Theatre Design & Technology - Fall 2007 - 73

book

reviews
could be amassed. They should be positioned
close to the costumes he had designed for Mick
Jagger and the Pointer Sisters.
William was thinking out loud and sketching his ideas as he considered places for the
amphibious characters from The Frogs, how to
get a grand piano into the museum as a display
feature for the "pearl babes" from the movie
version of The Producers, how to show-off the
chorus girls from Crazy for You, how to give
viewers a taste of the outsized hair-dos and overthe-top costumes from Hairspray. Among all
these wonders, the lace bodysuit from Nine that
he designed for Durham, North Carolina-native
Anita Morris needed a prominent place.
Before heading across the street to Willa's,
we (naturally) cleared our table. But those napkins on which he had been "talking" to me did
not get discarded. They went into his pocket.
Anyone fortunate enough to see the exhibition
"Between Taste and Travesty: Costume Designs
by William Ivey Long" at the Cameron Art Museum between 29 April and 14 October 2007,
experienced the environment he began envisioning that day.
The title of the exhibit, taken from a
phrase in a review by John Simon about William
Ivey Long's costumes, and of the accompanying
catalog, was a stroke of genius. It provoked the
viewer to consider the contrasts that exemplify
the designer's career, from La Cage Aux Folles,
Chicago, and Cabaret to A Christmas Carol, A
Streetcar Named Desire, and Grey Gardens,
from gracious period realism to tawdry extravaganza. The costumes, meant to be danced
in and worn for eight (or more) performances
a week, were displayed in ways that allowed
the viewer to sample the productions in which
they appeared but also to dwell on their craft
and detail. The quality was uniformly extraordinary, produced in the workrooms of Barbara
Matera, Paul Huntley, Carelli, Woody Shelp, Jennifer Love, and Werner Kulovits and Janet Bloor,
among others.
It is highly unusual for a museum to devote
its entire space (in this case 12,000 square feet)
to the work of one artist-especially a theatrical
designer. So the Cameron Art Museum is to be
congratulated on instigating this exhibition and

72

THEATRE

DESIGN

&

then removing its permanent collection from
the premises to make room for the exhibition to
encompass the entire building.
For those not able to travel to Wilmington,
the catalog is a record not only of the exhibition,
but also of William Ivey Long's career to date. It
is lavishly illustrated with 104 color plates and
10 halftones from his many Broadway shows,
including his Tony Award-winning costumes
from Nine, Crazy for You, The Producers,
Hairspray, and Grey Gardens. The essays include "William Ivey Long Keeps His Clothes
On" by Alex Witchel, originally published in the
New York Times Magazine, tributes by critics
and thoughtful short pieces that accompany the
chronology of his costume designs. The short
biographical sketch provides some important
context in a book filled with such theatrical
splendor that it is almost impossible to imagine
it was the work of one individual.
My own visit in July 2007 was made richer
because I was in the company of Judy and David
Adamson. Now on the faculty at the University of
North Carolina at Chapel Hill, Judy worked for
several years at Barbara Matera, Ltd. and created many of the garments on display. Our tour
through the gallery was punctuated by reminiscences about her own collaborations with
William as well as Barbara Matera's personal
involvement with him at the early stages of his
Broadway career.
The catalog should be on the bookshelves
of all practitioners and students of design, not
only as a record of the career of one remarkable, award-winning designer, but because it so
ably defines what a career in show business is
like. William Ivey Long's life in show business
has been spent collaborating with directors,
producers, choreographers, and actors. It has
been spent not only in theatres and his design
studio, but also in costume shops, fabric stores,
dressing rooms, laundry rooms, and airports.
The catalog records over 100 costumes and
nearly that many sketches from fifty Broadway
shows. It also includes costumes from film, Las
Vegas, rock concerts, modern dance, opera,
and couture.
For anyone unfamiliar with Broadway
shows, the lack of labels throughout the

TECHNOLOGY
F

A

L

L

2007

exhibition may have given a bit of a challenge.
The checklist, conveniently placed in each room
of the museum was very helpful, but because the
only way to see the exhibition was on a guided
tour, there was little time to look up show titles
and make cross references, especially when it
was important to look hard at the costumes. The
docent who led our tour had many good anecdotes to tell and often used "stage whispers" to
invite the audience into a rarely seen theatre
world. But not being able to circle back through
to look again at favorites was disappointing.
However, the lobby display cases, filled with finished costumes as well as rolls of fabric, muslin
patterns, hats and hat boxes, undergarments
and foundations, could be viewed at leisure and
at length.
For anyone unfamiliar with costume designers, the catalog may also be bewildering,
because it depends so much on understanding
the nature of theatrical design and the process
of designing and making costumes. Even the
examples from the designer's early, lean years
seem glamorous, so the reader is left with the
impression that the business must be easy and
that William Ivey Long rose to prominence immediately upon arriving in New York after graduate school. Careful reading proves this is not
the case. So read carefully!
How fortunate costume designers, costume makers, and students of costume are to
have Between Taste and Travesty: Costume
Designs by William Ivey Long, both the exhibition and now the catalog that is its permanent
record. (Directors, historians of design and
theatre, and lovers of Broadway should rejoice
as well.) Both the Cameron Art Museum and
William Ivey Long broke ground by devoting a
major museum exhibition to one of the visual
artists of the theatre. Maybe their example will
be a spur to others.
Bobbi Owen, professor of dramatic
art and senior associate dean for
undergraduate education in the College of
Arts and Sciences at the University of North
Carolina at Chapel Hill, is the author of the
USITT monograph The Designs of Willa Kim
(2005).



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2007

Contents
Theatre Design & Technology - Fall 2007 - 1
Theatre Design & Technology - Fall 2007 - 2
Theatre Design & Technology - Fall 2007 - 3
Theatre Design & Technology - Fall 2007 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
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
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