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<!--Generated by Squarespace V5 Site Server v5.13.159 (http://www.squarespace.com) on Thu, 23 May 2013 11:19:53 GMT--><feed xmlns="http://www.w3.org/2005/Atom" xmlns:dc="http://purl.org/dc/elements/1.1/"><title>Articles</title><subtitle>Articles</subtitle><id>http://www.susanhilferty.com/articles-text-video-etc/</id><link rel="alternate" type="application/xhtml+xml" href="http://www.susanhilferty.com/articles-text-video-etc/"/><link rel="self" type="application/atom+xml" href="http://www.susanhilferty.com/articles-text-video-etc/atom.xml"/><updated>2011-02-10T17:21:31Z</updated><generator uri="http://five.squarespace.com/" version="Squarespace V5 Site Server v5.13.159 (http://www.squarespace.com)">Squarespace</generator><entry><title>WICKED The Grimmerie</title><id>http://www.susanhilferty.com/articles-text-video-etc/2008/9/26/wicked-the-grimmerie.html</id><link rel="alternate" type="text/html" href="http://www.susanhilferty.com/articles-text-video-etc/2008/9/26/wicked-the-grimmerie.html"/><author><name>Susan Hilferty</name></author><published>2008-09-26T13:57:09Z</published><updated>2008-09-26T13:57:09Z</updated><summary type="html" xml:lang="en-US"><![CDATA[Dress For Success

Besides the set and the lights and sound, much of the “heavy lifting” of the
narrative for Wicked is done by the costumes.  More than 200 costumes, each individually tailored for the
particular actor, sprang from the fertile mind of Susan Hilferty, not to
mention double that number in shoes and hats, each with a unique, eccentric
design.  With a resumé that boasts
work on more than 200 stage productions that span Broadway, opera, and
experimental theater, Hilferty had a unique assignment with Wicked: to create from whole cloth a believable world of
Winkies, Munchkins, and those iconic witches.  Being the chair of the Department of Design for Stage and
Film at NYU’s Tisch School of the Arts, Hilferty puts on her academic cap to
work out the puzzle of Oz.]]></summary></entry><entry><title>Conversation with Theatre Projects for Theatres 2</title><id>http://www.susanhilferty.com/articles-text-video-etc/2008/9/10/conversation-with-theatre-projects-for-theatres-2.html</id><link rel="alternate" type="text/html" href="http://www.susanhilferty.com/articles-text-video-etc/2008/9/10/conversation-with-theatre-projects-for-theatres-2.html"/><author><name>Susan Hilferty</name></author><published>2008-09-10T14:46:15Z</published><updated>2008-09-10T14:46:15Z</updated><summary type="html" xml:lang="en-US"><![CDATA[Susan Hilferty excerpts from a conversation with John Coyne and Keith Gerchak of Theatre Projects Consultants   I come from a background in which there were no arts whatsoever - not even television.   We read.   That was our entertainment. When I was in high school, I was interested in drawing and making things.   I never saw professional theatre.   I was in plays, but I never saw plays.   Clearly, it was something that I was passionate about, but it was not rooted in any kind of family experience.  ]]></summary></entry><entry><title>Unseen Army Keeps the Show Going On</title><id>http://www.susanhilferty.com/articles-text-video-etc/2008/8/3/unseen-army-keeps-the-show-going-on.html</id><link rel="alternate" type="text/html" href="http://www.susanhilferty.com/articles-text-video-etc/2008/8/3/unseen-army-keeps-the-show-going-on.html"/><author><name>Susan Hilferty</name></author><published>2008-08-03T15:10:00Z</published><updated>2008-08-03T15:10:00Z</updated><summary type="html" xml:lang="en-US"><![CDATA[<div class="timestamp"><span class="full-image-block active-image-container"><span><img class="yui-img" src="http://www.susanhilferty.com/storage/articles-photos/NYTimes%20logo.gif?__SQUARESPACE_CACHEVERSION=1219936537631"></span></span><span style="font-weight: bold;"> </span><span class="full-image-float-left"><span><img class="yui-img" src="http://www.susanhilferty.com/storage/articles-photos/Wicked%202008.jpg?__SQUARESPACE_CACHEVERSION=1219936479481"></span></span>By MARK BLANKENSHIP</div>


