with a crow and her tight bodice and full skirt echo the shape of the witch's dress. "I decided for some reason that [the ballet] would be all asymmetrical and I've never done that," the designer explained. "Normally I like symmetry." Dorothy is the only character in the ballet whose costume is symmetrical. Vandal sought to give each part of Oz its own unique look, with contrast between angles and curves, juxtaposing matte against shiny. "I wanted people to travel as she is traveling, as if it's different planets." From Webre's request that Munchkinland be a garden of flowers, she created rounded costumes in a riot of color and graphic pattern. Emerald City is angular and faceted and glittery "like a disco ball planet. The lighting [by designer Trad A. Burns] makes it all come alive." Vandal's goal with all her designs is to give each dancer a "sexiness," which for her means a sense of power and beauty, and the feeling of honoring and being "in the body." The influence of the costume design on the production was magnified by the fact that they had to change set designers mid-stream. Set designer Michael The Tin Man (Dillon Malinski) dancing in front of a projection representing the Great and Terrible Oz. Photo by Mitchell D. Wilson. SAVE THE DATE AND CELEBRATE USITT'S 60TH ANNIVERSARY AT THE GEORGE R. BROWN CONVENTION CENTER HOUSTON TEXAS APRIL 1-4, 2020 More info at usittshow.com SUMMER 2019 | THEATRE DESIGN & TECHNOLOGY | 15http://www.usittshow.com