Lea DiMarchi and Atticus Shaindlin in Venus in Fur
This is your final week to catch Venus in Fur at Bristol Riverside Theatre’s pop-up black-box theatre, the Regency Room (190 Mifflin Street, Bristol, PA, 19007). From its Off-Broadway start to a Tony Award-winning Broadway run, Venus in Fur has drawn audiences into the seductive tension and smart humor of this intimate two-person play about a playwright/director and the unlikely candidate for his upcoming show. The story examines the two characters and raises questions about gender roles, power, and the nature of seduction.
Below, the theatre’s costume designer, Linda Bee Stockton, discusses her role in the production and the process she takes to create each costume you see on stage. In the case of Venus in Fur, Stockton must balance the show’s risqué themes with the actors’ comfort and character integrity.
Tickets to Venus in Fur, which runs through November 10th, can be purchased here.
Q: As BRT’s resident costume designer, can you walk us through the process of bringing costumes to life for a production. What steps do you take before creating each piece?
A: My process usually starts with reading the script and talking with the director about the concept. Once the concept is decided upon, I start doing my research on whatever period we are setting the show. I will then do a series of mood boards to present to the team at the next production meeting. Next, I will reach out to the actors for measurements. Depending on the period, I will either start shopping for the costumes or renting pieces, pulling from stock and possibly building some pieces. First day of rehearsal, I will do a design presentation to the cast and then start doing fittings. Then, all the alterations get done and we finish each costume ready for tech week. We tech in costume so we can make notes and address any issues. After two or three dress rehearsals, we are ready to open the show .
Q: Were you familiar with Venus in Fur previously?
A: I was not familiar with Venus in Fur before we started working on it.
Q: Given the show’s risqué themes and theatre-in-the-round setting, what are some challengesyou faced when creating these costumes?
A: With this show being quite risqué I had to be sensitive, making sure the actors are comfortable in the costumes while still achieving the looks that the show requires. For instance, the character of Vonda is required to be in dominatrix style undergarments for a portion of the show and with the space being so intimate, I had to make sure that the look was appropriate for the story…but also that the actress felt 100 percent comfortable with the revealing nature of the underwear.
Q: Do the actors often give you input or ideas for the costumes they want to wear on stage? Are there any questions you like to ask them before working on designs?
A: The actors generally won’t give me any up front ideas on the clothing, however we will talk in the fittings and I want to make sure that we are both happy with the looks.
Q: What have been some of your favorite costume designs at Bristol over the years?
A: I would say that Jesus Christ Superstar was my all time favorite show that I have designed, but some other favorites include Little Shop of Horrors and Pride and Prejudice. All different shows and different periods, but I loved working on them all.
Q: Why do you think Bristol’s black box theatre is a great setting for Venus in Fur?
A: I think the black box space is perfect for this show as it’s such an intimate piece. The audience being so close to the performers gives such a powerful impact.
Q: What do you hope audiences take away from this production?
A: I hope that the audience enjoy this amazing production. I know they will appreciate the two incredibly talented actors. I think everyone will have their own interpretation of the meaning of the piece and that’s what’s wonderful about live theatre.
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