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	 <p>WITH only four actors playing over 20 roles, “<span class="full-image-block active-image-container"></span><a href="http://topics.nytimes.com/top/reference/timestopics/people/h/alfred_hitchcock/index.html?inline=nyt-per" title="More articles about Alfred Hitchcock">Alfred Hitchcock</a>’s The 39 Steps” is madcap onstage. But life in the wings is just as manic. </p>
<p>For 90 minutes crew members snake past one another with ladders,
smoke machines and life-size dummies, all without making a sound. But
most patrons don’t even know these backstage artists exist.</p>
<p>It’s the same with any production: after opening night, directors
and designers usually move to their next projects, while a small army
stays behind to safeguard their artistic vision. Take Nevin Hedley, who
has been the production stage manager of “The 39</p>]]></summary></entry><entry><title>It's the latest look for witches: be seen in green</title><id>http://www.susanhilferty.com/articles-text-video-etc/2008/7/27/its-the-latest-look-for-witches-be-seen-in-green.html</id><link rel="alternate" type="text/html" href="http://www.susanhilferty.com/articles-text-video-etc/2008/7/27/its-the-latest-look-for-witches-be-seen-in-green.html"/><author><name>Susan Hilferty</name></author><published>2008-07-27T18:55:00Z</published><updated>2008-07-27T18:55:00Z</updated><summary type="html" xml:lang="en-US"><![CDATA[<p>June 27, 2008</p>
<p><span class="full-image-block ssNonEditable"><span><img src="http://www.susanhilferty.com/storage/smh_logo_for_printer.jpg?__SQUARESPACE_CACHEVERSION=1224961218717" alt="" width="123" height="36" /></span></span></p>
<p><span class="full-image-block ssNonEditable"><img style="width: 175px;" src="http://www.susanhilferty.com/storage/tan_narrowweb__300x4200.jpg?__SQUARESPACE_CACHEVERSION=1224961113533" alt="" /></span></p>
<p><span style="font-size: 70%;">Balsamic with that? &hellip; Christina Tan in her cabbage outfit designed in the tradition of haute couture.<br />Photo: Simon Schluter</span></p>
<p>The wardrobe department called Christina Tan's outfit "the Cabbage". The name was inspired by the dozens of chlorophyll-tinted layers of tulle and netting in her upside-down petticoat, the layers as ruffled as any member of the brassica family. The fish-tailed Edwardian dress worn by Liz Styles is called "the Lettuce Patch", for the beds of green ruffles planted across her torso, and the regency finery worn by Matthew Hamilton is known as "the Cockatoo", for the feathery plumes on its chest which cascade beneath the coat-tails.</p>]]></summary></entry><entry><title>A Wicked Good Storyteller</title><id>http://www.susanhilferty.com/articles-text-video-etc/2008/7/24/a-wicked-good-storyteller.html</id><link rel="alternate" type="text/html" href="http://www.susanhilferty.com/articles-text-video-etc/2008/7/24/a-wicked-good-storyteller.html"/><author><name>Susan Hilferty</name></author><published>2008-07-24T16:44:00Z</published><updated>2008-07-24T16:44:00Z</updated><summary type="html" xml:lang="en-US"><![CDATA[<p><a href="http://www.playbill.com/index.php"><img style="width: 135px; height: 38px;" class="yui-img" src="http://www.playbill.com/images/logo.gif" alt="" border="0"></a></p><p>By Sheryl Flatow<br>
July 24, 2008<a title="" href="http://www.playbill.com/index.php"></a></p>

