Off Stage Productions

Costumers an asset to theater groups

Reprinted With Permissions from the Van Wert Independent and Bobbie Kleinschmidt
See the original in the April archives of the independent.

By BOBBI KLEINSCHMIDT

For the Van Wert independent

Ask Ruth Ann Boley and Toni Shema, both costumers for area theater groups, if they act and you’ll get a quick and definite “no.” What they add to a theater production, though, is a visual and functional component that makes make-believe believable.

Costumes allow audience members to go back in time, see a new culture, experience something new.  Without proper costumes, a show just isn’t a show.

The costuming work begins when the theatre chooses a show. Boley and Shema both read the script, get a feel for how the show will be directed and produced and then start measuring actors and designing costumes.

Shema became involved with costuming eight years ago through a request for help in a Van Wert Civic Theater newsletter. She is now the main costumer for Off Stage Productions Inc. Shema said she works off a list of each actors measurements, the number of costumes and costume requirements.

“I know where every good little store is from here to Dayton,” she said.

In addition to finding great deals, like the perfect $5 “little black dress,” Shema sometimes uses costumes from previous shows or works off a pattern. Many times she alters the patter to fit her needs. Shema always welcomes extra help; even those that can’t sew are able to look for great deals at clothing stores.

Occasionally, Off Stage borrows costumes from Dave Dietrich of Dave’s Quality Cleaners. Dietrich has clothing that people drop off to be cleaned and then never pick up. He saves these items for a few years before donating them to local organizations. For example, Off Stage needs a couple wedding dresses for an upcoming show; Dietrich has approximately 15 wedding gowns, some he’s had for five years, that he offered to loan the theatre group. The gowns will be returned and cleaned again.

“I’m just willing to help out; they all work hard," Dietrich said of Off Stage volunteers. "I watch (the process) from start to finish and I’m amazed how it works."

Boley is the costume coordinator for the Civic Theatre and her costuming process works in very similar ways. She initially became involved with costumes 30 years ago by helping out when her children acted in plays at the theatre.

When a play is cast, a list of actors and needed costumes is created, thrift stores are perused, patterns are used and altered, and an occasional outfit is rented. In addition, the Civic Theatre has a building to store their costumes, many of which have been donated.

Boley also spends time researching to achieve authenticity. “I research and I really try to get things right. I’m a realist,” Boley said.

Boley and Shema, and those helping, work through the rehearsal times making alterations and repairs when necessary. Careful attention is given to making sure the costumes work together on stage and move with and lay correctly on the actor during rehearsals. When the play is live, many times the costumers will be doing last minute alterations and even repairing costumes between scenes during the shows.  But the countless hours of hard work are well worth the time.

To name a favorite costume is difficult for both Shema and Boley, but both seem to enjoy the more creative and challenging costumes. For Shema, costuming The King and I at the Civic Theatre was so much fun that she had a hard time watching the show because she was watching the costumes she created instead.

Costuming A Little Murder Never Hurt Anyone for Off Stage, Shema was able to design a Halloween costume party.  Boley especially remembers The Secret Garden where she had to make 11 different white dresses and Le Cage Aux Folles, where she was able to use beautiful fabrics in her creations.

The most challenging costume work for Boley and Shema is creating women’s clothes for men to wear and convincing the audience that the male is really a female. Ultimately, both love the creative outlet that costuming allows.

Boley learned to sew from her mother and grandmother and used to sew clothes for her family. The creativity and socializing that costuming allows Boley is a main reason she is a costumer. When everything about the play is working together, including the costumes, she feels a sense of pride.

“It makes you feel good when you see it on stage and people enjoy it,” Boley said.

Shema’s mom also taught her to sew, and, while she enjoys sewing, it’s the fabric that especially delights her.

“I love fabric and color,” Shema said. “The best way for me to spend a day is to look at fabric and touch it and mix it up.”

Once this fabric is sewn into costumes, Shema likes to watch the action, observing how the costumes affect the audience’s enjoyment of the play. She also enjoys being a part of the overall Off Stage Production experience.

“The people you get to know and the fun you have, especially with Off Stage; it’s fun to watch (the process),” she added. “The Armory is a big empty room and by the end of the day we’ve got this stage set up. It’s fun to be part of that.”
Charlie Chan and a knight appear during a costume party in A Little Murder Never Hurt Anyone, a recent play from Off Stage Productions. (OSP file photo)