Theatre Design & Technology - Winter 1987 - 19

CARRIE ROBBINS

slim girls. And he did the most incredible casting. The
shortest, I think, was 5'8"."
Samson et Dalila was done at the San Francisco Opera
in 1980 with Placido Domingo and Shirley Verrett. The
overall look was based on the decorative, languid style of
19th-century artist Alma Tedema - a sort of pseudoclassical, "biblical" look. A major task for Robbins was
to visually separate the Hebrews and the Philistines so
that the differences would immediately be clear to the
audience. The Hebrews wore very drab, simple,
T-shaped garments with a "rough, raw, unfinished"
look. Their beards were "frizzy and hoary." The Philistines, on the other hand, were "decadent." The beards
were carefully plaited. The costumes were painted and
hand-beaded and carefully embroidered. Robbins created patterns that were like the marbleized end sheets of
19th-century books - she made an oil slick in her
bathtub in order to create the pattern, which was then
photographed and turned into a silkscreen.
For A Flea in Her Ear at the Mark Taper Forum in 1982
with Rene Auberjenois, she and director Tom Moore felt
that the comedy should come through the characters,
not through exaggerated or gimmicky costumes as is the
impulse in some productions. "You don't have to make
funny costumes - simply, beautiful costumes," Robbins explains.
We were trying to create a high Victorian sensibility
with beautiful art nouveau shapes. I picked a period
that would give me a corset and shape that was very
sinuous. Because the Mark Taper is an arena, backs
are very important. There were excessive proportions here and there, but they were perfectly real.
The principle of not having the designs scream comedy allows the actors to get more comedy from a
farce. And we had brilliant comedy players in the
cast.

A glass and concrete coffee table designed by Carrie Robbins. Photo:
Ken Howard.

set," states Robbins. "At times Prospero faded into the
set and it was the best possible choice."
Cali ban was vaguely based on 19th-century statuary
and Robbins literally created a whole body to place over
the actor. She was delighted by the oppOrtunity.
You take a normal person - I love to do these kind of
things - you take a perfectly normal person, a big

Rene Auberjonois (left) and Keene Curtis in A Flea in Her far at the Mark
Taper Forum. Photo: Jay Thompson.

To this day, what seems to be one of Robbins' favori te
productions was The Tempest, also at the Mark Taper
Forum, in 1979, directed by Tohn Hirsch and set designed
by Ming Cho Lee, starring Anthony Hopkins. It also, in a
sense, epitomized Robbins style. Lee's set was a swirling
fantasy that looked vaguely subterranean and was
focused around a central structure that resembled a decaying Tower of Babel made Out of taffy. Most importantly, it had an organic feel-everything flowed together as if the set rose naturally out of the stage floor.
Robbins had to create costumes that fit in this world.
Although she and Lee had many conversations with
director Hirsch individually, they had few conferences
together. In fact, although she knew the palette Lee was
going to work wi th, she began to design before she ever
saw a model. "I was trying to do something very
organic," she explained. "Prospero's costume had the
benefit of California's fine craftsmen- the wool was
picked, spun, dyed, crocheted, macramed. Seeds, nuts,
and other organic stuffs were hooked in. (When Tony
Hopkins got nervous he'd crack a seed and eat it - I
thought he was going to die of shellac poisoning. I"
When she finally saw Lee's model she knew that she
would have to paint or tone the bottom twelve inches of
the costumes so that they would blend into the swirls of
the set. "I'm not afraid for the costume to get lost in the
TD& T . W1NTER 1987

17



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
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com