Theatre Design & Technology - Winter 1987 - 17

CARRIE ROBBINS

speaks glowingly of the directors, particular actors, and
the other designers. As with most designers, her favorite
shows are not always the most successful. She claims
not to be very pleased with Grease, for instance, despite
the fact that it really launched her Broadway career.
On the other hand, one of her favorite productions in
recent years was The Octette Bridge Club which was a
critical failure. The play was about eight sisters and was
set in Providence in 1934 and 1944. Robbins loved working with the eight actresses of the cast. "If 1could clone
those ladies and dress them professionally for the rest of
their lives," she exclaims, "I would be a very happy
person." Aside from providing several wonderful characters and period 20th-century clothes, the production
provided the opportunities for problem-solving and detail that Robbins thrives on. Nancy Marchand's character, for instance, had a bad back in the second act. Robbins consulted with a doctor to find out how that would
affect the character's body and walk, and designed the
costume accordingly. She enjoyed the fact that the women wore hats, something that women no longer do.
She was also aware that from the front rows, the audience was eye-level with the actors' feet; thus shoes
became very important. She wound up with as many as
nine pairs of antique shoes for each actress to choose
from. "We had a period mini-department store of hats
and shoes."
That she would not settle for one or two pairs, and that
she sought out period shoes are both typical of the way
in which Robbins works. She needed the range of possibilities in order to find the exactly right pair to emphasize the quirks and personalities of each character and to
allow the actresses to express themselves through
choice. Whenever possible Robbins obtains the original
clothing or material. As she explains:
In the work I do, I find that old, real things have an
immense integrity that cannot be duplicated in
modem materials. The trick is to hold the old stuff
together or find new goods that can marry with the
old stuff believably. For Sweet Bird of Youth, which
director Michael Blakemore wanted as authentically vulgar as 1955 America was, we scoured
ew York and L.A. for period fabric so that even
newly-made clothes 'reeked' of their period
heritage.

Sketch for the Jester and Death in Taverner.

them in "clown suits" stenciled with camouflage patterns. After their entrance they broke out of these costumes under which they were wearing their recognizable outfits. As Robbins puts it, "That nailed it."
The Threepenny Opera was done at the Guthrie Theater in 1983, with direction and set design by Liviu

A display of Carrie Robbins' work at NYU's Tisch School of the Arts. The
masks are from Macbeth. The Tempest, and Taverner; the two sketches
are from Mother Courage; the garment at right is Prospero from The

Tempest.

Among the fabrics she came up with was a charcoal gray,
double-layered, silk Georgette with pink feathers between the layers. It was made into a circle skirt.
Some of her other favorite shows that demonstrate the
Robbins style include Over Here', The Threepenny Opera, Samson et Dalila. A Flea in Her Ear, and The
Tempest.
Over Here! was a musical starring the Andrews Sisters. Robbins says that working with them was not always easy, but it was exciting to be associated with "an
authentic chunk of history," especially from a period
she is so fond of. This was a show for which she could
make flashy, "visible" costumes. It also was one in
which the costumes could directly influence the audience response. In previews it turned out that the Sisters were not getting a big enough response on their
entrance. Robbins helped solve the problem by putting
TD&T· WINTER 1987

15



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
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com