When I saw the first costume sketches for Kyle Weiler’s piece, I immediately wanted to know more about the costume designer. Greer Coleman is Kyle’s costume designer for Senior Production and has great enthusiasm in bringing Kyle’s vision of a 1920’s feel to the piece. Though I am a dancer in Kyle’s piece and not directly collaborating with the designer, it has been a great pleasure to observe how collaboration can go smoothly and more importantly, how a choreographer’s vision can be communicated clearly and effectively with others. I wanted to interview Greer to have a better sense of where her inspirations come from and her experience in designing for theater and dance.
Whitney Schmanski: Where are you from and what brought you here in NYC to design for the Juilliard class of 2016's Senior Production?
Greer Coleman: I am originally from North Carolina, I got my undergraduate degree in painting and costume design from Carolina. I moved to NYC after being accepted into the Professional Intern Program at Juilliard almost 10 years ago. I have worked with the Drama Division designing over the past 10 years and was thrilled this year to design for Opera and Dance.
WS: How and when did you become interested in costume creation/design?
GC: I guess I have always loved costumes and fashion. I loved American Girl Dolls as a kid and loved reading the stories and learning about life of girls in different time periods. That series gave you a lot of history and information about life that the time. Costume design requires lots of research and putting yourself in others shoes and imagining what their life was like and choosing clothing that reflects not only who they are, but where they live, what time of year it is, their occupation, etc.
WS: What are some inspirations/key elements that you and Kyle have discussed for this new piece?
GC: Kyle was inspired by a book, Ben's Trumpet, that he read as a child. It has a very graphic and hand drawn look and its all in black and white with the characters all in different kinds of patterns. We decided that his piece would be in shades of white, gray and black and everyone would have different patterns and shades on them.
WS: What elements do you have to fulfill in creating costumes for dancers?
GC: The most important question I ask myself regardless of discipline: Can the Dancer/Actor/ Singer do what they need to do in this costume? Live performance is all about telling a story, but if the performer is limited in anyway, they can't tell the story that then need. The costume should help convey the story, but if the person can't move or breathe or feels that the costume isn't appropriate, it limits the performance, and the ultimate goal is the story.
WS: Have you worked on other collaborative projects similar to Senior Production?
GC: I feel like if you are doing theater/opera/dance right you are always collaborating. It a team effort between the dancers, the choreographers, the designers, the shops. We all help make it work.
WS: What are your biggest artistic pursuits in the realm of costume design and show production?
GC: I want to keep designing into my old age, that is my biggest dream. I don't care if I ever get a national show or awards. I do this job because each project is different, each collaboration is different. You never will do the same show twice. Even if its the same exact show, you will have new ideas, new people, and new collaborations.
It has been a great learning experience to observe how Kyle and Greer are collaborating for this new piece. Kyle and Greer are also considering the large set pieces that were created for the piece in determining costume and choreographic choices. It can be tricky as a creator to work with other elements and the aim is to have a cohesive balance between the choreography, the set, and the costumes. I believe the elements of dancing, music, set pieces, and costumes are functioning well together and I am excited to be a part of the end product.
Written by: Whitney Schmanski
Whitney Schmanski: Where are you from and what brought you here in NYC to design for the Juilliard class of 2016's Senior Production?
Greer Coleman: I am originally from North Carolina, I got my undergraduate degree in painting and costume design from Carolina. I moved to NYC after being accepted into the Professional Intern Program at Juilliard almost 10 years ago. I have worked with the Drama Division designing over the past 10 years and was thrilled this year to design for Opera and Dance.
WS: How and when did you become interested in costume creation/design?
GC: I guess I have always loved costumes and fashion. I loved American Girl Dolls as a kid and loved reading the stories and learning about life of girls in different time periods. That series gave you a lot of history and information about life that the time. Costume design requires lots of research and putting yourself in others shoes and imagining what their life was like and choosing clothing that reflects not only who they are, but where they live, what time of year it is, their occupation, etc.
WS: What are some inspirations/key elements that you and Kyle have discussed for this new piece?
GC: Kyle was inspired by a book, Ben's Trumpet, that he read as a child. It has a very graphic and hand drawn look and its all in black and white with the characters all in different kinds of patterns. We decided that his piece would be in shades of white, gray and black and everyone would have different patterns and shades on them.
WS: What elements do you have to fulfill in creating costumes for dancers?
GC: The most important question I ask myself regardless of discipline: Can the Dancer/Actor/ Singer do what they need to do in this costume? Live performance is all about telling a story, but if the performer is limited in anyway, they can't tell the story that then need. The costume should help convey the story, but if the person can't move or breathe or feels that the costume isn't appropriate, it limits the performance, and the ultimate goal is the story.
WS: Have you worked on other collaborative projects similar to Senior Production?
GC: I feel like if you are doing theater/opera/dance right you are always collaborating. It a team effort between the dancers, the choreographers, the designers, the shops. We all help make it work.
WS: What are your biggest artistic pursuits in the realm of costume design and show production?
GC: I want to keep designing into my old age, that is my biggest dream. I don't care if I ever get a national show or awards. I do this job because each project is different, each collaboration is different. You never will do the same show twice. Even if its the same exact show, you will have new ideas, new people, and new collaborations.
It has been a great learning experience to observe how Kyle and Greer are collaborating for this new piece. Kyle and Greer are also considering the large set pieces that were created for the piece in determining costume and choreographic choices. It can be tricky as a creator to work with other elements and the aim is to have a cohesive balance between the choreography, the set, and the costumes. I believe the elements of dancing, music, set pieces, and costumes are functioning well together and I am excited to be a part of the end product.
Written by: Whitney Schmanski