<p>
Susan Hilferty employs the artistry of costume design to illuminate the unknown yet somehow familiar world of <i>Wicked.</i><br></p><p>Susan Hilferty, the Tony Award–winning costume designer for the blockbuster musical <i>Wicked</i>, describes herself as a storyteller. "I make the world real," she says.
</p><p>
The best costume designers assist in reflecting and revealing character
and emotions, creating a sense of time and place, and enhancing and
illuminating the script. Hilferty is one of the best, and her 200
costumes for <i>Wicked</i>,
together with Eugene Lee's ingenious set and Kenneth Posner's striking
lighting, bring to life the world envisioned by Stephen Schwartz (music
and lyrics), Winnie Holzman (book) and director Joe Mantello.
</p>]]></summary></entry><entry><title>In: New York</title><id>http://www.susanhilferty.com/articles-text-video-etc/2008/7/1/in-new-york.html</id><link rel="alternate" type="text/html" href="http://www.susanhilferty.com/articles-text-video-etc/2008/7/1/in-new-york.html"/><author><name>Susan Hilferty</name></author><published>2008-07-02T02:56:00Z</published><updated>2008-07-02T02:56:00Z</updated><summary type="html" xml:lang="en-US"><![CDATA[<p>By Mark Blankenship</p><p> And in Wicked, which opened on Broadway in 2003, that world is incredibly detailed. The musical reimagines The Wizard of Oz from the perspective of the witches, and from her first creative meetings, Hilferty knew she wanted to honor the show's magic by giving each character an utterly unique appearance. That means every costume is tailored to fit the actor who wears it, and that even the ensemble members have one-of-a-kind looks. If you're at the show, pay careful attention to scenes in the Emerald City: All of the townspeople wear green, but every woman's skirt has an individual cut, and every man's hat has its own special brim. <br><br>Of course, the costumes begin with Hilferty's personal vision. In one key scene, Elphaba, who becomes the Wicked Witch of the West, learns to fly while wearing a dramatic black dress. Hilferty not only created the shape of the costume, but also designed its fabrics herself. (There are over thirty materials in that outfit alone.) "Each piece of the dress has to have a certain weight and texture," she explains. "And even though it's black, there are potentially a million types of black fabric. You have to decide which black you want."</p>]]></summary></entry><entry><title>Something Wicked this Way Comes</title><id>http://www.susanhilferty.com/articles-text-video-etc/2008/6/22/something-wicked-this-way-comes.html</id><link rel="alternate" type="text/html" href="http://www.susanhilferty.com/articles-text-video-etc/2008/6/22/something-wicked-this-way-comes.html"/><author><name>Susan Hilferty</name></author><published>2008-06-22T18:33:00Z</published><updated>2008-06-22T18:33:00Z</updated><summary type="html" xml:lang="en-US"><![CDATA[<p><b>June 22, 2008<br></b></p><p><b>By Michelle

Griffin</b></p><p><span class="full-image-block"><span><img class="yui-img" style="width: 250px;" src="http://www.susanhilferty.com/storage/Wicked%20Australia%20Mag%20Cover.jpg?__SQUARESPACE_CACHEVERSION=1224095894911"></span></span></p><p><b>Casting the performer according to the cloth is par for

