Latest / The BSB Podcast / Exclusive Interview: Mary Magyari of Grosse Pointe Theatre's 'White Christmas'

Transcript

Exclusive Interview: Mary Magyari of Grosse Pointe Theatre's 'White Christmas' · The BSB Podcast

0:00
we recently spoke with Mary Magyari about another Christmas role she's playing, but this time we're talking about her costume designing for Grosse Pointe Theatre's production of
0:07
white Christmas.
0:08
Thank you again for being on Mary to talk with us.
0:11
Yeah, I'm so excited.
0:12
um So White Christmas is going on through Grosse Pointe Theater and they chose the show um about a year ago for the season.
0:28
And so I kind of got brought on m the team a little over a year ago.
0:34
And that's kind of how I started my process um with
0:39
doing research.
0:40
I'm familiar with the movie, which is a Christmas staple in our home, but I've never seen the Broadway show before.
0:49
And so it's pretty similar, minor differences here and there, but I really wanted to pull inspiration from the movie.
0:57
And so that's kind of where I started with my research for that.
1:02
That's super, super exciting.
1:04
And is this the first show that you have costume design before or have you done this before?
1:07
Yeah, so this is gonna be my fourth show.
1:10
The first show I did was actually another Christmas show.
1:13
It was, um it's a Wonderful Life radio show.
1:17
And so that was another kind of period Christmas show.
1:22
It's a radio show, but you see the characters still kind of dressed up in the 40s um coming into the radio station to talk on the mics as if people were listening.
1:34
um
1:36
for radio story time.
1:38
So that was a really fun, that was my first show that I ever costumed.
1:43
After that, I did Lion in Winter last year, which was not a Christmas show, but still kind of in the holiday season timeframe.
1:54
And so that one was really challenging because it was a period piece, but it took place in like 11, 1100.
2:04
And so.
2:05
different.
2:06
I mean, it was almost impossible to find period accurate attire.
2:12
Like I didn't really know where to start um with that one, but ah it ended up looking really great.
2:19
I was going to find the renderings for that show and I'll just email you.
2:25
can, you can post them on here.
2:27
um But, yeah, that one was all built from scratch.
2:31
Each character, there was seven people, I think in the cast and um
2:35
Couple of them had some outfit changes, but everything was custom designed for the actors.
2:43
So you had mentioned that this, like, White Christmas kind of began with like researching, you're watching the old film, you know, but like, what is a process for develop, like for
2:52
developing a costume design?
2:54
So it's interesting because I have always been just, and I think this is one of the reasons why I love acting so much is the costuming and the clothes process.
3:09
And so even at a young age, I just would watch these classic movies and see all the sparkle and the detail and the fun.
3:20
And so kind of
3:22
creating my hand at this show, I took the opportunity to kind of pull inspiration from that, which was very important that I could grab nostalgic pieces from the movie and then
3:38
add my own flair where I could.
3:40
So a lot of the dance numbers are not a carbon copy of what you might see on Broadway.
3:46
um I really kind of took liberties.
3:51
where I could, like I said, from for these big dance numbers.
3:55
so White Christmas has a lot of big dance numbers.
3:58
But like I think a lot of different 19 mid fifties movies that you see will have these flashy made for cinema technicolor wow numbers that I felt, especially opening the Schapp
4:15
Center was so important to really get people's eyes popping.
4:19
And so there's also a couple other moments that I wanted to add some theater costume magic, whether it be kind of transformation or quick change moments, a lot of quick change
4:31
moments.
4:33
was actually, we were counting the costumes.
4:37
have over 220 costumes in the show.
4:41
So it is a huge project and em I'm glad I did my due diligence.
4:48
as early as I did because um we did cast the show a little earlier than what we usually do within the season, but um until you cast the show, you can't really buy anything.
5:00
So I knew what I kind of wanted it to look like, but I can't, I can only go so far as sourcing items because will they sell out or will the wide range of actors that we get
5:13
fit, you know, the vision of what is available out there.
5:18
um Some costumes are custom built, tailored to the actor's um which is very time consuming and everybody who is here is volunteer.
5:31
So, you know, we don't have any paid staff to do that.
5:34
oh We just have a great team.
