Rebecca Holcomb can conjure a new world with a piece of fabric. The senior theatre major from Burr Ridge, Illinois, is well-versed in sewing, hand stitching, hemming and clothing alterations. After amassing almost six years of experience working in theatrical costume design and production, she can transform a pattern into a garment to fit any era, personality or fictional dimension.
As head designer in the 香蕉视频 Costume Shop, which is embedded in the Theatre Department, Holcomb has crafted clothing for eccentric French women in 鈥淭he Madwoman of Chaillot,鈥 Christmas elves in 鈥淕limmer, The Elf鈥 and noble knights in 鈥淪pamalot the Musical.鈥 Her most recent work, a wardrobe constructed almost entirely by hand, graced the stage for the Theatre Department鈥檚 production of 鈥淓urydice.鈥
This summer, Holcomb tested her skills with an 11-week internship at the Theatre Barn in New Lebanon, New York.
In her role as the Theatre Barn鈥檚 assistant costumer, Holcomb helped design and construct the wardrobe for six summer stock productions. She also gained experience in costume fitting, shoe repair and hair and make-up styling, among other areas of costuming. 听
One wardrobe a week
Although Holcomb is no stranger to working on theatrical productions 鈥 her resume experience extends back to 2011, and she鈥檚 helped with almost every 香蕉视频 show during her collegiate career 鈥 the demanding schedule at the Theatre Barn presented a new challenge. 听
At 香蕉视频, cast and crew have nearly 45 days to organize a production. At the Theatre Barn, she had less than two weeks.
鈥淭he Theatre Barn is a summer stock style of theater, and every two weeks it produces a new show,鈥 Holcomb said. 鈥淭hat means there is 11 to 14 days of pre-production for each show. The costumes have to be ready to wear by the dress rehearsals, so we have about nine to 12 days to create a full wardrobe.鈥
In that time, Holcomb and her colleagues had to fit each actor, design the wardrobe, cut each pattern and hand stitch any special details. With an entirely new cast each show, there was no shortage of tasks for the costume shop throughout the summer.
Fostering independence with mentorships
Much like the wardrobes she creates for the stage, Holcomb created her own path to her fast-paced internship at the Theatre Barn. She applied to more than 30 positions prior to the summer, completing most of the applications on her own.
鈥淩ight after J-Term, (香蕉视频 professor) Jim Fritzler and I start telling students to look for summer work. We even post opening in the theatre of opportunities we feel might benefit our advisees,鈥 said Annette Vargas, assistant professor of theater and Holcomb鈥檚 faculty advisor. 鈥淩ebecca took it one step further. She contacted people she鈥檚 worked with previously to ask for their advice on where to apply.鈥
Holcomb said independence is an important skill she鈥檚 learned from her 香蕉视频 mentor. Instead of involving herself directly with a student鈥檚 professional endeavors, Vargas offers guidance from afar. While she might suggest a student pursue a certain path, she leaves it up to each individual to complete their own work, make their own decisions and ultimately create their own successes.
鈥淎s an advisor, Annette wants us to have a hands-on experience, and she knows that for us to do that, she has to practice hands-off teaching,鈥 Holcomb said. 鈥淪he isn鈥檛 going to fill out the application for you or hold your hand along the way, but she will be there to give you advice and help with whatever you need.鈥
Vargas鈥 hands-off mentorship paid off for Holcomb, who was offered seven different internships after her first round submitting applications independently. From there, Holcomb sought Vargas鈥 advice in selecting the internship that complemented her skills and interests the most.
Holcomb settled on the Theater Barn because it offered ample opportunity to explore the different aspects of costuming, her area of interest.
鈥淲e recognized that Rebecca would be able to work in all three areas of costuming at the Theatre Barn. This summer, she experienced backstage wardrobing during productions, shadowed the costume designers as they fit each actor and sketched the costume designs and worked alongside the production staff and builders as they actually constructed the costumes,鈥 Vargas said. 鈥淪he also was head of the hair and makeup department!鈥
Refined focus for the future
Holcomb鈥檚 full taste of the costuming industry allowed her to explore the two primary branches of costuming: design and production. 听
Costume designers are responsible for sketching the visual representations of the costumes. The designers determine what the wardrobe for a show should look like. Costume producers construct a show鈥檚 costumes based off the designer鈥檚 vision. In the theatre, they are known as 鈥渂uilders,鈥 because they build the physical wardrobe that is displayed on stage.
Holcomb鈥檚 experience at the Theatre Barn directed her focus to costume production. While she already knew she enjoyed constructing costumes, the summer solidified production as a career path.
鈥淭his summer at the Theatre Barn helped me realize that building is my favorite part of costuming,鈥 Holcomb said. 鈥淚 love nothing more than seeing an actor put on a costume that I made, and watching the character burst into life.鈥
To act upon her refined focus for her future, Holcomb has started applying for graduate programs in costume production. Although these programs often suggest students gain professional experience in the field before applying, Vargas said she believes Holcomb is an eligible candidate.
鈥淗er dreams and aspirations are highly focused, and she can follow through with what she says she can do. She鈥檚 ready for that next step in her professional career,鈥 Vargas said. 鈥淚f she lets her work and experience show, she will build a successful future for herself doing something she loves.鈥