ABSTRACT 
  

Title of Thesis:                        Metamorphoses: A Costume Design 

                                                Bailey Hammett, Master of Fine Arts, 2025 

Thesis directed by           Professor Misha Kachman, Department of Theatre, 

                                                Dance and Performance Studies 

  
This document presents a detailed account of the costume design implementation for 

Metamorphoses, a theatrical adaptation by Mary Zimmerman. Drawing inspiration from Ovid’s esteemed 

epic poem of the same title, the script is organized into ten distinct narratives, accompanied by a 

pre-show, each showcasing the transformative journeys of prominent figures from Greek mythology. In 

the University of Maryland production, audiences are introduced to working-class characters within a 

historical hotel ruin setting before the performance begins. These characters take on roles such as 

laundresses, maintenance workers, docents, and security staff. The overall production design is anchored 

in a neutral elemental theme: water. A substantial pool of water, centrally positioned on the alley stage, 

plays a pivotal role in shaping the interactions and transformations that unfold throughout the 

performance. The University of Maryland's School of Theatre, Dance, and Performance Studies produced 

this show from November 15th to 22nd, 2024. The production was directed by Kenyatta Rogers, with 

contributions from August Henney in scenic design, Scott Monnin in lighting design, Timothy Kelly in 

projection design, Leo Grierson in sound design, and Bailey Hammett in costume design. The stage 

management team was led by Adam Hawley, with support from assistant stage managers Erin Sanders 

and Amberly Kuo. This thesis meticulously documents the design process, tracing the evolution from the 

initial concept to the final execution on stage, and includes research renderings, fitting photographs, 

design documentation, and production images. 

 

 



             
 
 
 
 
 

METAMORPHOSES: A COSTUME DESIGN 

  
by  

  
Bailey Hammett 

 
 
 
 

Thesis submitted to the Faculty of the Graduate School of the  
University of Maryland, College Park, in partial fulfillment  

of the requirements for the degree of 
Master of Fine Arts 

2025 
 
 
 
 
 
 
 
 

 

Advisory Committee: 

      Professor Misha Kachman, Chair 
      Mr. Frank Labovitz 
      Professor KenYatta Rogers 

 
 

 

 



ii 
 

 
 

Dedication 

  
  
 

I dedicate this work to those who helped me believe I am an artist and to those who envisioned that I 

would create and define worlds before I realized I had the power and talent to do so. 

 

To my mom, Selena Hammett, who has been the foundation of support my entire life. To my dad, 

Matthew Hammett, who taught me the importance of hard work. To Emily Scheuster and Joseph 

Hammett, who let me be the creative sibling. To my grandmother, Tanah, for being my biggest fan. 

 

To my chosen family: Ethan Barton, Sarah Kate Hager, CJ Philpott, Macy Mathews-Smith, Anna Vu, and 

Ashley Digiovanni, thank you for your unwavering love for me and constant encouragement.  

  

To my mentors, teachers, and professors, specifically Jennifer Salter, Bettina Shiver, Misha Kachman, 

Frank Labovitz, and Helen Huang, thank you for your dedication, guidance, and friendship.  

 
  
And finally, to my wife, Gabrielle Colwell, who has stood by my side through each late night, tech week, 

creative block, opening night, and challenging and joyful moments. Thank you for helping me laugh 

along the way; I love you. 

              



iii 
 

Acknowledgments 
  

 Faculty Members: 
Jill Bradbury, Department Chair 

Misha Kachman 
Helen Huang 

Frank Labovitz 
Amith Chandrashaker 

Andrew Cissna 
Susan O’Neil 

 
Creative Team: 

KenYatta Rogers, Director 
Patrick Saunders, Dramaturg 

August Henney, Scenic Designer 
Scott Monnin, Lighting Designer 
Timothy Kelly, Media Designer 
Leo Grierson, Sound Designer 

Ilana Mongilio, Assistant Costume Designer 
Katie Glenn, Assistant Costume Designer 

Sierra Young, Intimacy Director 
Bree Breeden, Choreographer 
Adam Hawley, Stage Manager 

Erin Sangers, Assistant Stage Manager 
Amberly Kuo, Assistant Stage Manager 

  
Production Staff: 

Jen Daszxzyszak, Costume Shop Manager 
Lisa Burgess, Assistant Costume Shop Manager, Craftsperson 

Steven Simon, Costume Draper 
MJ Hromek, Costume Draper 
Tessa Lew, Costume Tailor 

