definitely something he would have worn. In figure 4 Elaine is wearing little brown Mary Jane shoes exactly like the ones that Jennifer wears in the play. Pulling these old photos out has given me a lot of insight into fashion of the 1960s.
This beautiful dress and jacket pastel yellow co-ord was made in 1961 it was fashioned by Martha Clyde in New York It is 100% silk, cowl collar, the jacket has ¾ length sleeves. It would retail at 75-100 dollars (Korosec and Piña, 1998)
Fig 14 Leslie fay original
We have another co-ord here of a dress and a jacket. It was fashioned by Leslie Fay Original in 1966 . It is 100% linen print with a notched collar, ¾ length sleeves on the jacket. It is a button up jacket paired with a sheath dress. (Korosec and Piña, 1998)
In figure 16 we see a 1960s blue ultra suede dress with a round high neckline. It is long sleeved and belted with buttons down the front. In figure 15 again we have a 1960s dress which was loomed by hand by Kimberley. It is 100% wool with a scooped neckline with a fringe. There are tiny black beads on the bodice and waistline. (Korosec and Piña, 1998)
Fig 12 Martha dress and jacket
Fig 13 Martha dress
Fig 15 Kimberly
Fig 16 Blue suede dress
Fig 17 Martha label
2019 Personal pictures
This picture of my friend and I also embodies 2019. My friend Mimi on the right is wearing an incredibly similar outfit to my one above. My outfit on the left is also very 2019, heavily inspired by stranger things as it was massively trending at the time. Again very high waisted jeans, a scrunchie and a different kind of top but very 80s so it makes sense as stranger things as is set in the 1980s and teenagers at this time were taking style inspiration from it.
I found this picture of me in 2019 and it really just shows how much fashion trends adapt and change through the years in even just a short period of time. High waisted jeans were an absolute staple in anyones wardrobe in 2019 and layering tops became a bit of a trend like it was in the 90s/80s. A tight top, often mock neck and a baggy tee over it and tucked into jeans with a black eyelet belt was the go-to. I think there are lots of parallels between the fashion of 2019 and the 90s. Vans were also very popular at the time.
Fashion of 2019
In 2019 we saw the rise of Princess Diana’s leisure garment of choice, the bike short as seen in figure 18 In 2019 they got paired with everything from sneakers and hoodies to polished blazers and heels (Huber, 2019) In figure 19 we have the utility jumpsuit where a uniform of what a manual labour worker would wear was somehow morphed into a fashion trend. In figure 20 is tiny sunglasses these rose in popularity in 2019. Bella and Gigi Hadid definitely contributed to the new trend as they wore them on and off runways. Then we have figure 21 the slip dress people loved to layer this us and wear it in many different ways either for the summer or winter, they are very versatile!
Scaplens Court
I came across this medieval building in Poole dating back to the 1300s but came to find out it was a construction site at the moment so I knocked on the door and asked a builder if they wouldn’t mind letting me in to take a photo and then out came production manager, Alison Gudgeon, and she gave me a high-vis and a full tour!
Alison shared with me a lot of valuable information about the building, the foundations were built in 1300 and some of the flooring has remained from that time. Same with the ceiling beams it is all original but has had to be reinforced over the years. The cobblestones are all orginal too and the arches to walk through have remained the same. (Gudgeon, 2025)
St James’ Church
I also stumbled into this church that was initially a small chapel of ease built in 1142 for the local community to give them a space to gather and pray. It then got rebuilt in 1819 AD.
The first mention of a place of worship in Poole was in 1142, when William, Earl of Sarum, gave this chapel of St. James, with the church and living of Cheneford to Augustinian Priory of Bradenstoke in Wiltshire. Canford Magna Parish Church was therefore the mother church of Poole. First records show that Poole itself dates from about this time when seamen and traders of Wareham decided to move to Poole since Wareham had become unsuitable as a port. (Mason, 2018)
M d l costumes
I found these images and I feel like the characters of Edith and Edward really resemble them as you can see on the left here Fig 8 is Edith’s costume her wimple is such a important part of medieval fashion. Fig 5 is an image of attrire from 1350-75 . Even the trim on the top looks exactly the same! ‘The vogue for embroidery spread to the homes of all hours were spent in work of this kind. Bands of simple design were to be seen at the neck and hem, and often on the sleeves, of practically all feminine attire.’ (Brooke, 2008)
Fig 5- Edith and Edward look-alike
Fig 6- Edward look-alike
Fig 7- Edith look-alike
Fig 8- Edith’s costume
Medieval embroidery
Fig 9 The Salzburg Cope
This beautiful velvet with applied embroidered motifs dates back to 14751525. ‘On most of these copes, the straight edge, which would hang either side of the chest when worn, had embroidered orpheys with standing figures of prophets, apostles and saints. Most of the copes of this period have a shield-shaped false hood, embroidered with figure subjects.’( Clare Woodthorpe Browne et al., 2021)
This cope dates back to 12751300 we see silver-gilt thread on coloured silks and linen. ‘The Salzburg Cope in the AbeggStiftung has the Tree of Jesse as its subject. The central part of the cope, which would have contained Jesse, David, Solomon and the Virgin and Child, is lost.
