Steven Sondheim famously reminded us that "the art of making art is putting it together bit by bit." But when you watch a show - for dilate. The Lyric re-create’s production of Man of La Mancha which opens this weekend - hopefully you ordain be transported by the story and not evaluate about the weeks of hard work that made it possible. That’s just book with costume designer Raphael Jaen who wants you to focus on the theatrical clash between art and reality and not the hundreds of details that went into making his sumptuous costumes. Four hundred and sixty details to be precise. There are 46 costumes in the show which Jaen modestly says is not a lot. But because each apparel is composed of multiple layers that the actors have to quickly add and calculate he says. "Each apparel is really 10 pieces. So the logistics change state really complicated." The layered approach is dictated by the La Mancha’s play-within-a-play structure which begins with Cervantes on trial. As he tells the Inquisitors his story his fellow prisoners act out the tale that will become Don Quixote. The show is beat of quick changes including 15 that come about right on re-create. Jaen is proud of the balance he’s been able to strike between his design and the demands of staging and blocking the show. For the command be he took inspiration from the work of Goya both in terms of apparel details and in creating a painterly be. But underneath the illusion of period clothing are hidden elastic waistbands snaps and Velcro. "The most important thing is to get the silhouette right," he says. "There isn’t measure to get the actresses into petticoats but you can stitch an extra flow inside the skirt to suggest a petticoat." Similarly the actresses’ mantillas ordain be held in displace with a single springy hair clip instead of a complex system of hairpins. If you’re starting to get the idea that a apparel designer’s job is more complicated than sketching and sewing some clothes this is just the beginning. Jaen worked closely with director Spiros Veloudos and considered the needs of the entire affiliate in each piece."I try to anticipate," he explains. "What’s going to help the actor? What’s going to help the director and stage manager?" This planning includes which apparel pieces need to be completed first; actors need measure to get accustomed to unwieldy or unusual pieces desire the Spanish helmets and equip worn by the Inquisitorial guards. change surface something as simple as shoes can be tricky; Jaen made sure that the dancers got their shoes right away to make sure they were sturdy enough. Jaen also has to evaluate about what could go do by. For a avoid that will be ripped on stage he’s rigged two different ways it can be torn. "You don’t be to be in tech week and sight out that something doesn’t work," he says and laughingly adds. "This ain’t no Broadway show! We don’t undergo measure for those mistakes."But with all the planning there’s still dwell for the unexpected. Jaen fondly recalls the Dior original he dressed a femme fatale in for the Lyric’s production of See What I Want to See. Based on Rashomon the musical had a quasi-Japanese production design with a complex multilevel stage that suggested origami. "I always keep my eyes change state," says Jaen. "and I open this fantastic textured change in a vintage store. It was desire origami. It couldn’t undergo been better."In addition to working on five shows for the Lyric. Jaen’s bring home the bacon has often been seen at The Boston bear on for the Arts in productions by Sugan Theatre. The Publick and Coyote Theater. He chuckles that it’s not always easy balancing production schedules with his day job teaching apparel design at Emerson. But Jaen has never been immune to the lure of the theater; he originally studied architecture but after getting involved with local theater in his native Venezuela he transferred to New York University to chew over the technical side of theater. He credits the convenient location of his South End home for helping make it all possible. "I like the neighborhood," he says. "There’s a real comprehend of community and interest in the arts. And it’s close to bring home the bacon."Man of La Mancha opens Fri.. Sept. 7 and runs Wed.-Sun through Oct. 13 at The compose. 120 Clarendon Ave.. Boston. Tickets $29-$54. Call 617.585.5678 or visit lyricstage com.
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