Youth Cast
Q&A with Sully Ratke
Interview by JANA LILES, Director of Marketing & Communications
Q: What was your overall vision for the costumes in The Wizard of Oz, and how did you balance honoring tradition with bringing something fresh to this production?
A: The costume design is really balanced between the polarity of the two witches: Glinda the Good, and The Wicked Witch of the West.
When I think about what grounds me and guides me on my own journey of becoming, I think of the natural world, and the unseen web of our ancestors who support me with patience and wisdom on my way. Glinda’s costumes were inspired by earth, water, and wind. She represents the natural beauty and grace manifested in age and wisdom.
Once these two poles were established, the rest of the design fell into place between them. Those costumes that tend more towards Glinda feel more organic and more natural — more earthy, hand-made, and uneven. Those that tend more towards the Wicked Witch, on the other hand, are dominated by those wicked and watchful eyes, and the fashion of progress and futurism.
The Wicked Witch, on the other hand, makes herself miserable with a restless greed and need for MORE (more power, more money, more status, more ruby red SHOES!). Her costumes are based more on the artificial and rigid architectures of the structures and systems that keep us feeling unsatisfied, desperate for eternal youth, and running from the hungry and ever-watching eyes of power and need.
Q: Were there any specific themes or ideas you wanted the costumes to communicate beyond the story itself?
A: Particularly in Munchkinland, we did our best to promote the concept of upcycling. Most theatres are overbrimming with storage from past shows. We spend big money and big effort to build beautiful costumes that only have life for the short period while the shows stay running. After that, they are packed away and often never resurface. With the help of Jenny Green and her fantastic Costume Shop at KCRep, we did our best to reuse and recycle as many materials and garments from storage as possible. Particularly in the Munchkinland designs, we want to convey to the audience how much whimsy and magic is available at our fingertips when we can creatively reimagine the materials that we already have at hand!
Q: How closely did you collaborate with the director, scenic designer, and lighting designer to ensure a cohesive visual world?
A: This show was extremely collaborative. Our director (and artistic director at KCRep), Stuart Carden, is particularly good at bringing together extremely talented design collaborators. We spent countless hours in meetings, dreaming and coordinating the many fantastical design elements of this show. This means direction, scenic, lighting, sound, music, projections, props, puppets, and costumes. When we do it right, our ideas start to blend and become indistinguishable. Is Glinda’s giant gown a scenic element, a prop, or a costume? Are the monkeys costumes, props, or puppets? Are the glowing jitterbugs lights, costumes, or puppets? The answer: YES!
With so much crossover, not only do we have the work of
dreaming up our ideas, but then must solve the puzzle with the KCRep shops of who is building what elements and how. Many thanks and appreciation are due to Grace Hudson, our excellent production manager, for helping us coordinate and solve those logistical questions in order to build a beautiful show.
Q: What were some of the biggest technical or logistical challenges — quick changes, durability, or special effects?
A: This particular production presents the challenge of actor/musician/puppeteers. This means that many hands are needed — even during transitions — to play instruments and work puppets rather than to change clothes! We worked very closely and meticulously with the directing team and the musical composers to coordinate who would be available to wear what, and when. It is a tedious and finicky puzzle to solve, but very satisfying when we get all the cogs working correctly!
Q: What excites you most about seeing your designs come to life in front of a live audience?
A: I love seeing the designs go from the drawing board to the stage! There are so many steps to making that happen. But when we finally get to tech rehearsals, it is such a treat to hold up the drawings and then see them realized in the flesh!
My secret delight is the backstage life of the costumes! I love imagining the shenanigans that take place with actors running around in green unitards in the dressing rooms, or sprinting to their places in glowing striped pajamas and bug masks. When the costumes live out of context of the story, they become a different vision of hilarity and absurdism. These little unseen stories that never make the stage are my absolute delight while I’m designing a whimsical show like this one.
Q: What do you hope Kansas City audiences take away from the visual world you’ve helped create?
A: Dorothy’s adventure could have easily ended once she obtained the ruby slippers. Glinda reminds us that all she ever had to do was click her heels, and off home she’d go! Instead, she must endure a delicious adventure of thrill and silliness and FUN. I love this message. The point of the story is to delight in the journey. Even when it’s a little scary. Even when it’s unsettling. There are friends to be made, and wonder and magic to be lived in, and without it, the story would be over as soon as it started. ENJOY your adventure! Even when it gets a little dark. That’s the point.
Q: What’s next for you and how can we follow along?
A: If you’d like to follow my art and illustrations, you can find me on instagram @sullivan.rose3, or check out my website: sullivanrose.com.
An Ozian Brunch
Join @LittlestBakeShop and KCRep on Sunday, May 17th for An Ozian Brunch: a vegan feast fit for the Wizard himself! From 10am to 1pm, KCRep’s upcoming production of The Wizard of Oz will come to life inside the Littlest Bakeshop; sing a song, try your hand at Oz trivia (there will be prizes!), speak Ozian language, and enjoy the special themed-menu (featuring Munchkinland Sliders, an Emerald City blackberry matcha drink, and more!) Travel down the Yellow Brick Road to 55th and Troost and join us for this magical morning. RSVPs are requested — click here to save your spot.
