vary the stitch length of the two rows of stitching for the boning placement, so as to prevent a rip in the fabric as if it were perforated. Section four deals with pattern alterations and fit which, again, are important for neophyte corset makers to consider. Sparks provides helpful hints regarding what to look for when purchasing a commercial pattern and recommends two specific commercially available corset patterns. The patterns she endorses are based on authentic museum pieces and are simple to construct, fit, and restyle. A thorough discussion concerning the principles of the fitting of a corset is also provided, as well as the suggested number of fittings required and the specific reasons for each of the suggested fittings. The photo illustrations are clear and instructive. The author suggests using one-inch seam allowances when cutting mock-up corsets, which those of us in theatre know as common practice. The author's example of styling corsets is particularly valuable for the beginner. She has provided photos of the patterns she recommends in six different fabrics with six different looks. The book is an excellent tutorial for the first-time corset builder and valuable for those who don't build corsets on a regular basis. The author's practical advice throughout is beneficial indeed. This is a "must have" book for all but perhaps the most expert corset maker. Martha A. Marking teaches and designs at Appalachian State University in North Carolina. She has worked at the Utah Shakespearean Festival, the Wisconsin Shakespeare Festival and the Illinois Shakespeare Festival. 4-c Ad/option Note: both titles are available from USITT through the member-author new book program and can be purchased on-line at www.usitt.org/bookstore, or by calling (800) 938-7488. THEATRE SPRING 2006 DESIGN & TECHNOLOGY 75http://www.usitt.org/bookstore