5:37
But a lot of items also have been kind of sourced and tailored.
5:42
So it's still kind of original design, but it was an easier way around.
5:47
kind of taxing the costume team to just like make everything from scratch.
5:54
So we have a little bit of both, but have you seen White Christmas, the movie?
6:00
not seen White Christmas and this is one of those things where I feel like such a bad theater person.
6:05
I'm like, how have you never seen it?
6:07
But the thing about it is that while I've never seen it, I know that there are some really iconic looks, like specifically like the red suits and the red Santa dresses and stuff
6:18
like that.
6:18
There are a lot of pieces that like, I'm sure that people are like, ready to see on stage.
6:23
And even though you got to take some liberties with that, there's some pieces that you have to absolutely nail, correct?
6:27
And that was kind of what me and Nick, who's directing the show, kind of talked about because um as someone, like I said, who has never seen the Broadway show, um and I have
6:38
looked at pictures of kind of stuff that they did.
6:41
um They did not kind of replicate those finale dresses.
6:47
And it was important and same with the sisters dresses, which is also very iconic.
6:52
But it was important for us, for people who
6:54
know the movie, love the movie, and are new to theater to kind of grasp at things that they remember, things that they love about the movie.
7:04
And so that way, kind of transitioning with um the show, a lot of these dance numbers that are in the Broadway show are not necessarily showcased in the movie.
7:16
So that's where I took my liberties to say, piano, I'm going to design something
7:23
new um and even a lot of my original designs kind of had to be um at times, ah what's the word I'm looking for, uh pivoted.
7:38
But you know, things happen where, like I said, something might sell out.
7:43
And so I have to say, okay, well, what can I get to alter my original idea?
7:48
And it's really fun to see.
7:50
where it starts and then the final product because sometimes they're not the same.
7:54
Sometimes they are, sometimes they're not.
7:56
Is there times, and again, I don't know much about the behind the scenes of theater.
8:00
You I've always been somebody who sat in the crowd and enjoyed the magic that, well, that is there.
8:06
oh But do you feel like there is, like, is there an approach that, like, even actors come in and they have, like, bits to their character?
8:13
They're like, this would work with a costume or this wouldn't.
8:15
Like, does that ever happen as well?
8:18
Absolutely.
8:18
fact, you know, I think every show and every costumer can handle those moments differently.
8:27
For me, and what I kind of wanted to really do with this show in particular, is kind of collaborate with the actors because as an actor myself, there are um character bits that I
8:42
include.
8:43
And so I want to make sure that for one, they're comfortable in what they're wearing.
8:47
You know, I want to make sure things fit the right way and not just say, here, put this on.
8:51
This is my vision.
8:52
Figure it out.
8:53
Right.
8:53
Well, most of the, um, a lot of vintage items in the show, but that I had to like tailor a little here, tailor a little there.
9:03
And then, we had a couple cast members who had to pick up additional roles.
9:11
And so, you know, you have to differentiate them from.
9:16
you know, one character to the next character and I think it's a little throw some glasses on them and you have the super effect.
9:23
uh But there's other little things that you can do um to help uh accentuate them, give them some business to work with on stage and get them excited, you know, and not just feel
9:37
like, oh, I'm in the ensemble, I'm not important because...
9:41
When I watch movies or when I go to the show, I'm looking at the ensemble.
9:45
I'm seeing if they're doing what they need to be doing.
9:48
And as an actor, I always assume everyone's looking at me.
9:52
So, you you stay in character and it just helps them kind of feel good about what they're doing.
9:57
A lot of the times those moments are kind of what sells a show.
10:00
Like if the ensemble is doing their bits, you know, like while the other things are happening, I saw...
10:05
know you see it once or twice and you're like, I didn't see them do that before.
10:09
my gosh, I totally missed that.
10:10
This is, you know, you're seeing a totally different show.
10:13
For sure, for sure.
10:14
So then going to White Christmas, there like an, like how would you describe the design style of the show?
10:22
Like what is it, you kind of mentioned like the golden age of kind of musicals.
10:26
I remember growing up on like Sound of Music and Singing in the Rain, so.
10:30
So, so it was important to me, when I was designing the show that I wanted, um, and this was kind of where I first started.
