Jeeves & Wooster in “Perfect Nonsense”
Mar. 21 – Apr. 20
A New Play from the Works of P.G. Wodehouse
By the Goodale Brothers
Directed by Sean Foley
Past Issues
- Detroit ’67
- The Engagement Party
- A Christmas Carol
- Henry V
- Make Believe
- A Lesson from Aloes
- The Age of Innocence
- Murder on the Orient Express
- Feeding the Dragon
- A Christmas Carol (2017)
- Seder
- A Midsummer Night’s Dream
- Our Great Tchaikovsky
- Heartbreak House
- The Absolute Brightness of Leonard Pelkey
- Cloud 9
- The Comedy of Errors
- A Christmas Carol
- The Piano Lesson
- Queens for a Year
- Anastasia
- Having Our Say
- Romeo & Juliet
- The Body of an American
- A Christmas Carol (2015)
- Rear Window
- An Opening in Time
- Kiss Me, Kate
- The Pianist of Willesden Lane
- Reverberation
- Private Lives
- A Christmas Carol (2014)
- Hamlet
- Ether Dome
Meet the Staff: Jacqui Pomeranski, Costume Shop Draper
By Melinda Graber, Marketing Apprentice
Tell us a little about yourself.
I grew up mostly in central Wisconsin and went to Beloit College (in Beloit, Wisconsin). After college, I went on to work in Syracuse, Louisville, Buffalo, here at Hartford Stage, North Carolina, Alabama, Texas, New York City and D.C., and move a lot. I spent a few years in New York City working for a high end, ready-to-wear fashion designer – making the designs for his fall and spring shows, as well as prepping the patterns for grading/re-sizing for production for the stores that purchased the designs. I have been spending the majority of my summer at Glimmerglass Opera for a while now.
What drew you to working in costume production?
I kind of fell into it. I knew how to sew; and when a work-study spot opened up in the costume shop in college, I applied – mainly because I was cleaning dorms, fraternities and sororities otherwise, and I needed all the work-study hours I could get. That seemed to be the logical course to follow.
Take us through your day-to-day responsibilities as Draper.
I interpret the designers’ renderings into patterns (through draping on the form or through flat patterning); supervise the cutting (and also cut) the patterns into first muslin or something else that simulates the real fabric; construct and supervise the construction of the garment; fit those and pulled and purchased garments; correct the patterns; help maintain the shop and the machines; and try to keep track of the show’s progress. I also do some work in stock, help guide and instruct the department apprentice…and try to find the surface of my table at least once a week.
What have been your favorite costumes to work on? What have been the most challenging?
Most of my favorites are my most challenging. A lot of them I’ve done at Glimmerglass, especially with David Zinn as designer: full-body person suits with parts that jiggle and bounce and allow for corseting, period dresses that are five-feet wide and allow the singer/actor to roll around on the stage, period interpretations of modern couture dresses…
Do you have other talents or passions outside of working in theatre?
I covet other people’s pets, read too much, and try to recover from work.
What is your personal motto in life?
Just keep swimming.
All photos courtesy of Jacqui Pomeranski