(Clare Woodthorpe Browne et al., 2021)
Fig 10 Assumption of the Virgin
This unique Dalmatic is embroidered with centaurs shooting deer it dates back to 1200-50 it has silver gilt thread and coloured silks on silk. ‘A dalmatic and tunicle from the late thirteenth century have survived at the Angani Cathedral, but they are made up from parts of an embroidered cope. None survives from the fourteenth century, but fortunately there are at least six such vestments from the fifteenth century’(Clare Woodthorpe Browne et al., 2021)
Fig 11 Halberstadt
C h e a t S h e e t
M e a s u r e m e n t
Laundry List
I sewed different symbols in all the undergarments worn by the cast and stuck it up where my dressers could also see it this meant after I had done laundry I could ask the dressers to help me put stuff away and they could refer to this list to help them know whats what.
Alterations
Taking up the hem on Jennifers
dress
Sewing poppers onto Martins shirt for a quick change
A button popped off on Roy’s trousers mid show so I sewed it back on
Taking up the hem of Charlotte’s dress and reapplying the lace to the bottom
Just as the show was about to start one of the actors came up to me and said she had ripped her jeans so last minute I asked her to tak ound some old denim jeans and cut
We made a great little team and all put our heads together to make the show run as smoothly as possible this included a lot of alterations!
Dressers Checklist
Sonny
Dressers Checklist
Still Here
Actor-
Tonie Ortiz Westermark CharacterSonny DesignerCharlie Dorey SupervisorMegan Daniels
Costume Item Made/Hired/ Bought Styling Notes Green overshirt
Production Images
Production shots by Scarlett Madison
Charlotte
Dressers Checklist
Still Here
Actor-
Evie Prasse
CharacterCharlotte
DesignerCharlie Dorey
SupervisorMegan Daniels
Costume Item Made/Hired/ Bought
Denim Jacket
Polka dot dress
White tee
Handbag
White socks
Production shots by Scarlett Madison
Moss
Dressers Checklist
Still Here
Actor-
Robin Smith
CharacterMoss
DesignerCharlie Dorey
SupervisorMegan Daniels
Costume Item
Band tee
Made/Hired/ Bought
Styling Notes
Bought Worn over long sleeve
Striped long sleeve Bought Worn under tee
Dungarees Bought
Red converse Hired (Uni)
Both buckles fastened, tops tucked in, cuffs rolled
Bracelet Bought Left arm
Production Images
shots by Scarlett Madison
Lark
Dressers Checklist
Still Here
ActorEd Smith
CharacterLark
DesignerCharlie Dorey
SupervisorMegan Daniels
Costume Item
Made/Hired/ Bought
Notes
Green
Thrasher tee
Jeans
White trainers
Production Images
Production shots by Scarlett Madison
Edith
Dressers Checklist
Still Here
ActorBecky McKinnon
Character-
Edith
DesignerGeorgie Hartland
SupervisorMegan Daniels
Costume Item Made/Hired/ Bought Styling Notes
Linen underdress Made First layer
Blue overdress Made Second layer
Blue belt Made Wrapped around waist twice
Blue cloak Made Final layer
Golden brooch Hired (Uni) Holds the cloak together
Wimple Made Assistance from hair and makeup dept
Dressers Checklist
Still Here
ActorBecky Mckinnon
Character-
60's Stagehand
DesignerMolly Barber
SupervisorMegan Daniels
Costume Item
Made/Hired/ Bought
Black shoes Bought
Black
Black capris
Glasses Hired (Uni)
Styling Notes
Production Images
Production shots by Scarlett Madison
Edward
Dressers Checklist
Still Here
Actor-
Luan Clery
Character-
Edward
DesignerGeorgie Hartland
SupervisorMegan Daniels
Production Images
Production shots by Scarlett Madison
Roy
Dressers Checklist
Still Here
ActorLou Edwards CharacterRoy DesignerMolly Barber
SupervisorMegan Daniels