10:42
This was one of the first things that I designed were, um, the first big dance number in the show is let yourself go.
10:48
And so I wanted the, um, corset bodysuit type dance showgirl outfit.
10:56
Um, which I, it's, it's the 100 year anniversary for the Rockettes.
11:03
So I also pulled inspiration from that to say, you know, this is what I want these dancing girls to look like where on the Broadway version, they have the cupcake dresses.
11:16
You know, there's a lot of, there's a lot of those, um, in, their dancing numbers.
11:20
Um, and so I really wanted to kind of pull from.
11:26
what you see from the cinema um area.
11:30
actually I'll show you, and this is actually the second rendering of the Let Yourself Go um body suits.
11:42
But yeah, so these are, um each character, each dancer has a different color.
11:47
um And I actually have the men's um outfit right here.
11:53
m
11:54
that is so cool.
11:55
you have Bob and Phil, this is the two leads wear this.
11:59
And then there's a couple ensemble men that have um a similar look.
12:05
They have the same shirt, but it's navy blue.
12:08
And then they have like a mustard colored jacket.
12:12
And so it really gives you a lot of, like I said, technicolor moments that you're just like hitting the face with.
12:19
sparkle and color and wow.
12:22
So this is their let yourself go outfits.
12:25
But I do have some of the body suits.
12:28
And this is a great example of what I said earlier about having to pivot because the original look that I wanted to do was, I don't know if I have it here.
12:44
So I'm glad I got started early enough because when I mocked up the bodysuit, this is what it was supposed to look like.
12:53
I don't know if you can tell, but I'll send you PDFs of everything.
12:57
There's a lot of detail.
12:59
What I did was sew sequins and I had a jewels feather mesh that I sewed to a bodysuit, undergarment bodysuit.
13:10
Because the base I used was
13:13
material I'm not familiar with sewing on, I realized very quick that putting it on doesn't have a lot of stretch.
13:21
So it didn't fit.
13:22
It's not going to fool anybody.
13:24
um So I had to then source out pre-made kind of uh body suit garments that didn't have stretch.
13:34
So when I sewed stuff on, it would be tailored to their bodies.
13:38
So that was the first pivot.
13:39
um
13:40
This is one of the let yourself go dresses.
13:45
Well, not dresses, but bodysuit.
13:47
And so it's going to be kind of halter top and then it will just kind of give that illusion.
13:54
It's got the feather so it moves very freely.
13:59
um I also have the yellow one with me.
14:04
Okay, and each one looks like not only is a different color, but they also have a slightly different like identity.
14:11
that make sense?
14:12
Yeah, for sure.
14:13
Yeah.
14:13
And I think, you know, with there's at some moments, eight to 10 ensemble dancers at one time, you know, and so I again want them to be showcased and with their own personality
14:28
and their own little flair.
14:30
And so yeah, I was careful with crafting the colors.
14:33
My favorite is this em silver one.
14:37
I just love this one.
14:39
But yeah, so this is just a, it's like a bathing suit, you know, and then it's got this fringe, sequins fringe, and then feathers that line the back.
14:52
thing I love about this too is it's very reminiscent of like, not only like the classic Hollywood, but also like it reminds me of like tinsel or like Christmas lights in a way,
15:00
you know?
15:00
so.
15:01
um I did not showcase any of the finale ensemble stuff, but the color theme, which is also different from Broadway, is a hunter green and silver.
15:13
So it's very snow capped trees.
15:17
And some of them have hints of red in their costume to marry in the leads and all that stuff.
15:24
But I do have some shoes here that the men
15:28
loved are these green ensemble dance shoes.
15:32
um
15:36
And so like when you're designing, like with those pieces, you knew you kind of rendered these body suits.
15:41
When did you know that like, this is the design that you want?
15:45
it like, once you see it all together, like physically does it kind of fall into place for that?
15:49
Or is it like beforehand when you have that design that you kind of like, this is it.
15:52
did.
15:53
um There were moments where I had to really kind of think on it.
15:58
The piano outfits um went through a little twisty turn.
16:03
uh But the more things got finished and pieced together, um yeah, it really fell into place.
16:11
I like to be thoughtful as well with character dynamics.
16:15
So there's two characters in the show called Rita Rhoda.
