Costume Designer Brenda Abbandandolo Discusses Transition from Greenwich Village to Broadway for Production of 'The Sign in Sidney Brustein's Window'
Fresh Take on a Classic: Behind the Scene with Costume Designer Brenda Abbandandolo
stepping into the visionary world of The Sign in Sidney Brustein's Window, an explosive tale set in the heart of 1960s Greenwich Village. Star-studded by the talents of Oscar Isaac and Rachel Brosnahan, this heart-pounding spectacle is bound to captivate Broadway audiences. Brenda Abbandandolo, the mastermind behind the captivating costumes, spills the beans on her journey to bring this iconic story to life.
Hello Brenda! It's an absolute pleasure to have you here. Congrats on the success of The Sign in Sidney Brustein's Window!
First off, I must say I'm thrilled to see BAM's first Broadway production in 35 years!
Brenda Abbandandolo: hey there! Thanks for having me. I'm beyond ecstatic that this incredible piece gets a second chance to shine where more people can witness Loraine Hansberry's extraordinary final play. Working at the BAM Harvey was a dream come true for me, but being part of the team that brought this show to Broadway with such a talented cast and crew is truly an honor.
So, this production takes us back to the bohemian vibe of 1960s Greenwich Village. In terms of costume design, how did you conduct your research to prepare for this project?
Brenda: As a resident of Greenwich Village, I've always been surrounded by the ghosts of these characters, who feel as if they're still roaming the streets and cafes today. Being immersed in this rich cultural environment has provided me with a deep connection to the world of the play.
My research began with jazz, folk music, poetry, politics, and art—all elements that played a pivotal role in shaping the cultural atmosphere of the time. I studied photographs from iconic photographers like Weegee and Fred McDarrah, as well as dozens of others, to get a sense of the most recognizable silhouettes of the era. I aimed to use familiar shapes that would enable modern audiences to identification with the characters.
I drew inspiration from the Village Voice for articles and photos related to plot points in the play, including some by Gin Briggs, who served as Lorraine Hansberry's primary inspiration for the play. I reached out to the Greenwich Village Society for Historic Preservation to help me authenticate details, such as Iris's waitress uniform.
Our research also included information shared by the Lorraine Hansberry Literary Trust, which provided intimate insights into Hansberry's life, friends, and contemporaries. I delved into the writings of the likes of Baldwin, O'Hara, Ginsberg, and Burroughs to get a better understanding of the people who populated the Village and the styles they donned.
I'd love to know more about your approach to Oscar Isaac's character, Sidney, given his anticipated transition from science fiction and fantasy to this more intimate role.
Brenda: Hansberry was incredibly detailed in her character descriptions, so I took care not to feel too tied to them. We aimed to portray a romantic image of the 1950s/60s Greenwich Village bohemian thinker, activist, and folk music lover. As the play introduces us to a past-his-prime Sidney, struggling with waning activism, failing career, and an ailing marriage, we wanted the costumes to reflect his weariness, while hinting at the passion that still pulses through his veins.
Our initial ideas centered on cords, chukkas, and white dress shirts, which we evolved from as we sought to bring out Sidney's underlying passion. His shirts gradually adopted a reddish pattern, starting with tattersall and progressing to stripes, culminating in a deep cabernet-hued shirt in the final act, symbolizing his renewed sense of purpose.
Rachel Brosnahan, who plays Iris, is no stranger to exquisite period costumes. What was your experience like working with her and designing her costumes?
Brenda: We had a fantastic collaboration. Given Rachel's background in period clothing, I was particularly mindful that the costumes didn't overlap with her Maisel wardrobe. I enjoyed capturing the bohemian spirit within Rachel, finding the right jeans and tone-on-tone green leather jacket. Lorraine Hansberry takes Iris on a rollercoaster ride throughout the play, culminating in a radical transformation. We landed on a houndstooth coat dress over a mock neck sheath, a truly memorable costume for me.
Costume design plays a crucial role in telling the story. Can you explain the relationship between costume design and storytelling for those who might not fully grasps its significance?
Brenda: Costume designers contribute significantly to the overall narrative by helping actors uncover their characters' essences. With such an abundance of research available, we work closely with the script, actors, and director to shape each character. We also pay attention to aesthetics, selecting textures, patterns, colors, and sometimes rare garments to support the storyline and overall concept of the piece.
Costume designers play a key role in directing the audience's attention to critical aspects of the story at crucial moments. In essence, our work helps define the tone of the piece, manage the balance of characters, and add visual interest to the stage or screen.
Buying tickets for The Sign in Sidney Brustein's Window?
Brenda: Thank you for your support in bringing attention to our designs! Don't miss out on this breathtaking experience—tickets are available now through July 2nd.
In terms of research for the costume design of 'The Sign in Sidney Brustein's Window', Brenda Abbandandolo delved into various aspects of 1960s Greenwich Village, including music, politics, art, and photographs. She also reached out to historical preservation societies and the Lorraine Hansberry Literary Trust to ensure authenticity.
When it comes to storytelling through costume design, Brenda emphasizes the importance of collaborating closely with the script, actors, and director to define the tone of the production and guide the audience's attention to key aspects of the story.
