SHAKESPEARE PAGE TO STAGE

Paired with a shapely mustard gold tulip skirt

Ceres is the goddess of grain and harvests, so she’s accessorized with a crown of grain and a seed pod style necklace. Wide silver cuffs from Afghanistan complement the exotic mood of the ensemble

Please pardon the socks, she’s barefoot on stage

I added a wrist loop so Juliet could safely navigate the steps of her palazzo and dance at the masked ball

I kept the sleeves loose, as Juliet requested

All trimmings were hand-sewn in place, one of my favorite things to do

Ruffled embellishments on the overdress to complement the simple gown underneath

The reverse side of this pretty brocade was too lovely to hide (please pardon the blurry photo!)

French seams, pinked edges, and a little hint of Romeo on the zipper

Setting the sleeve, with Juliet’s gown in the background

Side view, after gold braid trim was added

Using the same doublet pattern, I narrowed the collar, lengthened the sleeves, and added brocade ribbon trim to the collar and cuff. Color and embellishments were chosen to complement Juliet’s gown. I wanted to give Paris a posh, sophisticated air to contrast with Romeo’s more humble ensemble. One of my favorite pieces!

Same style as Romeo’s doublet, in faux black leather, lined in multi-color paisley brocade

Puck, Oberon’s magical sidekick, needed an ensemble to relate and complement Oberon’s kingly robe. I adapted elements of Oberon’s coat and a doublet from Romeo + Juliet and turned it into a sleeveless doublet with a fitted bodice and peplum

Fully lined in brown and silver damask brocade. She could wear it inside out!

The crossed overlay of iridescent ivory crinkle tulle suggests a bandolier, befitting a warrior queen

Titania wanted to evoke the spirit of a luna moth and a warrior fairy queen ready for battle, more Mothra than Queen Mary

Used to adorn the waist. In Victorian times, women’s dresses were embellished with natural materials like beetle wings. Suggested by one of my student concept collaborators, found on Amazon!

Titania requested a non-traditional take on a crown, so I created something she could wear undisturbed, as she sleeps in her bower

The tulle overlay looked magical under the lights!

The color of this fabric sets the tone for the rest of the palette and evokes the brilliant blue of the wide-open West Texas sky at high noon

Images and ideas collected with the students of CHS Shakespeare Troupe for a Western-style adaptation of The Merry Wives of Windsor

A view of the cast and their costumes as a cohesive, harmonious unit

Fenton, Sir Hugh Evans, Sir John Falstaff, Dr. Caius, and Mistress Ford’s housekeeper, Roberta.

All the cravats, and Sir John’s belly, made by me

Fenton: black and cerulean blue brocade double breasted waistcoat with black buttons and black satin trim worn with white cotton shirt, blue jeans, and boots (credit: Maria Key). Sir Hugh and Dr. Caius: Long waistcoat with button and pocket detail (credit: Lily Key, Maria Key)

Sir John Falstaff: Long burnt orange waistcoat with button detail worn open, paired with purchased white long sleeve cotton shirt, brown and orange pinstripe gabardine trousers tucked into warm brown cowboy boots and accented with brown belt and large rodeo buckle and cowboy hat (credit for waistcoat and trousers: Luann Barrick).

I dressed Roberta in existing cotton skirt, blouse, and apron from the CHS costume loft, and gave her a Western touch with a classic blue bandana and her own brown boots

I made his belly, with a belly button and love handles, from a throw pillow and elastic bands. I softened its shape with shoulder pads.

The character of Falstaff is an “all hat, no cattle”, down-on-his-luck opportunist looking for his next opportunity. Dr. Caius is an elegant French doctor, Sir Hugh is a minister, and Fenton is Anne Page’s suitor (who tucked in his shirt for the performance.)

I designed the looks for all the characters in this production, and these three were among my most favorite. I sewed Anne Page’s skirt, Slender’s signature yellow cowboy kerchief, and Sir Shallow’s gold waistcoat and black string tie. Anne and Slender are wearing genuine suede and leather coats purchased at Salvation Army for $5 each!

A good view of the entire cast

Weird things happen in pano-mode! Apologies to Dr. Caius!

Anne Page, left: Cerulean blue scroll print brocade flared skirt, made by me, paired with purchased ruffled bodice white cotton long-sleeved blouse and brown leather belt and boots.

Mrs. Quickley, right: Chestnut brown gabardine A-line skirt with layered ruffled patchwork back detail, made by me, paired with saddle brown, boned corset (credit: MaryLynn Schwartz), and cotton chambray Victorian style blouse with puff sleeves, ruffled collar, and back button detail (credit: Luann Barrick)

Sir Shallow: Gold paisley brocade waistcoat, made by me, with gold buttons and pocket detail, worn with purchased white cotton long sleeve dress shirt and classic cowboy cut dark wash jeans, accessorized with black cowboy boot and black belt with Longhorn buckle and summer Stetson hat. Please pardon the blurry photo, teens are wiggly!