16:19
And they're very Airhead-Bimbo twins, kind of.
16:23
They don't look alike, but they are mirror images of each other.
16:28
And so I wanted to kind of do like a pink and purple.
16:31
um think they're pink, red, purple throughout the whole show.
16:36
So every time they're together, you know Rita Rhoda, she's in purple, she's in pink.
16:41
um And so little things like that, whether people notice or not, you know, is...
16:49
interesting for character development in the costume eye, if that makes sense.
16:56
No, because that's absolutely one of the questions I wanted to ask you about is like, how do you feel like the use of clothing reflects these characters emotional journey through
17:03
White Christmas?
17:03
Like, how does that kind of grow with them?
17:06
Yeah, well, another character that I can kind of pull from, uh her name is Lindsay.
17:13
She's been a member here for a long time.
17:17
She's an older member of ours and um she is super, she does a lot of help with props and set dressing, but she doesn't, you know, dress up all that much, but I...
17:33
really wanted to showcase her character as someone very high class, 1950s high class and prim and proper.
17:41
And so I think she really enjoyed kind of having that like double side to really kind of walk in a different way.
17:49
And, and you know, in the train scene, she has this gorgeous red, it looks very mad men.
17:55
I forget the red headed madman, but it looks very much like her character said she has this black stole and a
18:02
you know, a little black pillbox hat.
18:05
And so it's looks a little, I don't want to say Cruella De Vil but just, you know, sassy and posh.
18:11
And so when I had her try that dress on, she's like, Oh, is this for Regency Room, which is a black tie scene in the show.
18:19
And I was like, Oh, this is for train.
18:21
And she's like, this is for train.
18:22
This is so fancy.
18:24
I was like, just do wait till Regency Room.
18:27
And so for Regency Room, she has this long gorgeous
18:30
baby blue gown.
18:33
I can actually pull it for you.
18:34
uh Navy blue scarf and a navy blue feather.
18:39
like really, if she didn't think she could get more glam, she got more glam.
18:44
So yeah, it's just fun to bring out different sides of people that, you know, they can have fun with.
18:51
Sure, absolutely.
18:54
Can we see that dress?
18:55
Yeah, absolutely.
18:56
So I'm actually going to tilt the camera over here.
19:00
This is the costume room at Girls Point Theater.
19:04
They actually have a um rotating rack, which you would see usually at like the dry cleaners or what.
19:14
And so it just, you know, tons.
19:19
It like goes way back there.
19:21
But I have this huge section all for
19:23
the casting there's 26 people in the cast.
19:26
But her dress is right here.
19:29
it's like, yeah, it's got this sparkly gold detail in it, baby blue and then navy blue long opera gloves.
19:40
And you know, a feather in her in her hair.
19:42
So it's gonna look really sharp.
19:45
The Lobdress, which is also an iconic dress from the movie.
19:51
That was another one I wanted to take my own liberties, even though people know it and love it.
19:56
I thought, I'm going to design my own gown.
20:00
I left that one at home because it's still being altered, but that one is, I think, one of my favorites in the show.
20:06
So with an outfit like that, I while some pieces I know you're pulling different, you're outsourcing, some of them you're designing, how much time do you feel like you are
20:16
spending on a costume?
20:18
Because it sounds like with 250 costumes, this is a lot of work that you're undertaking to get this right.
20:23
my gosh, luckily for this project, my favorite pastime is online shopping.
20:30
So I'm already like, I know where to look.
20:33
I know how to source stuff.
20:34
It is a lot of time, but it's, it's kind of like enjoyable for me.
20:40
It's a hobby for me.
20:41
So, um, yeah, it is pretty much, you know, when you're watching TV and scrolling, I'm shopping.
20:49
I'm scroll shopping.
20:50
Sure.
20:51
a lot of hours went into it.
20:52
Like I said, I got started really early, um right when we knew we were getting the show.
20:57
like, okay, I watched the movie 10 times, taking notes.
21:02
um They did this show 10 years ago when they were in the war memorial.
21:09
It used to be a uh holiday staple.
21:14
And so I think they've done it three times at the war memorial.
21:18
And so we haven't done it since.
21:20
And so um Nick was actually in one of the productions and I watched an old DVD of that production.
