Lyric Opera 2018-2019 Issue 6 Il Travatore

L Y R I C O P E R A O F C H I C A G O December 1, 2018 - January 20, 2019 | 37 What is your role here at Lyric, and how long have you held the position? I am the wardrobe mistress and this is my 39 th season at Lyric. My job is to organize and assign the costumes, and oversee the fitting and alteration process for each production. I manage the costumes for the principal artists, as well as the chorus members, dancers, and supernumeraries. I collaborate with the directors, designers, and singers one-on-one to ensure I understand their vision for the wardrobe, and work with them throughout the rehearsal process to create a final product that everyone is happy with. What led you to work at Lyric? I grew up in Poland and came to America looking for a career that would fulfill my passion. I interviewed and was hired to help with the wardrobe department during the 1980 season, so that was the beginning of my journey with Lyric. I had majored in history and had experience working with theaters in school, but it was my first professional job assisting with costume fittings and alterations. I went through a lot of training here over the years, learning skills in every aspect of the wardrobe department, and have been with the company ever since. What’s a typical day like for you? Before I get to work, I’m already organizing the day in my mind. Once I arrive, I start by talking to my crew, explaining who we have coming in for fittings and what costumes we will need to be working on. Often we have 3-5 fittings in a day, and are working on four or five shows at the same time. My team might be fitting chorus members, making or testing alterations, meeting with principle artists, or fixing any problems that come up with the costumes. roughout the fitting process until the time the show opens, every single garment goes through my hands at least 3-4 times. I want to make sure everything is perfect, and I always say if I’m not giving 100 percent, that’s when it’s time for me to stop working. What’s the most challenging aspect of your job? Changes to the schedule can happen at the last minute, such as principal artists not arriving on time, or a cast member unexpectedly getting sick. When that happens, we have to quickly fit the costume to the artist taking over the role. Two days before a show has to be on the stage, we might have a situation where we have to make a whole new costume, which can be very time consuming. I always want to make sure everybody is happy with their final look, and you know this is the case when they put the costume on and immediately start smiling. As long as I’ve worked at Lyric, I’ve always had costumes on stage in time for the piano run- through, but it can be a challenge sometimes! What keeps you committed to the work you do? I love working with people who come to Lyric from all over the world. It almost feels like they are coming to see me when they arrive at the opera house! It’s rewarding to create a final product they are satisfied with; that’s what makes all the hard work worth it. When I’m sitting in the theater for the piano run through and the lights go up and the artists come out in full costume, wig, and makeup, I think to myself ‘did I put those costumes on all those people?!’ It’s wonderful to see the whole process finally come together and realize the results of our hard work. What’s something about your job that people might not know? When it comes to costumes, our team handles everything in a look, even the smallest detail. We provide the undergar- ments, shoes, and accessories to create the full package. People also might not realize that some costumes are very heavy; they can weigh up to 25 pounds. Favorite Lyric moment? In 1997, I had the opportunity to work with director John Copley on his production of Peter Grimes . He wanted to be involved in the costuming for the show, so he sought me out and asked for my assistance. I explained the visual aesthetic of the wardrobe, and we worked together for a few days to put people in groups, assign them pieces, and create a beautiful final product. I remember this moment vividly; I learned so much from working with him and the moment I finally saw the show on stage was remarkable. I also very much enjoy working with Polish artists and singers, especially when I have the opportunity to meet them early in their career. I follow their work, see their progression, and love catching up with them when they come back to Chicago to perform. ey all feel like my family. Beyond opera, what are your other passions? I love to travel to very unique destinations and learn about that place’s history, culture, and people. I’ve visited Tibet and Machu Picchu, and have gone hiking in Alaska for example. Just give me my backpack and I’m ready to go! I can sit around a campfire with a group of friends and have a great time. I also love gardening and spending time in my beautiful rose garden. Lastly, I am an advocate for mental health awareness and having open conversations to remove the stigma around it. at is so incredibly important to me.  Kamaria Morris BACKSTAGE LIFE : Lucy Lindquist