Crafts/Stitching Portfolio

Creede Repertory Theatre 2018 Season

Costume Shop Manager/Stitcher

Creede Repertory Theatre’s 53rd season theme was "Strong women", with a season composed of two musicals (The Wizard of Oz and 9 to 5) , two shows in the round (Barefoot in the Park and Guadelupe in the Guestroom), one Victorian era show (Miss Holmes), two concurrent children’s tours (Seeds of Change), a children’s show(Abandoned Way Out West) and a special project for the biennial Gala. Every show had strong female leads, including a female Wizard of Oz, a female Sherlock Holmes and a female Doctor Watson.

For the first two-thirds of the season, which was comprised of Barefoot in the Park, The Wizard of Oz, 9 to 5, Abandoned Way Out West, and Miss Holmes, I worked as a stitcher in the costume shop. Some of my major projects in this portion of my summer included making Dorthy’s Ruby Slippers, building the Scarecrow’s costume in full, most of the Lion’s costume, and half of the munchkin puppet costumes for Wizard of OZ; cutting and building the psychedelic fairy dress and animals for the potion notion sequence in 9 to 5, building my own designs and costuming a parade for Abandoned Way Out West, and building period appropriate but pregnancy safe costumes for Barefoot in the Park, Wizard of Oz, 9 to 5, and Miss Holmes when we realized that two of our rep actresses were expecting.

Immediately after Miss Holmes opened, we had some personnel changes, and I was promoted to costume shop manager for the remainder of the season(Guadelupe in the Guestroom, Seeds of Change, and the special project for the Gala). Living in working in Creede has some unique challenges. Creede is a small rural former mining community at 9000 ft elevation in the Rio Grande national forest. The closest Walmart is an hour and a half away, and Amazon prime is only guaranteed 4 day delivery, so sourcing and problem solving requires foresight. I oversaw a cutter/draper, a stitcher, a dresser, an intern, and a small team of on and off volunteers for the second half of the season. I was in charge of the budget for these shows as well as planning their builds, scheduling fittings, and planning for the end of season strike. I was also in charge of the re-fitting of costumes for an actress change mid-way through the run of Miss Holmes. The special project for our gala was making 21 pairs of “Ruby Slippers” for the performers and staff working the gala. We fit the actors into a variety of shoes, from doc martens to chucks to cowboy boots, and made every pair ruby red and sparkly enough to give Dorothy a run for her money. Guadelupe in the Guestroom was our final repertory show of the season, with four actors playing 9 characters both in the real world and in the world of a Telenovella. There was a lot of quick rigging to plan out for this show, but I also got the chance to do some dyework and some painting, as well as some unique crafts and several technicians costumes. The Young Adult Outreach Tour was our final build of the season. Two teams, each with two actors and a tour manager, preparing the same show to go in two different directions for 3 months, bringing a bilingual educational show to under served children in Colorado, New Mexico, Utah, Oklahoma, Arizona, Nevada, Kansas, and California. Seeds of Change was a magical musical inspired loosely by Shakespeare’s The Tempest to teach children about recycling. Two actors play multiple characters and do all costume changes onstage, including an effect with a rip away dress. Most importantly, the show includes a moment in which pieces of trash on the two characters outfits bloom into recycled flowers. This show was craft heavy and had a very short build period, and had many added challenges such as making everything machine washable and strong enough for a three month tour. I was also given the amazing opportunity to assist with the puppets made for the show by Anna Paniccia. After finishing the build, before the tours got on the road, I created costume road kits for the tour managers with supplies and instructions for the care and maintenance of the costume pieces.

All Designs by the 2018 Creede Rep Design and Production team

Photographs- John Gary Brown

We’re Gonna Be Okay

Stitcher/ Dyer

For American Theatre Company’s We’re Gonna Be Okay, the designer was playing with gender norms, as their show exploring dominant masculinity during the time of the cuban missile crisis, had no men cast in it, only female or non-binary actors. The overall design of the show was a bright, high energy 1960s look, with bright hues and bold patterns. I did alterations for many of the pieces, some major, to help tailor many of the pieces to body types not nesessarily intended for the clothing. I also dyed a pale patterened dress to a brighter coral to help match it to the rest of the world of the show.

Costume Design- Melissa Ng

Scenic Design- William Bowles

Lighting Design-Rachel K. Levy

Director- Will Davis

Photographs- Michael Brosilow

Music Theatre Wichita's 2017 Season

Costume Craftsperson

The theme for Music Theatre Wichita's 2017 Season was "Let's Go To The Movies", with a season composed of five musicals that were originally movies: Thoroughly Modern Millie, 7 Brides for 7 Brothers, Hairspray, The Hunchback of Norte Dame, and Newsies. I managed the budget for the crafts shop for the season, along with managing a 17 year old intern and a team of assorted volunteers throughout the season. I was responsible for all of the millinery, dye work, shoe repairs and alterations, and specialty projects. For Thoroughly Modern Millie I created outlandish hats for the villain Mrs. Meers. For 7 Brides for 7 Brothers, there were assorted headwear and leather projects, along with quite a bit of corrective dye work. As we had already built Hairspray, I did minor upkeep and corrective dye work. The Hunchback of Notre Dame was our biggest project, and I managed most of the volunteers during this show. There were over 100 individual projects. I created patterns and taught my intern how to make soft headwear, along with how to do simple felted hats. There was dye work on most characters, distressing, and construction of belts and hats. The largest project was the construction and painting of the statues. For Newsies, I built two hats for Medda, taught my intern how to make the hats for the beauties, and distressed all of the newsies. This season was one of the biggest challenges I had faced to this point in my career, and I learned quite a bit during the monumental process.  

All Designs by the staff of Music Theatre Wichita.

Photographs- Christopher Clark and Jeremy Fritchman

Music Theatre Wichita's 2016 Season

Assistant Costume Craftsperson

The theme for Musical Theatre Wichita's 2016 season was "thank you for the music", celebrating groundbreaking composers with Nice Work If You Can Get It, Beauty and the Beast, Oklahoma!, Jesus Christ Superstar, and Mama Mia.

For most of my contract, I handled the painting and dance rubber of shoes, and minor hat, hairpiece, and accessory alterations. My biggest projects were the Saloon Girl hats for Oklahoma! and the enchanted objects' bodies for Beauty and the Beast.

All Designs by the staff of Music Theatre Wichita.

Photographs- Christopher Clark and Jeremy Fritchman

Into The Woods


While working on Into the Woods as the associate designer, I handled several construction projects as well, most notably the transformation of Cinderella's Prince to the Wolf, Rapunzel's Dress, and the stitching detail work on Little Red Riding Hood. To transform the prince into the wolf, carefully hidden snaps on his jacket were revealed and fur was added to specific pints, and fur cuffs were added to his boots. He also had fur covered gloves and a headpiece created out of a 3D printed wolf skull covered in the fur and painted. For Rapunzel, I built a gown and added all of the leather trim, a well as adding matching leather lapels to her prince's jacket. 

Costume Design- Laurie Land

Scenic Design- Michelle Harvey

Lighting Design- Jared Land

Directors- Andrew Gaupp and Dr. Anne Healy

Photographs- Michelle Harvey