Costume Item Made/Hired/ Bought
Cap
Sweater vest
Grey shirt
Green trousers
Black shoes
Brown tie
Hired (Uni)
Hired (Uni)
Styling Notes
Not tucked in. Final layer
Hired (Uni) Tucked into trousers
Hired (Uni)
Hired (Uni)
Hired (Uni)
Production Images
Production shots by Scarlett Madison
Jennifer
Dressers Checklist
Still Here
Actor-
Darcy Watkins CharacterJennifer DesignerMolly Barber SupervisorMegan Daniels
Costume Item
Green dress
Made/Hired/ Bought
Hired (Uni)
Styling Notes
Brown shoes Bought No socks
Safety shorts
Flesh tights
Hired (Uni)
Hired (Uni)
Dressers Checklist
Still Here
Actor-
Darcy Watkins
Character-
Jennifer
Designer-
Molly Barber
Supervisor-
Megan Daniels
Costume Item
Orange dress
Brown shoes
Safety shorts
Flesh tights
Made/Hired/ Bought
Hired (Uni)
Styling Notes
Bought No socks
Hired (Uni)
Hired (Uni)
Production Images
shots by Scarlett Madison
Production Images
Production shots by Scarlett Madison
Martin
Dressers Checklist
Still Here
ActorOwen Hudson Character-
Martin DesignerMolly Barber SupervisorMegan Daniels
Costume Item Made/Hired/ Bought
Styling Notes
Blue blazer Bought Unbottoned
Patterned tie
Hired (Uni) Windsor knot
Brown watch Hired (Uni) Left arm
Beige trousers Hired (Uni)
Brown shoes
Hired (Uni)
White shirt Hired (Uni)
Brown belt
Hired (Uni)
Dressers Checklist
Still Here
ActorOwen Hudson
CharacterMartin
Designer-
Molly Barber
SupervisorMegan Daniels
Costume Item
Brown watch
Beige trousers
Brown shoes
Made/Hired/ Bought
Styling Notes
Hired (Uni) Left arm
Hired (Uni)
Hired (Uni)
Coloured shirt Bought Sleeves rolled up
Brown belt Hired (Uni)
Production Images
Production shots by Scarlett Madison
Production Images
Production shots by Scarlett Madison
Harry
Dressers Checklist
Still Here
Actor-
Peter Graham Character-
Harry DesignerMolly Barber SupervisorMegan Daniels
Costume Item Made/Hired/ Bought
Green turtleneck jumper Bought
Beige trousers Bought
Brown belt
Brown zip up cardigan
Brown watch
Brown shoes
Hired (Uni)
Styling Notes
Tucked into trousers
Hired (Uni) Unzipped
Hired (Uni) Left arm
Hired (Uni)
Dressers Checklist
Still Here
ActorPeter Graham CharacterHarry DesignerMolly Barber
SupervisorMegan Daniels
Costume Item
Made/Hired/ Bought
Styling Notes
Yellow shirt
Hired (Uni) Tucked into trousers
Beige trousers Bought
Brown belt Hired (Uni)
Red jacket Hired (Uni) Unzipped
Brown watch Hired (Uni) Left arm
Brown shoes
Hired (Uni)
Production Images
Production shots by Scarlett Madison
Production Images
Production shots by Scarlett Madison
Nancy
Dressers Checklist
Still Here
ActorJade Cleal
CharacterNancy Designer-
Molly Barber
Supervisor-
Megan Daniels
Costume Item Made/Hired/ Bought
Styling Notes
White blouse Bought Tucked into skirt
Orange sweater vest Bought Not tucked in
Brown shoes Bought
Flesh tights and bra
Hired (Uni)
Beads on glasses Bought Attached to glasses
Brown glasses
Wool skirt
Hired (Uni)
Hired (Uni)
Dressers Checklist
Still Here
ActorJade Cleal
CharacterNancy
Designer-
Molly Barber
SupervisorMegan Daniels
Costume Item
Made/Hired/ Bought
Styling Notes
White blouse Bought Tucked into trousers
Brown shoes Bought
Flesh tights and bra
Brown glasses
Black trousers
Hired (Uni)
Hired (Uni)
Hired (Uni)
Gold brooch Hired (Uni)
side by neck
Production Images
Production shots by Scarlett Madison
Production Images
Production shots by Scarlett Madison
Molly
Dressers Checklist
Still Here
Actor-
Evie Prasse
CharacterMolly
DesignerMolly Barber
SupervisorMegan Daniels
Costume Item
Made/Hired/ Bought
Blouse
Hired (Uni)
Blue capris Bought
Styling Notes
Not tucked all buttons done up
Brown flats Bought No socks