21:27
So I watched that 10 times.
21:29
um So I just enjoy repetitive research.
21:33
So I know all my ducks are in a row.
21:36
Sure, absolutely.
21:37
Now with a piece like the one that's behind you, the red suit, now when you are bringing that design to life, do you start from the inside out or is there certain pieces that you
21:47
kind of look towards first to make sure we nail that and the rest kind of fall into place?
21:52
women's section was a lot more fun for me.
21:55
I don't know much about men's fashion in general.
22:00
I know what I think looks good, but as far as um research and stuff, that was a little more challenging for me.
22:08
So this look is very similar to um a look that they had in the movie.
22:14
It was very brief, um but they had this sort of straw hat.
22:20
and maroon look.
22:22
So I kind of just pulled colors and patterns.
22:26
I don't know if you can really tell, but this shirt is striped.
22:31
It's like a plum striped shirt.
22:34
So from the stage, it might add a little texture that you don't really know why it looks the way it does, but it just adds a little something interesting to the eye.
22:45
But this is similar to something that I saw in
22:49
the movie.
22:50
However, I did buy this mid-1950s Sears catalog.
22:57
Like, this is a huge Sears catalog book of everything.
23:02
And when I tell you, I wish I could have just ordered stuff from this book.
23:08
Like, it has everything, everything in it.
23:11
And it's so interesting too, because like a lot of stuff, you can get this dress for $30.
23:17
Or you can get this, you know, coat for $15.
23:22
Shoes are $10, you know, and it's like unheard of prices.
23:26
But I just thought that was so funny.
23:29
But this book has helped me a lot in regards to kind of piecing together the type of clothes a certain character might wear, because Bob is very different from Phil.
23:42
Bob and Phil are very different from...
23:45
the general or even some of the barn hands that are in the ensemble.
23:52
So you really want to showcase the differences in that aspect as well.
23:58
don't think that people always necessarily realize from an outward perspective how much work goes into, how much research goes into finding the right outfit to make sure that
24:07
this story goes off the way it's supposed to.
24:11
um So um in addition to inspiration for the two male leads, um Bob and Phil are very different.
24:22
is very warm.
24:23
And so I wanted to kind of older set in his ways.
24:28
I kind of styled him after Clark Gable.
24:31
So that was kind of, I looked at pictures of him.
24:34
I'm familiar with his work, but it was easier to style.
24:38
um Mario Plays Bob.
24:39
It was easier to style him when I can reference someone of that stature.
24:46
um Phil, who's played by Zach, uh is very kind of lovestruck.
24:54
I don't want to say goofy, but just kind of more lighthearted and um fun loving.
25:02
And so I kind of inspired his look a little after like kind of Rock Hudson.
25:08
or even Danny Kay and Kane, Danny Kane or Danny Kay.
25:14
So, um I kind of took different actors who I thought resembled their character types.
25:26
And that was very helpful to me in a section that is not second nature.
25:32
Like the women, I was like,
25:33
I wish it was all women because I would be done and this is great and sparkles and glitter, um you know, I certainly want the men to look and feel confident as well.
25:44
I know we kind of talked about this with the bodysuit, but what is kind of like a balance as a costume designer between aesthetic with practicality?
25:52
obviously these are pieces that people need to move around in, they need to be able to dance.
25:56
How do you balance that?
25:58
Um, well, it's tricky because this show is full of dance and certainly you don't want anything to fall off.
26:11
And they have, they do like 15 shows.
26:14
um,
26:16
a lot of stretchy material is helpful.
26:21
I actually have a piano outfit right here.
26:26
And I don't know if you can't really tell the form of it, but it's this sparkle, this black sparkly romper, it's like a bodysuit, but little shorts.
26:37
And then it has this black tulle bustle on the back.
26:42
So they do a lot of like
26:44
It didn't fit on the mannequin here, but just to give you an idea, this is what the
26:52
oh Okay, that is very sleek
26:58
tights, black shoes, a little bustle, um and this little oh top hat with a little fringe to add drama, and then some sparkly gloves.
27:14
I was going to say it's kind of like in a way, I'm sorry that I'm not really, I don't know the right words, but it reminds me very much of like giving the impression of a dress
27:23
while having the movement of like not, like with the bustle in the back and stuff like that.
