Theatre Design & Technology - Spring 2019 - 13
to another, the shape might be altered
to accommodate an actor, or a fabric or
finish might be different. Asked how decisions about using different fabrics or
materials are made, Parker explains,
"When the costumes are made, they're
not allowed to just copy the [existing]
costumes; they have to go back to the
original design. [Because Björnson] is
not around, it becomes more and more
important that the makers go back to
the design and look at what's in there."
Parker explains that one of the
luxuries of working on The Phantom of
the Opera is the number of professionals who knew Björnson and her preferences from previous work, and who had
built her designs before. "A lot of the
makers have worked on Phantom for a
long time and worked with Maria in the
past," she says, noting that it is unique
for a designer and the production team
to be so well acquainted. "And that's
great for me," she continues, "because
it's a lot of pressure to make sure that
everything stays the way she wanted it
to be."
Parker has a specific milestone by
Björnson was able to be
attentive to the detail in her
designs and the realities of the
business, but also to the creative
sensibilities of the people
working on the production.
which she can judge the constant work
around The Phantom of the Opera, and
it has a sentimental twist. "Shortly before [Björnson] died, she came to a rehearsal and she said, 'It's never looked
as good; this is how I want it to stay.' It's
also good that we have that indication
from her that this is how she wanted
it so we remember that and hopefully
stick to that."
To help them with the challenge of
maintaining the design, Parker and her
team have a series of "costume bibles"
with the original designs, fitting photos,
and fabric swatches as well as a col-
lection of photos, charts, and samples
of different versions of each costume
through the years, including international interpretations. Each of these five
bibles, grouped by characters, serves as
both an archive of the tremendous work
that hundreds of people have put into
the production over 30 years and as a
testament to the enormous creative capacity of Björnson and those working to
bring her creations to life.
Björnson was able to be attentive
to the detail in her designs and the realities of the business, but also to the
creative sensibilities of the people work-
SPRING 2019
|
THEATRE DESIGN & TECHNOLOGY
| 13
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Theatre Design & Technology - Spring 2019
Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2019
Contents
Theatre Design & Technology - Spring 2019 - Cover1
Theatre Design & Technology - Spring 2019 - Cover2
Theatre Design & Technology - Spring 2019 - 1
Theatre Design & Technology - Spring 2019 - Contents
Theatre Design & Technology - Spring 2019 - 3
Theatre Design & Technology - Spring 2019 - 4
Theatre Design & Technology - Spring 2019 - 5
Theatre Design & Technology - Spring 2019 - 6
Theatre Design & Technology - Spring 2019 - 7
Theatre Design & Technology - Spring 2019 - 8
Theatre Design & Technology - Spring 2019 - 9
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Theatre Design & Technology - Spring 2019 - 11
Theatre Design & Technology - Spring 2019 - 12
Theatre Design & Technology - Spring 2019 - 13
Theatre Design & Technology - Spring 2019 - 14
Theatre Design & Technology - Spring 2019 - 15
Theatre Design & Technology - Spring 2019 - 16
Theatre Design & Technology - Spring 2019 - 17
Theatre Design & Technology - Spring 2019 - 18
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Theatre Design & Technology - Spring 2019 - 20
Theatre Design & Technology - Spring 2019 - 21
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Theatre Design & Technology - Spring 2019 - Cover3
Theatre Design & Technology - Spring 2019 - Cover4
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