Blue headband Bought
Roy - in play
Dressers Checklist
Still Here
ActorLou Edwards
CharacterRoy
DesignerGeorgie Hartland
SupervisorMegan Daniels
Costume Item Made/Hired/ Bought
Styling Notes
Green tunic Made Last layer
White shirt Hired (Uni) First layer
Green rope belt Made Tied around waist
Boots Hired (Uni)
Green tights Bought
Cross
Hired (Uni) Around neck
Religious hat Made
Production Images
Production shots by Scarlett Madison
Molly- in play
Dressers Checklist
Still Here
ActorEvie Prasse
CharacterMolly
Designer-
Georgie Hartland
SupervisorMegan Daniels
Costume Item
Made/Hired/ Bought
Dress Made
Safety shorts
Vest
Hired (Uni)
Hired (Uni)
Crown Hired (Uni)
Brown flats Bought
Styling Notes
Help from hair and makeup
Production Images
Production shots by Scarlett Madison
Jennifer- in play
Dressers Checklist
Still Here
Actor-
Darcy Watkins CharacterJennifer Designer-
Georgie Hartland
SupervisorMegan Daniels
Costume Item Made/Hired/
Bought
Styling Notes
Overcoat Made Tied at the front
Dress Made
Headband Made Tied at the back
Earrings Hired (Uni)
Brown flats Bought
Safety shorts Hired (Uni)
Production Images
Production shots by Scarlett Madison
Martin-in play
Dressers Checklist
Still Here
ActorOwen Hudson
Character-
Martin DesignerGeorgie Hartland
SupervisorMegan Daniels
Costume Item Made/Hired/ Bought
Blue tights Bought
Styling Notes
White vest Hired (Uni) First layer
Blue tunic Made
Brown belt Hired (Uni) Around waist
Red cloak Made Final layer over shoulders
Brown boots Hired (Uni) Elastic shoelaces
Production Images
Production shots by Scarlett Madison
Michelle (asm) plays a stagehand,auditionee and a guard
Dressers Checklist
Still Here
ActorMichelle Sakyi Character-
60's Stagehand/Auditionee DesignerMolly Barber SupervisorMegan Daniels
Costume Item
Notes
Dressers Checklist
Still Here
ActorMichelle Sakyi CharacterGuard DesignerGeorgie Hartland SupervisorMegan Daniels
Costume Item
Made/Hired/ Bought
Guard costume (4 pieces) Hired (Hampshire)
Chainmail hood Made
Styling Notes
Leggings Bought First layer
Shoes Hired
Brown belt
Hired (Uni) Around waist
Production Images
Production shots by Scarlett Madison
Will (asm) plays a stagehand,auditionee and a guard
Dressers Checklist
Still Here
ActorWill Rossander Character-
60's Stagehand/Auditionee
DesignerMolly Barber SupervisorMegan Daniels
Dressers Checklist
Still Here
ActorWill Rossander CharacterGuard
Designer-
Georgie Hartland
SupervisorMegan Daniels
Costume Item
Made/Hired/ Bought Styling Notes
Guard costume (4 pieces) Hired (Hampshire)
Chainmail hood Made
Leggings Bought First layer
Shoes Hired
Brown belt
Hired (Uni) Around waist
Production Images
Amber (asm) plays a stagehand and auditionee
Dressers Checklist
Still Here
ActorAmber Tormey Character-
60's Stagehand/Auditionee
DesignerMolly Barber SupervisorMegan Daniels
Costume Item
Made/Hired/ Bought
Black dress Hired
Black tights Bought
Black shoes Bought
Black headband Bought
Styling Notes
Sarah (Sm) plays a stagehand
Dressers Checklist
Still Here
ActorSarah Astbury Character-
60's Stagehand DesignerMolly Barber SupervisorMegan Daniels
Costume Item
Black shirt
Made/Hired/ Bought
Styling Notes
Hired (Uni) Tucked into trousers
Black shoes Bought
Black trousers
Hired (Uni)
Costume Plot
Pre-Sets / Dressing Notes
I created this master copy of a written costume plot and sent it to the dressers and the head of makeup as a google document so they were able to edit anything and refer to it if they were ever confused. They found this very useful. They also made thier own personal notes which I will attach below...
