The Tony Awards take place this Sunday, and there are plenty of Triad-area names who will be at the celebration.
Among them is Paul Tazewell, a graduate of UNC School of the Arts, who's nominated for his costume designs for the Broadway smash, Hamilton.
The show follows the life of Alexander Hamilton, a man who had an enormous impact on the founding years of the United States, but is often only remembered for his duel with Aaron Burr.
At the outset of production, Tazewell was tasked with bringing 18th century styles to life on stage with a modern twist, a look that he and his team had to build from scratch.
WFDD's Sean Bueter spoke with Paul Tazewell in the week leading up to the Tonys.
Interview Highlights:
On how his work is part of the storytelling process:
What I do as a designer is I give the first impression of who a character is, visually, before a word comes out of their mouth. So, for any of us today, you see a figure walking toward you down the street, and we make judgments on who that character is. And it might then be reflected in their clothes and the way they style their hair.
So I make a judgment on how to – once the show is cast – knowing who the character is from spending time with the script [along with the director, choreographer and writer]…and then figuring out what is the best representation – down to the color of nail polish and the kind of shoe that they wear – what is the clearest way of representing who this character is.
Is there a specific costume design for this show you're particularly proud of?
There are qualities I like about the whole production. I would say I love [Thomas] Jefferson and the choices that we made for him when he enters in, because he's this kind of rock-and-roll star. And representing Jefferson as that, I think, is a very smart choice.
[ed.: Sean points out that Jefferson's purple velvet suit resembles the look of the late musician, Prince.]
That was actually one of the influences of making that choice; also, Jimi Hendrix.
What don't people understand about costume design?
I think there's this idea that our work is always glamorous. I won't take away all the glamor, because I think there are things that can be glamorous. I mean, going to the Tonys: that's a very glamorous event. But our day-to-day: it is about making choices, problem solving and getting the job done.
And that then means that my responsibility is to do all the drawing, to make choices about color, to make choices about fabrics, and to be there for fittings…so that part of it isn't particularly glamorous. You know, it is searching out the perfect item in order to make all of the elements work together. Our work as costume designers is very detail-oriented. Even if it's a stripped-down design, what you are left with needs to be as specific as possible.
Bonus Questions:
What was it like working with Hamilton's creator, Lin-Manuel Miranda?
It's joyous. I mean, even before all of the interest and the popularity of the piece. It's a collaborative experience that has been like no other. It is completely respectful and trusting. And you know, being in a room where you know that everyone is about making this production the best it can possibly be…it has definitely been life-changing for all of us, I think.
On why design is his passion:
What I've come to realize as I've matured as a designer, it really is this wonderful blend of everything I'm interested in and that comes easily for me.
You know, it's a place that I excel in because I use the muscles that I used as an actor, as far as character development and thinking about what is the emotional and mental impact of this character, and how do they fit into the story. [And] I do a lot of research and it's immersing myself in the period of whatever the piece is that I'm designing.