Sir Slender: Purchased buckskin colored suede long coat paired with oversized yellow paisley cotton cowboy kerchief, made by me, purchased chambray long sleeve shirt, blue jeans, brown leather belt, and tan cowboy boots

These characters are paired together as a group, so their costumes were designed to complement each other

Pistol and Nym are part of Sir John and Mrs. Quickley’s character group, so I styled them to coordinate, in shades of orange and brown, with blue accents

The wealthy families in The Merry Wives of Windsor have their own signature color palette that works in harmony with each other. The luxurious fabrics and textures contrast with the more humble cotton calicos and linens of the working class townspeople of Windsor.

I lightened and brightened her overall look which worked better in the hot and sunny climate of the West Texas border town setting for the play

I designed this look and then found the perfect chocolate brown suede fitted princess jacket! The only change is the blouse worn underneath, and her accessories

The original Lucy and Ethel! The only change is Mistress Page’s blouse

With Anne Page and Fenton in the background

I envisioned our leading ladies as “The Real Housewives of The Old West”, in luxe fabrics mixed with more rustic materials like leather and cotton, worn with boots, for a “no-specific-time-period, Mod-Edwardian” style

Mistress Page’s purchased blouse came with a sash, seen in the photo, which I removed and altered the blouse to fit better as well

Each couple’s ensembles were designed to complement each other and also work together harmoniously as a unit

Our young actress requested more “fluff”, so I ordered a bright orange crinoline from Amazon for a fun pop of color, in addition to the volume Mrs. Quickley needed to bring this ensemble to life

The palette for the entire production was inspired by the luxurious damask for Rosaline, on the left

A view of the set with the main characters, boys’ soccer chorus, and girls’ theater ensemble, in their Elizabethan era personae

William Morris-inspired print, fitted, princess-seamed blouse and dirndl skirt in soft pastels on a taupe background, trimmed at the neck and cuffs in ruffled double edged lace, made by me, and accented with a faux leather corset with buckles (credit: MaryLynn Schwartz).

I replaced Jacquenetta’s white ribbon with an apple green one and made her a white apron and cap as well. She didn’t wear her cap!

Jacquenetta: Traditional Indiennes print peasant dress in lavender, with green, gold, and white motif, trimmed in white eyelet, worn with a lavender and white pinstripe linen overskirt and brown linen corset with apple green ribbon, white-on-white calico print apron and cap

Don Armado: Brown ultrasuede with black damask print doublet worn with coordinating “pumpkin pants” (credit: Luann Barrick) and neck and cuff ruffs made by me, with black hose, black dress shoes and a leather “Erasmus” cap (credit: Sue Hench)

I used the smallest men’s doublet pattern I could find and then altered it down to fit the diminutive Costard. I made this costume entirely from remnants found in the costume loft which may have been curtains and a damask tablecloth

Costard: Traditional Elizabethan doublet in deep teal green damask with lavender, navy, and copper accents, with apple green slashed sleeve overlay and lavender ribbon detail at the cuffs, coordinating breeches, and iridescent crinkle tulle neck ruff, worn with mismatched lavender and apple green knee socks and similarly mismatched Converse sneakers

They look exactly how I imagined them in my head!

The chorus and ensemble transport us back in time with their Elizabethan “ruffs and cuffs”

The King: Long black and gold metallic animal print brocade vest with black faux leather panels and gold buttons, worn over a long sleeve jersey and Adidas track pants and sneakers. Designed to complement The Princess’s ensemble (credit: Luann Barrick)

Longaville: Short sleeveless doublet in gold, silver, black, and white print brocade with gold buttons, worn over black long sleeve jersey, Adidas track pants and sneakers. Designed to complement Maria’s ensemble (credit: MaryLynn Schwartz)

Berowne: Classic doublet with long sleeves in gold and black brocade with olive green and gold trim on the shoulder and cuffs, with gold buttons, worn with Adidas track pants and sneakers. Designed to complement Rosaline’s ensemble (credit: Kim Faulkner Edwards)

Dumaine: Purple, black, and gold print brocade doublet with gold buttons worn with Adidas track pants and sneakers. Designed to complement Katharine’s ensemble (credit: Kim Faulkner Edwards)

Masked ball scene

Alternate view

A better view of Jacquenetta’s costume

A better view of the The Princess and her ladies and of the King

They remix their Elizabethan pieces into their modern day wardrobes

The palette for Love’s Labors Tossed is based on the lavender-copper-green-on-black large format floral damask brocade used for Rosaline, who is the female protagonist in the play. All other colors in the palette coordinate or complement with Rosaline’s. The setting is a high school during spring break, in which the soccer team must do some remedial study in the library, so the predominant color for the set and the present day costumes is their school color, green, grounded by black and metallics.

Concept for Lauren Waring as “The Princess”

Concept for Elena Ashburn as “Katharine”