Sam’s dressing notes
Some positive feedback from one of my dressers, Grace
Me going through the costume plot with Grace
Quick change trial and error...
The Martin into Edward quick change at the top of act 2 was a very tricky one. We only had about 30 seconds to get Owen out of his suit and into a full medieval costume. The director spoke to me directly and suggested it wouldn’t be possible but I was determined to make it work we just had to practice and make sure every component was perfect.
How we did it:
I got two dressers on board to help me as in this case the more hands the better. One person on shoe duty and trousers, one on taking the shirt off and then getting the tunic on and one on the cape and belt
I asked Owen to put his tights on underneath his trousers to save time as well as safety shorts as we didn’t have time to move him to a tent side of stage but wanted to protect his dignity.
I applied poppers to his shirt as we had some trouble fiddling with the buttons
Ensured he didnt have socks over his tights
Asked him to take his watch and belt off to make it even quicker
Made sure he was happy to remove his tie himself as soon as he is out of sight of the audience
Switched the laces in his boots to elastic ones. We also practiced this away from the stage.
CPD Hours
30+ Hours, 2 weeks on ‘Moonlight- The Phillip Lynott Enigma’ this includes sourcing days, attending rehearsals and of course show days.
4 Hours total, I modelled for Elanor Parkinson’s 1920s evening dress for Hurn Court Opera
I had the absolute privilege of being approached by my dear family friend Pamela Howard OBE with her request of bringing me on board the show she has been designing for, ‘Moonlight- The Phillip Lynott Enigma’ as the Costume Supervisor. I was so excited as it was my first step into the professional world. I was about to embark on such a valuable learning experience and I was so ready for it!
I had such an amazing time spending 2 weeks in Dublin. Not only did I learn so much and feel like an asset to the team I also met so many cool people and made such good connections that will hopefully help me in my future in the industry. The cast were all so lovely and I made friendships with the cast and crew and also had the opportunity to explore Dublin on my down days which was such a treat. My main responsibilities were sourcing the costumes this was an interesting challenge for me as each costume was very unique in it’s own way and the time periods ranged from the late 1800s to 1970! It was so fun doing research for this and learning about all the characters as they are all real people in history like Oscar Wilde and Phillip Lynott. My other responsibility was helping during the run of the show backstage with dressing and maintaining the costumes there were only 5 cast members so it was very manageable. I also had 2 quick changes which was fun to organise and do.
This shoot was a lot of fun and something I never expected to do but Elanor was searching the studios for a model and I was put forward last minute and I was happy to help!
Bibliography
AUB – Arts University BournemouthAvailable from: https://aub.ac.uk/campus/palace-court-theatre#tab-4499134-the-history (2026). Palace Court Theatre [online]. [Accessed 1 June 2025].
Breward, C., Gilbert, D. and Lister, J. (2007). Swinging sixties fashion in London and beyond 1955-1970. London V & A.
Brooke, I. (2008). English Costume of the Later Middle Ages. Joseph Press.
Clare Woodthorpe Browne, Davies, G., Michael, M.A., ZöschgM. and And, V. (2021). English medieval embroidery : Opus Anglicanum. New Haven: Yale University Press In Association With The Victoria And Albert Museum.
Gudgeon, A. (2025). Tour.
Huber, H. (2019). 2019 Fashion Trends: The 10 Biggest of the Year [online]. Available from: https://www.glamour.com/gallery/best-fashion-trends-2019 [Accessed 4 June 2025].
Korosec, C. and Piña, L.A. (1998). Fashion Plates 1950-1970. Schiffer Design Books.
L.A. Smith WriterAvailable from: https://lasmithwriter.com/what-they-woreclothing-in-the-7th-century/ (2017). What They Wore: Clothing in the 7th Century.
Mason, R. (2018). St James’ Poole Parish Church- History & Guide.
Price, B. (2025). Interview.
