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Tony Award Design Nominees
Legally Blonde
Gregg Barnes, Costume Designer: "Jerry Mitchell, the director, always said that this costume should almost be 'too much pink.' She wears the jacket with a 'blinged out' tank that has the Harvard logo, a gift from her sisters at the Delta Nu Sorority."
Courtesy of Gregg Barnes
Legally Blonde
Gregg Barnes: "Inspired by Gwen Stefani's 'Hollaback Girl' video, this costume is a salute to the art of beading. Believe me, all that bling weighs a ton!"
Courtesy of Gregg Barnes
Legally Blonde
Gregg Barnes: "My favorite Elle ensemble. Hand-painted silk, simple flirty shape. This dress is concealed in another costume and is revealed by Jerry Mitchell’s magical staging...and a few strategically placed magnets."
Courtesy of Gregg Barnes
Grey Gardens
Allen Moyer, Set Designer: "It became important to us to make an apparently impermeable house façade to be the first thing our audience saw when they entered the theater, to strengthen the idea that the Edies were both protected and imprisoned by Grey Gardens (the house)."
Courtesy of Allen Moyer
Grey Gardens
William Ivey Long, Costume Designer: "I tried to get inside the brain of Little Edie with the idea that she's constantly wrapping and rewrapping garments that once fit and pinning them all with that one brooch. I sat in Christine's [Ebersole] dressing room with her creating her head wraps, which helped give her the confidence that the process of wrapping her head was real."
Courtesy of William Ivey Long
Coram Boy
Ti Green, Designer: "Slowly, in our model in a borrowed basement in Green Park, a forest of untamed, angled uprights emerged – the columns of Gloucester Cathedral reaching from earth to heaven, and the towering trees of the woods from which the horrors of child murder could emerge."
Courtesy of Melly Still & Ti Green
Coram Boy
Ti Green: "These surrounded the revolve like the barbaric wastes beyond the city walls in myth, an ever-present source of danger. The revolve itself shifted in and out of focus as it turned on a raked floor, taking us from forest floor to civilized interior in a moment. Above and within the forest hung the organ, its pipes an echo of the world of the trees."
Courtesy of Melly Still & Ti Green
Coram Boy
Melly Still, Director and Designer: "The costumes are a blend of the anachronistic and the authentic. Ti would scrutinize the costume details and silhouettes at all times. I was touchy about the costumes becoming clothes rather than displays, especially as they are in part emblematic."
Courtesy of Melly Still & Ti Green
Coram Boy
Ti Green: "We both think in color and whipped each other up into a frenzied world where a riot of bright silks could be whipped away in an instant to reveal an underlayer of gray and brown, and with it a new set of characters."
Courtesy of Melly Still & Ti Green
Spring Awakening
Kevin Adams, Lighting Designer: "The scenes mostly take place in simple white incandescent light, and I wanted the songs to explode out into the theater in layers of color provided by different shapes of fluorescent light, neon, and new LED lighting technology. For me, the road we were always headed down was 19th-century objects sharing space with elegant 21st-century light sculptures."
Courtesy of Doug Hamilton
Spring Awakening
Kevin Adams: "To contrast the hard white work light of the scenes, I often wanted to create a big world of monochromatic color. For mirror blue light, the stage and theater completely turn blue, provided by 100 blue compact fluorescent lightbulbs."
Courtesy of Kevin Adams
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