27:27
It feels almost like dress-like, but they have full movement of their legs, which is probably really essential for a dance.
27:33
So yeah, that was um in reference to your question.
27:36
uh Because I wanted these corset body suits, which I consulted with my team and the actors, because you know, there's the concern while we're, we'll be dancing, can we
27:47
breathe?
27:47
oh It's not corseted.
27:50
um Everything is either zipped or Velcroed in.
27:54
um So it is the exact waist measurement of their bodies.
28:00
oh
28:01
and it fits like a bathing suit.
28:03
So um the dancers in our show are very familiar with, most of them have been in other GBT dance shows, so they're very skilled dancers.
28:16
em But certainly, you know, I don't want there to be any sort of malfunction on stage.
28:22
So we just look at it and relook at it until we know, OK, this is foolproof.
28:30
I actually have with this show four costume seamstresses on my team.
28:39
So with me and them together, we have built over 220 costumes.
28:49
So it's very impressive.
28:51
a, that's an accomplishment.
28:52
must feel really like, that has to feel really good to finally have that near completion.
28:56
I'm sure you're not done yet because the show doesn't open for another weekend, another week and a half.
29:00
have little minor things to do, but I try to express to them every second I can, because like I said, they're all volunteer.
29:08
But the work they do is just so incredible that it's like without them, it's just a vision.
29:15
Right?
29:16
You know, and certainly I can't build all of this stuff.
29:19
So I just am so thankful to my team for all their hard work.
29:24
So while you may be able to not show us, I was kind of wondering, what is your favorite outfit that you've created for this show?
29:30
Like, is there one that like you just like, you've put in so much work in or like the design just came out exactly how you pictured it?
29:36
The piano is probably one of my favorites, um but the whole um ensemble, not just the ensemble, but the whole finale, I should say, the whole finale scene of these silver...
29:59
and hunter green with accents of red, um the classic red dresses and red suits that the leads wear.
30:07
um I bejeweled these tap shoes for all of the ensemble dancers.
30:15
So they wear these in Let Yourself Go as well as the finale because it's silver and sparkly.
30:20
So um the way it just sparkles.
30:24
and shines and even the non-dancers so you have Martha and you have a little girl in the show, Susan.
30:31
um You know even non-dancers are all in these um evening gown, hunter green dresses.
30:41
um Zeke who is the farm hand, he's not, you know, he would never dress up or wear anything so he has a hunter green flannel with silver.
30:51
suspenders so it still ties into the theme and everybody looks uniform in their own style and I just I see the dancers practicing in these shoes and I get choked up I get really
31:04
emotional every time with the singing and the visual it's gonna be fantastic oh that's not true okay so as much as I do love that I actually forgot and I don't want to give too much
31:17
away but blue skies
31:20
Okay.
31:21
Blue skies is my favorite.
31:23
This dance number, I have incorporated some theater magic in it.
31:29
So I'm not gonna give, that's all you're gonna get.
31:35
That's what you're gonna get.
31:36
And then I'll show you the shoes.
31:39
These are the blue sky shoes.
31:41
So yeah, blue skies, my favorite.
31:43
But the finale is a close second.
31:48
It's not tied.
31:50
will say this, that it definitely, you can just tell the love and passion you have for the show.
31:55
Like you, like the amount of care that you're putting into each costume and the fact that you and your team are just enjoying this.
32:02
Cause like, again, that's a lot of costumes to put together.
32:05
It truly shows you how wonderful the people who like are putting in the work that people may never see.
32:11
Like they're seeing the costume, but they're not seeing all the work and dedication you're putting into it.
32:15
And that's just incredible.
32:16
Yeah.
32:17
And not just the costumes.
32:18
mean, the set design, the people who help with the props.
32:24
I mean, some of these items, you know, you have to source from, you know, to make it look authentic 50s.
32:31
And that's a very challenging thing to do.
32:33
So I just, every, everybody who has hands in this production just goes above and beyond.
32:38
I really appreciate you being here, Mary, again.
32:41
For the second time this week, it's been such a pleasure talking with you, and thank you for bringing White Christmas so people can see a little bit of the costumes and get a
32:48
taste for what they can expect when it comes to stage.