Reddy, K. (2019). 1960-1969 Fashion History Timeline [online]. Available from: https://fashionhistory.fitnyc.edu/1960-1969/.
Mida, I. and Kim, A. (2015). The Dress Detective. Bloomsbury Publishing.
AUB – Arts University BournemouthAvailable from: https://aub.ac.uk/campus/palace-courttheatre#tab-4499134-the-history (2026). Palace Court Theatre [online]. [Accessed 1 June 2025].
Brooke, I. (2008). English Costume of the Later Middle Ages. Joseph Press.
Clare Woodthorpe Browne, Davies, G., Michael, M.A., ZöschgM. and And, V. (2021). English medieval embroidery : Opus Anglicanum. New Haven: Yale University Press In Association With The Victoria And Albert Museum.
Korosec, C. and Piña, L.A. (1998). Fashion Plates 1950-1970. Schiffer Design Books. Huber, H. (2019). 2019 Fashion Trends: The 10 Biggest of the Year [online]. Available from: https://www.glamour.com/gallery/best-fashiontrends-2019 [Accessed 4 June 2025].
Figure List
Figure 1- Page 39- Veronica- Own image
Figure 2- Page 39- Noel- Own image
Figure 3- Page 39-Noel and Veronica - Own image
Figure 4- Page 39-John, Elaine, Anne, Michael- Own image
Figure 5- Page 45-Edith and Edward look-alike - Brooke, I. (2008). English Costume of the Later Middle Ages. Joseph Press.
Figure 6- Page 45-Edith look-alike - Brooke, I. (2008). English Costume of the Later Middle Ages. Joseph Press.
Figure 7- Page 45-Edward look-alike- Brooke, I. (2008). English Costume of the Later Middle Ages. Joseph Press.
Figure 8-Page 45-Edith costume- Own image
Figure 9- Page 46-The Salzburg Cope- Clare Woodthorpe Browne, Davies, G., Michael, M.A., ZöschgM. and And, V. (2021). English medieval embroidery : Opus Anglicanum. New Haven: Yale University Press In Association With The Victoria And Albert Museum.
Figure 10-Page 46- Assumption of the Virgin- Clare Woodthorpe Browne, Davies, G., Michael, M.A., ZöschgM. and And, V. (2021). English medieval embroidery : Opus Anglicanum. New Haven: Yale University Press In Association With The Victoria And Albert Museum.
Figure 11-Page 46- Halberstadt- Clare Woodthorpe Browne, Davies, G., Michael, M.A., ZöschgM. and And, V. (2021). English medieval embroidery : Opus Anglicanum. New Haven: Yale University Press In Association With The Victoria And Albert Museum.
Figure 12- Page 40- Martha dress and jacket- Korosec, C. and Piña, L.A. (1998). Fashion Plates 1950-1970. Schiffer Design Books.
Figure 13- Page 40- Martha dress - Korosec, C. and Piña, L.A. (1998). Fashion Plates 1950-1970. Schiffer Design Books.
Figure 14- Page 40- Leslie Fay original- Korosec, C. and Piña, L.A. (1998). Fashion Plates 1950-1970. Schiffer Design Books.
Figure 15- Page 40- Kimberley- Korosec, C. and Piña, L.A. (1998). Fashion Plates 1950-1970. Schiffer Design Books.
Figure 16- Page 40- Blue suede dress- Korosec, C. and Piña, L.A. (1998). Fashion Plates 1950-1970. Schiffer Design Books.
Figure 17- Page 40- Martha label- Korosec, C. and Piña, L.A. (1998). Fashion Plates 1950-1970. Schiffer Design Books.
Figure 18- Page 42- Biker shorts- Huber, H. (2019). 2019 Fashion Trends: The 10 Biggest of the Year [online]. Available from: [Accessed 4 June 2025].
Figure 19- Page 42- Utility jumpsuit- Huber, H. (2019). 2019 Fashion Trends: The 10 Biggest of the Year [online]. Available from: [Accessed 4 June 2025].
Figure 20- Page 42- Tiny sunglasses- Huber, H. (2019). 2019 Fashion Trends: The 10 Biggest of the Year [online]. Available from: [Accessed 4 June 2025].
Figure 21- Page 42- Slip dresses- Huber, H. (2019). 2019 Fashion Trends: The 10 Biggest of the Year [online]. Available from: [Accessed 4 June 2025].