Creating a Costume for John Barrymore III’s Hamlet
Wear the costume, apply the makeup, and style the hair. Immerse yourself completely in the role, and you'll truly become that character.
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It seems like a few weeks rarely pass without a friend or even a stranger reaching out to me for help with altering a garment or creating something new. I often find myself wondering, “Am I the only person in this town who sews, aside from the woman at the dry cleaners who charges a small fortune to shorten a simple hem?” Somewhere between the late 70s and the 80s, there was a noticeable shift away from practical vocational subjects in schools—subjects that could enrich lives for years. Instead, we saw a move towards a more technology-focused curriculum. Perhaps budget cuts forced schools to drop practical arts requirements, leaving students unprepared upon graduation, unable to boil an egg, sew a seam, cut a piece of wood, or change the oil in a car. Even when budgets eventually increased, these essential courses never returned; instead, funding flowed into expanding computer and technology programs. When I graduated high school in 1972, most students who weren’t heading to college possessed the hands-on skills necessary for immediate employment, without having to spend thousands of dollars attending a vocational school for one or two years.
I was thrilled to enroll in the required sewing class in 7th grade because it meant I could create my own fabulous, fashionable wardrobe. Back then, buying off-the-rack clothing was quite pricey, and my mother was on a tight budget. So, I dove into sewing from seventh grade until I graduated from high school. Fabric of all kinds were affordable, allowing me to make a dress for about one-eighth of the cost of buying a new one! Our small community of 17,000 had several large fabric stores, making finding materials for my projects easy. Now, with our town's growth to about 45,000 people, no fabric stores are left. The only option is a single aisle at Walmart, which carries fabric and another for sewing notions—pins, needles, tape measures, thimbles, and patterns. And it’s costly! For example, the average price of a Vogue pattern is around $35. When you factor in the expense of fabric, lining, and notions, which may total about $70, your finished garment will be just over $100. An off-the-rack dress typically costs about the same, or often even less, for a quality garment. So there’s no need for sewing skills for the average person. So Staple retailers and mainstay stores like House of Fabrics have disappeared. Joann's is closing locations nationwide. The last time I visited, about eight months ago, it was in sorry shape, with very little merchandise. I instinctively sensed that this would be my final trip to this once-essential business. As I stepped out of the store, I turned to nod a farewell. Sewing has evolved into a specialized skill, quite different from my younger days when it was an everyday necessity for everyone, including my Dad, who crafted horse saddles while growing up. Randy’s mother was an outstanding seamstress, making outfits for all his band members. After her passing, I inherited her sewing machine, one of three I own, which includes an overlocked serger that gives my projects a polished finish. I still sew for myself and a few select friends and associates who occasionally need alterations. I just completed a silk sari for an East Indian friend who is returning to India for a wedding. While finishing the stitching, I thought about writing about two of my most memorable projects. I designed and created a black tunic for John Barrymore III to wear in his production of Hamlet in Los Angeles during the early 80s. His costume is the focus of this weeks’s article. For burlesque queen and soft porn star Kitten Natividad, I made her a stunning black velvet cape in that same decade. Over the years, I maintained my friendships with these wonderful people, and Kitten wrote to me about five years ago, sharing that the cape remains one of her prized possessions. That truly made my day, and I will write about her in my next article. I’m not sure what happened to John’s Hamlet tunic, but it likely ended up in a wardrobe closet for future productions.
Then, of course, I designed many costumes for our show. My iconic feathered costume, which I wore for our metamorphosis illusion, is now displayed in a magic museum in Hawaii. There were numerous standout pieces, including my unique sawing-the-girl-in-half costume. Without its innovative design, performing the illusion would have been “clearly impossible” (ironically named because we performed it using a clear box, and naming it “Clearly Impossible” allowing the audience to see me from head to toe throughout the illusion). At the start of our career, I also created Jonathan’s distinctive tuxedo tail. I promised myself I would never make another one, and I kept that promise. Tailoring is a specialized craft that requires meticulous attention to detail and tests one’s patience.
