Theatre Design & Technology - Fall 2014 - (Page 15)

revivals he feels that too much of the discussion necessarily centers on "how to do it differently. There are no big questions [to answer]." However, he has designed numerous revivals; the important thing for him is the designer's rapport with the director and finding a strong vision for the production. "For me the best thing is to do a great production with an interesting director." Surprisingly, given the large percentage of his career that has been in opera, this production is Jara's first time designing Carmen. Director Stephen Lawless decided to transpose the classic opera to a context more relevant to the local audience-the United States-Mexican border. Jara and the other members of the design team-scenic designer Benoit Dugardyn, lighting designer Pat Collins, and projection designer Jon Driscoll- developed an updated mid-twentieth-century take on the world of bullfighting and smugglers, bringing in human trafficking and other contemporary references. Jara used the 1950s as his basic silhouette because it gave the right feeling for the production, but he did not limit himself to a specific period look. He utilized strong colors for emphasis-blue uniforms for the tobacco workers, splashes of yellow in the chorus, and a spectacular green, fringed leather jacket for Escamillo. And of course red-it is Carmen, after all. Although, in fact, the look Jara created for Carmen's slinky nightclub dress is yards upon yards of ruffles in a startling shade of fuchsia. To create his retro border aesthetic, Jara created his own mélange from an eclectic collection of research. Rockabilly's mixture of modern and vintage provided a helpful starting point and a guide to the integration of western wear like boots, hats, and bolo ties. He also drew influence from films of the 1950s and '60s, as well as from screen sirens of the period like Sophia Lauren. While no one particular film inspired the look, he gravitated to cinema as inspiration for the realistic yet larger than life visuals. But the production team didn't limit their research to that era. The director thought the life of Amy Winehouse provided insight into Carmen's story, and both the costume designer and the singer drew inspiration from her persona. The idea for the Skeleton Dancer grew from Jara's love of Mexican culture. The skeleton half of the costume references the Day of the Dead tradition. "It's a poetic way to show all the confusion of the heart visually," Jara said. "We see her from one side as a Spanish dancer, then she turns." He explained that half-and-half costumes come from a vaudeville tradition, although it is typically a half-male, half-female character. He thought this dual idea would work well for a figure of death, and as the multi-lingual designer pointed out, the word for death is feminine in Spanish, French, and German. When asked why he chose yellow for this design, he shrugged and replied, "I think of the colors as a whole." Certainly the Skeleton Dancer becomes a striking figure, and the yellow draws attention as she parades in profile before a projection on the scenery of the bullfighters' procession. She then turns, revealing the figure of death that had been facing upstage. DRaPER: Bineke Fokkens Kiernan photos by mitch wilson The Sante Fe Opera draper, Bineke Fokkens Kiernan, felt that Jara's sketch was quite clear, and she was able to start on a mock-up with minimal input from the designer. She had already draped ruffled dresses for the characters of Frasquita and Mércèdes, and her prior discussions with Jara gave her a good frame of reference for the flamenco half of the Skeleton Bineke Kiernan making adjustments to the waspy. Closeup of the skeleton side of the costume. Adding in yellow skirt panel during the fitting with Kiernan and Jara. f a l l 2014 theatre design & technology 15

Theatre Design & Technology - Fall 2014

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