As my first production as costume designer, Ten Chimneys introduced me to the world of costuming as an aid to storytelling. Working primarily with stock costumes, I focused on establishing strong ties between the clothing and the time period to support the time jump in the script. Since the time jump wasn't very explicit in the script, the wardrobe had a strong role to play in communicating the time jump. 

The first musical I designed costumes for was The Drowsy Chaperone. This show gave me the opportunity to work with a much larger cast and forced me to consider more elements of practical costuming to align with choreography and blocking restraints. Alongside sourcing and altering period appropriate garments, I added lots of rhinestone embellishments that matched the silhouettes on set to create visual ties between the costumes and the scenic elements. I also constructed custom accessories for the ensemble such as ties and cumberbuns to bring the monkeys to life.

Peter Pan and Wendy: An Old and New Adventure was both a challenge and a joy to costume. While stepping into the childlike wondrous world of Neverland was marvelous, the tight time constraints made it difficult to bring all of my original visions to life. Working solo on this production meant making fast, strategic choices to meet our deadline. I fully constructed both Peter Pan and Tinkerbell’s costumes from scratch, focusing on custom fit and signature character details, while pulling and altering stock pieces for the rest of the cast. Navigating that balance pushed my problem-solving skills, and seeing my custom builds stage-ready under pressure made the hard work completely worth it.