the course in the extravagant Wizard of Oz prequel, in which the

real stars are the phantasmagorical costumes. <br></b></p>

<p>The wardrobe department called Christina Tan's outfit the

"Cabbage". The name was inspired by the dozens of

chlorophyll-tinted layers of tulle and netting in her upside-down

petticoat, the layers as ruffled as any member of the Brassica

family. The fish-tailed Edwardian dress worn by Liz Styles is

called the "Lettuce Patch", for the beds of green ruffles planted

across her torso; and the regency finery worn by Matthew Hamilton

is known as the "Cockatoo", for the feathery plumes on the chest

and cascading beneath the tails of his coat.</p>]]></summary></entry><entry><title>Tony, Tony, Tony!</title><id>http://www.susanhilferty.com/articles-text-video-etc/2004/8/1/tony-tony-tony.html</id><link rel="alternate" type="text/html" href="http://www.susanhilferty.com/articles-text-video-etc/2004/8/1/tony-tony-tony.html"/><author><name>Susan Hilferty</name></author><published>2004-08-01T19:15:00Z</published><updated>2004-08-01T19:15:00Z</updated><summary type="html" xml:lang="en-US"><![CDATA[<p class="byline"><span class="full-image-inline"><span><a href="http://livedesignonline.com" target="_blank"><img class="yui-img" style="width: 165px; height: 23px;" src="http://images.clickability.com/partners/97631/mainLogo.gif" alt="LIVE DESIGN" border="0"></a></span></span></p><p>August 1, 2004</p><p>Last April, when Susan
Hilferty learned she won a 2004 EDDY award on behalf of her team for
her twisted Edwardian take on the costumes for <i>Wicked</i>, little
did she know that she would soon need a bigger awards cabinet. Hilferty
also received the 2004 Tony Award for Best Costume Design, proving that
EDDY judges are ahead of the game.</p>]]></summary></entry><entry><title>50 Powerful People</title><id>http://www.susanhilferty.com/articles-text-video-etc/2004/7/1/50-powerful-people.html</id><link rel="alternate" type="text/html" href="http://www.susanhilferty.com/articles-text-video-etc/2004/7/1/50-powerful-people.html"/><author><name>Susan Hilferty</name></author><published>2004-07-01T20:29:00Z</published><updated>2004-07-01T20:29:00Z</updated><summary type="html" xml:lang="en-US"><![CDATA[<p class="byline"><span class="full-image-inline active-image-container"><span><a href="http://livedesignonline.com" target="_blank"><img class="yui-img" style="width: 165px; height: 23px;" src="http://images.clickability.com/partners/97631/mainLogo.gif" alt="LIVE DESIGN" border="0"></a></span></span></p><p class="byline">Jul 1, 2004 12:00 PM</p><p class="byline"> By David Johnson and Ellen Lampert-Gréaux</p><div class="page"><div class="pagepadding"><p><b>Who
are the movers and shakers of entertainment technology? Who are the
people in this industry — be they designers, inventors, manufacturers,
technicians or dealers — who can get things done? And what does it mean
in this industry to have power, anyway? We were sitting around the
office one day trying to figure that out, and it started turning into
kind of a fun game. Then it started to get a bit obsessive. And then,
we started wondering, what does the rest of the industry think?</b></p></div></div>]]></summary></entry><entry><title>Hocus Pocus: Wicked On Broadway</title><id>http://www.susanhilferty.com/articles-text-video-etc/2004/2/1/hocus-pocus-wicked-on-broadway.html</id><link rel="alternate" type="text/html" href="http://www.susanhilferty.com/articles-text-video-etc/2004/2/1/hocus-pocus-wicked-on-broadway.html"/><author><name>Susan Hilferty</name></author><published>2004-02-01T20:11:00Z</published><updated>2004-02-01T20:11:00Z</updated><summary type="html" xml:lang="en-US"><![CDATA[<a href="http://livedesignonline.com" target="_blank"><img style="width: 165px; height: 23px;" class="yui-img" src="http://images.clickability.com/partners/97631/mainLogo.gif" alt="LIVE DESIGN" border="0"></a><p class="byline">Feb 1, 2004 <br>By David Barbour and David Johnson</p><div class="page"><div class="pagepadding"><p>Broadway's
big hit of the season features full makeup on the main character,
outrageous costumes, a tuneful pop score, and a large foreboding
presence overseeing the whole thing — and no, we're not talking about <i>Taboo</i>.</p><p>It's <i>Wicked</i>
of course, the new musical based on the novel by Gregory Maguire, which
tells the back story of two main characters from L. Frank Baum's Oz
books, Glinda, who would come to be known as The Good Witch, and
Elphaba, who would be forever known as The Wicked Witch of the West.
While the novel explores such adult themes as animal rights, political
oppression, and the nature of evil, the Broadway production, featuring
a book by Winnie Holzman and music and lyrics by Stephen Schwartz,
tones down the politics to zero in on the relationship between the two
women, from their meeting — and tentative friendship — at Shiz
University to their fateful journey to the Emerald City to their
eventual iconic destinies. Directed by Joe Mantello and starring
Kristin Chenoweth as Glinda and Idina Menzel as Elphaba, <i>Wicked</i>
received mixed notices both in its San Francisco tryout at the Curran
last summer and in its Broadway opening at the Gershwin in November,
but has garnered spectacular word of mouth plus hefty advance ticket
sales, and as of now looks to be the show to beat come Tony time.</p></div></div>]]></summary></entry></feed>