BOTTOM MAIN LOOK
First/rough sketch of Bottom’s main costume.
Final rendering of Bottom’s costume. Inspiration was to have as many loud patterns as possible to match his equally loud personality.
Costume shop sketch with fabric swatch used to build Bottom’s tunic.
Mitch Glaes as Bottom.
Bottom’s Donkey Head
Original sketch of Bottom’s donkey head. Seen here originally as a full overhead helmet, which was later changed for maneuverability and less weight.
Second sketch of Bottom’s mask, now a half-mask with adjustable straps (in case an understudy had to step in) securing it to the head.
Starting to build the mask, I ralized building on a base would be best. Here are the modifications I made to this fielder’s mask to achieve the look.
Build process of Bottom’s mask starting at the top left.
Details from finished mask. Moss texture created with sawdust and silver dots included to match scenic design string drops.
Forward view of finished mask, featuring wood texture and usage of pink film to reference Puck and Oberon’s forest fairy magic.
Pyramus Look
When your player’s costumes are limited in terms of Greek atire, what does Bottom choose? None other than a fitted bedsheet and vine belt for Pyramus.
Pyramus seen here with Thisbe’s bloodied mantle pretening to be a ghost after he has “died” for the third time.
Pyramus dead. Additionally seen here are the sandals swapped for his normal boots to give a more “Grecian” feel.
Main Look
First sketch of Flute’s costume, featuring a long vest that can be buttoned up to transform into Thisbe’s dress.
Final rendering of Flute’s costume, changed painted details to embroidery add-ons.
Jack Dalrymple as Flute.
Thisbe Look
A discussion with the director lead to me building a mask that looked as if the players had dragged it halfway through the woods with them.
Flute seen here as Thisbe, vest buttoned into dress, mantle, and mask with wig attached.
The wig extensions had to be glued to the mask to allow for the actor to beable to remove and rewear it quickly during the play within the play.
Rough sketch of Quince’s costume. After discussion with the actor, she decided it was most fitting to her character to have a theatre mask on the back
Final rendering of Quince’s costume. Embroidery on pants match the tan color of her shirt.
Sydney Miller as Quince.
Theatre mask detail painted on back of Quince’s shirt with velcro eyes to attach flowers.
Back view of Quince’s shirt transformed with flowers added after leaving the woods.
Main Look
Rough sketch of Snout’s shirt sleeves, looking at different shapes to allude to his character “Wall” later on.
Rough sketch of Snout’s pants, using an accent of (shower curtain) rings up the side of the pants.
Final rendering of Snout’s costume, leaning into a longer sleeve at the end of his arms that tapers closer to as it nears his shoulder.
Shop sketch for Snout’s shirt build with swatches for the collar (dark green) and main body and sleeves (light green).
Steven Sullivan as Snout.
Wall Look
The addition of a brick-stenciled vest (painted by Samantha Bay) with his long sleeves complete’s Wall’s look.
Close within the timeframe of our show, the production team agreed to slip in a reference to Pink Floyd’s “The Wall.”
Wall between Thisbe and Pyramus.
Main Look
First sketches of Snug’s look. It was hard to find a balance between creating a reference to his lion character while not fully giving it away.
Discussions with the actor and more research into the time period led me to this but I had to make sure it wasn’t too similar to other characters.
Ultimately I chose a plain jacket as the actor was extremely movement heavy and had a comedic bit about being too hot and taking off the jacket often.
Cristian Bonilla Lainez as Snug, one of the few times he wore the jacket in the show.
Lion Look
Sketch for Lion’s mask where in place of fur for a mane, the players resort to using leaves they find on their journey while waiting for Bottom.
Lion‘s mask created from faux foliage and foam.
Snug as Lion, jacket off and ready to crawl about the stage.
Lion on the table performing for the Court and Lovers.
Rough sketch of Starveling. I wanted the fringe on her arms to mimic moonbeams as a reference to her later role as Moonshine.
Final rendering of Starveling. I chose a longer silloute to heighten her comedic bit of being spooky, always staring and lurking behind the others.
Original shop sketch to build Starveling’s jumpsuit, but in the end we found one to purchase instead.
Starveling (Madison Munson) pictured here acting as Moonshine in Pyramus and Thisbe with lamp, dog, and hawthorne.