cotumes

We have, in the course of our productions, used some fabulous costumes. Some of the more exoctic and luxurious pieces have been hired; we have used both the Royal Shakespeare Company's phenomenal costume department and Bath Theatre Royal's facilities as well.
But it is the hard work and skill of the ladies (generally speaking, it is the ladies!) who have the ideas and coax them into shape, that we have to thank for our wardrobe these days.

Initially, with Twelfth Night, many of the costumes were R.S.C. but that is not the cheapest option - and, like it or like it not, cost has to be, and still is, something to be taken into consideration when planning a production. It's the same whichever department is in the 'costing spotlight'!

The imagination that goes to make a great costume is something that cannot be quantified; where you or I might see, for example, an old curtain or a left-over from the New Romantic era, one of our costumiers will see a cloak fit for a Duke or Prince and shirt that would grace the torso of any swashbuckling Venetian!

We yearly thank institutions that are known as Charity Shops! Particularly when it comes to hats, shoes and 'unusual' fabrics!

The first three years or so were spent buliding our wardrobe and the need to hire costumes remained, but the catalogue of self-made clothes was growing all the time, due, in no small part, to the efforts of a small band of dedicated women led by Jane.

The range of items that she made was amazing; everything from full blown doublet and hose to Shylock's hat in 'The Merchant of Venice'. And any material was grist to the mill: a large piece of upholstery material made a stunning doublet; odd curtains were transformed into elegant dresses and an old leather jacket had its sleeves removed, braid added and it became a
sea-captain's jerkin. Necessity is the Mother of invention!

Things were going from strength to strength. In 2006, we became even more adventurous! Malcolm elected to have a year 'out' from Directing and opted to appear on stage for a change. Sarah Welsh, Portia in 'The Merchant of Venice' the year before, was invited to direct 'Romeo and Juliet' - a tough production for professional companies, but it was challenge that we relished!

We had a wonderful group of people on board, so jobs were now being handed out to people with the experience and expertise with which to do them. The doubling-up and make-do-and-mend days were rapidly diminishing.
For 'Romeo and Juliet' we had a Stage Manager that wasn't doubling as a Props Person and we had a real live Production Manager and Designer working with the Director - as opposed to the Director doing the lot!

After studying fine art at Shrewsbury School of Art, Marilyn Bird specialised at Birmingham University in Theatre Design. Following a spell as resident Designer for the Unicorn Theatre Company at The Arts Theatre Club, London, she spent the next five years freelancing, on many productions with the Birmingham, Guildford, Richmond and Greenwich repertory and Touring companies. Settling in London, she then focused on designing and prop-making for Television, Theatre and Film companies.

Marilyn brought an air of professionalism to the production and, with her small team, came up with some stunning designs for the costumes and, working with Sarah, moved the acting space around to create a more intimate feeling for the play.

Because of the sheer size of this production, we still hired-in some of the costumes (thank you, Bath Theatre Royal), but the over-all feel that Marilyn's designs gave 'Romeo and Juliet' was one of style and elegance that perfectly captured the life and times of the 'star cross'd lovers'.

One of the great things about The Inn Theatre Company is the spirit that under-lies all that we do. Everyone pitches in and helps - as you can see, with Pam doing Juliet's hair. But it's nothing to see, after the audience have all gone home, Romeo scampering around stuffing litter into a large black bag and Lord Capulet helping to take down curtains from Juliet's 'room' so that the dew doesn't finish them off completely!

And that spirit carries through to the stage. The lovely costume ladies had created 8 very simple, but stunningly effective, hooded cloaks for the torch-bearers towards the end of the play, when Romeo and Juliet are found in the tomb (sorry if that spoils the ending for you!). Unfortunately, we didn't have eight spare actors.
So the 'dead' actors pulled on a cloak and those who didn't appear until a little later in that final scene pulled one on too. Who would have thought that, when Prince Escalus enters, he had already been there, thirty seconds before, as a mysterious, monkish mourner!

'Romeo and Juliet' was a great success, and we began to feel some of the pressure that comes with such success. Malcolm, having enjoyed his stint as Lord Capulet, decided to return to the driving seat for 2007 and, after much discussion, it was decided that we would attempt that which is probably Shakespeare's most well-known and most performed play: 'A Midsummer Night's Dream'.

We elected to set the production, in costuming terms, in Ancient Greece, so the human principals would be in Greek Pitons, which Janie volunteered to get to grips with. Max and Chris Warby designed the set, but this left us with the problem of dressing the Realm of Faerie. What did we know of Faerie? We needed experts! And so the call went out...

...and was answered by the ladies who run 'Ethera' in Dartmouth. What they do not know about the magick that is the world of Faerie isn't worth knowing. And they make all manner of wonderful things, including clothes and jewellery! Our problem was solved, because they joined us for 'The Dream' and it was...a dream come true!

Their enthusiasm and boundless energy caught everyone in its sway and the results of all their incredible hard work can be seen below. Let the pictures speak for themselves.

Kelly and Jacquie also designed Oberon and Titania's costumes and opposite is the Wood Nymph - Lizzie Busby, ballerina. Many of the Faeries were part of the dance troupe and needed to be able to move freely yet still retain the continuity of costume that Kelly and Jacquie had envisaged at the outset. It all worked splendidly.

In 'A Midsummer Night's Dream' Shakespeare mentions only four Faeries by name: Peaseblossom, Cobweb, Mustardseed and Moth - definite characters that were defined by their names and the costumes that they wore. Kelly and Jacquie took that idea further, giving each of the Faeries, those in Titania's retinue and the dancers, specific names, and thus characters, that the actors and dancers could work on and own. Daisyweed, The Dappled One, Midnight Fern, Hazelnut Pod and Moss Gatherer to name but a few.

Titania and some of her retinue. The Faeries drew gasps from the audience as they danced and tended to their Queen; a perfect example of how costume and design work to create something magical and unforgettable!

Above and to the right are just some of the costumes that Jane made for the human element in 'A Midsummer Night's Dream.'
Helena, Hermia, Lysander, Demetrius and some of the Mechanicals.
Jane is the good-looking one performing impromptu brain-surgery.

And so to 2008 and 'The Tempest'.
We are delighted to say that Kelly and Jacquie have agreed to design and make the costumes for the spiritual elements of this production. Ariel and all the Nymph's and Naiad's and spirits of the Air and Sea will be the best dressed anywhere, we're happy to say.
How will they look? You'll just have to come and see, won't you?