Theatre Design & Technology - Winter 1987 - 14

CARRIE ROBBINS

Sketch for one of the prostitutes in The Threepenny Opera at the Guthrie
Theater. "All the ho~ers costumes were diaphanous so we saw a
body, but they were silvery and tinsely, and the skin was kept very, very
pale."

mean dozens upon dozens of sketches. "I sometimes end
up drawing half a closet full of clothes on the same
drawing," she explains. "By the time I finish drawing I
have a pretty good sense of what that dress can do on that
body." Color - so vibrant and essential to the finished
sketches - generally comes late in the process. Not until that "connection" has been found does she even
begin to think in terms of color, although wi th some
characters the color becomes apparent before the sketch
is done.
Because the early drawing phase is a thinking phase,
she needs to work uninterrupted, especially if there is
any time pressure. She usually sketches in pencil or
charcoal and at one time began using pencils with
erasers simply to eliminate the time wasted looking for
the eraser on her drafting table. low, she frequently
eliminates erasing all together. The ini tial sketches are
thus like an archeological dig, wi th all earlier incarnations buried beneath the fresher ones.
On the average, Robbin will pend four to eight hour
on each sketch - drawing, redrawing, and painting. For
her, designing costLImes is a form of problem solving,
and the process of drawing, painting, and swatching
provides the time to solve all the problems. "We don't
have a model-making phase," she points out, comparing
her work to that of set designers. "If I give myself the
time," she continues, "then I rarely have to change
things. "
Given Robbins' need for time, and her self-described
12

TD&T . WINTER 1987

"maniacal attention to detail," the decision to do Saturday Night Live last season, in which she had to design,
shop, build, rent, and fit seventy-five to one hundred
costumes in barely more time than she would normally
spend on one sketch seemed like a peculiar one indeed.
The truth is, it was not an easy transition when she
joined the staff in the fall of 19 5 when Lome Michaels
returned as producer after an absence of several years
(and her friend, Eugene Lee, returned as set designer I.
The SNL facilities are primitive - the costume
"shop" could best be described as a large closet. There
were no fitting rooms. The conditions were "worse than
any summer stock place I've ever, ever worked." Most of
the costumes were bought, rented, or borrowed. Typically, the script was received on Wednesday night and
designing began. Thursday and Friday Robbins and her
assistants spent shopping and building. Fittings were
done on Thursday and Friday night; costumes were camera-ready by 1 p.m. Saturday - dress rehearsal was at 8
p.m. This was hardly a formula for creativity and fine
artistry.
Yet even in the midst of this there was a focus on
detail. Robbins talks about the opponunity to do such
things as handpainted T-shirts even though "I don't
think anybody saw it." Her staff sometimes complained
about having to spend time stitching anything below the
waist since, again, "nobody sees it." For a show last May
she had to create a coonskin bikini for a Davy Crockett
skit. The furrier sent over silver fox instead of red as
Robbins had requested. It was toO late to change it; and it
is unlikely that the difference would be noticeable on
TV - for this audience, the joke was simply that it was a
fur bathing suit. Synthetic fur would have sufficed. But
Robbins was extremely unhappy about it. Such details
matter to her - she knows the difference even if the
average audience does not. "I do it for the actor, tOO," she
states emphatically. "God knows, in that very shon
rehearsal time, if certain shoes help make that character, I'll get them - even if there are no long shots!"
The idea of an incomplete garment or a missing detail
is not possible in Robbins' world. The costume is the
"soul" of the character, even in the brief, canoon-like
world of Saturday Night Live.
Despite the conditions and endless aggravation,
however, Robbins found a certain pleasure and excitement in the show. "I got to do weird, crazy, cockamamie
things," she exclaims with delight. "I got to dress a guy
as a lady, I got to do a Jewish 'tush', a black 'tush', funky
characters - Princess Di, ancy Reagan. I'm evoking
the familiar - it's a kind of sign language, absolute communication. I was never bored. If I did something wrong,
I could do it better next week. It was a training ground,
and exciting because it was so unpredictable."
The idea of costume as sign is crucial to Robbins. She
has taken courses in advertising illustration because it
develops the ability to "represent a story in a single,
pictorial image." All costumes, of course, do this to
some extent. But in a play, the costLIme is one elementone sign - among many, and the designer can rely on an
interdependence of elements to make a statement and
convey information. In a situation like Saturday Night
Live, the entire meaning or impact of a ski t is often
dependent on the immediate visual impact of the costume. On this level, the show meshed well with Rob-



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1987

Contents
Theatre Design & Technology - Winter 1987 - 1
Theatre Design & Technology - Winter 1987 - 2
Theatre Design & Technology - Winter 1987 - 3
Theatre Design & Technology - Winter 1987 - Contents
Theatre Design & Technology - Winter 1987 - 5
Theatre Design & Technology - Winter 1987 - 6
Theatre Design & Technology - Winter 1987 - 7
Theatre Design & Technology - Winter 1987 - 8
Theatre Design & Technology - Winter 1987 - 9
Theatre Design & Technology - Winter 1987 - 10
Theatre Design & Technology - Winter 1987 - 11
Theatre Design & Technology - Winter 1987 - 12
Theatre Design & Technology - Winter 1987 - 13
Theatre Design & Technology - Winter 1987 - 14
Theatre Design & Technology - Winter 1987 - 15
Theatre Design & Technology - Winter 1987 - 16
Theatre Design & Technology - Winter 1987 - 17
Theatre Design & Technology - Winter 1987 - 18
Theatre Design & Technology - Winter 1987 - 19
Theatre Design & Technology - Winter 1987 - 20
Theatre Design & Technology - Winter 1987 - 21
Theatre Design & Technology - Winter 1987 - 22
Theatre Design & Technology - Winter 1987 - 23
Theatre Design & Technology - Winter 1987 - 24
Theatre Design & Technology - Winter 1987 - 25
Theatre Design & Technology - Winter 1987 - 26
Theatre Design & Technology - Winter 1987 - 27
Theatre Design & Technology - Winter 1987 - 28
Theatre Design & Technology - Winter 1987 - 29
Theatre Design & Technology - Winter 1987 - 30
Theatre Design & Technology - Winter 1987 - 31
Theatre Design & Technology - Winter 1987 - 32
Theatre Design & Technology - Winter 1987 - 33
Theatre Design & Technology - Winter 1987 - 34
Theatre Design & Technology - Winter 1987 - 35
Theatre Design & Technology - Winter 1987 - 36
Theatre Design & Technology - Winter 1987 - 37
Theatre Design & Technology - Winter 1987 - 38
Theatre Design & Technology - Winter 1987 - 39
Theatre Design & Technology - Winter 1987 - 40
Theatre Design & Technology - Winter 1987 - 41
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Theatre Design & Technology - Winter 1987 - 46
Theatre Design & Technology - Winter 1987 - 47
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