Jenn Schwartz, Production Manager 
Adam Hawley, Stage Manager 

Erin Sangers, Assistant Stage Manager 
Amberly Kuo, Assistant Stage Manager 

 
Costume Cohort: 

Doni Rotunno, Colin Franz, Katie Glenn, Emil Mendoza, Johnna Presby 
 
 



iv 
 

 
 Table of Contents 

 
Dedication .................................................................................................................................. 3 

Acknowledgments ............................................................................................................................ 4 
List of Figures .................................................................................................................................. 6 
Chapter 1: Design Process and Concept ........................................................................................ 8 

Metamorphoses of Perspective: Concept .................................................................................. 8 
Research Plates ........................................................................................................................ 13 
Renderings and Design ............................................................................................................ 18 
Design Plates ........................................................................................................................... 22 
Cost Out and Revisions ........................................................................................................... 58 
Organization ............................................................................................................................ 59 
Fittings and Embellishments ................................................................................................... 60 

Chapter 3: Tech. Week .................................................................................................................. 76 
Costume Parade ....................................................................................................................... 76 
Quick Changes and Challenges ............................................................................................... 76 

Chapter 4: Reflection ..................................................................................................................... 78 
Opening ................................................................................................................................... 78 

DC Theatre Arts Review: .............................................................................................................. 80 
Production Photos .......................................................................................................................... 81 
  



v 
 

List of Figures 
Figure 1....................................................................................................................Modernity in the Design 
Figure 2.............................................................................................................Modern Mythology Research 
Figure 3.....................................................................................................Natural Transformations Research 
Figure 4..........................................................................................High Status Vs. Working Class Research 
Figure 5................................................................................................................................Detail Specificity 
Figure 6..........................................................................................................................Woman by the Water 
Figure 7....................................................................................................................................................Zeus 
Figure 8...................................................................................................................................................Ceres 
Figure 9................................................................................................................................................Hermes 
Figure 10............................................................................................................................................Poseidon 
Figure 11.............................................................................................................................................Bacchus 
Figure 12................................................................................................................................................Midas 
Figure 13...............................................................................................................................Midas’ Daughter 
Figure 14..................................................................................................................................Midas’ Servant 
Figure 15............................................................................................................................................. Silenus 
Figure 16.............................................................................................................................................Alcyone 
Figure 17..................................................................................................................................................Ceyx 
Figure 18..........................................................................................................................................Aphrodite 
Figure 19......................................................................................................................Orpheus and Eurydice 
Figure 20................................................................................................................................................Hades 
Figure 21........................................................................................................................................Persephone 
Figure 22................................................................................................................................Eros and Psyche 
Figure 23.....................................................................................................................................................Iris 
Figure 24...............................................................................................................................................Lucina 
Figure 25.................................................................................................................................................Sleep 
Figure 26......................................................................................................................Poseidon’s Henchmen 
Figure 27..............................................................................................................................................Hunger 
Figure 28........................................................................................................................................Eryichthon 
Figure 29.........................................................................................................................Eryichthon’s Mother 
Figure 30................................................................................................................................................Oread 
Figure 31.............................................................................................................................................Atalanta 
Figure 32.............................................................................................................................................Pomona 
Figure 33........................................................................................................................................Vertumnus 
Figure 34..........................................................................................................................Myrrha and Cinyras 
Figure 35.............................................................................................................................................Phaeton 
Figure 36...............................................................................................................................................Apollo 
Figure 37......................................................................................................................Scientist and Therapist 
Figure 38..................................................................................................................................................Fates 
Figure 39......................................................................................................................................Laundresses 
Figure 40........................................................................................................................Baucis and Philemon 
Figure 41.............................................................................................................................................Q and A 
Figure 42...........................................................................................................Partial Preliminary Piece List 
Figure 43...............................................................................................................Partial Finalized Piece List 



1 
 

Chapter 1: Design Process and Concept 

Metamorphoses of Perspective: Concept 

The work Metamorphoses comprises a collection of ten narratives, each illustrating a 

transformation or “metamorphosis.” These narratives are situated within the realm of Greek mythology, 

although the primary focus extends beyond mere mythological elements. Instead, the characters’ agency 

and the consequences of their decisions invite critical reflection within each tale. Prominent figures such 

as Midas, Zeus, Poseidon, Apollo, and Aphrodite, among others, are featured throughout the stories. Our 

production, however, aims to recontextualize the perspective from the divine to that of the working class. 

This is achieved by foregrounding the custodial staff as narrators, providing a unique lens through which 

to interpret the stories and offer insights into the social dynamics at play. 

Initial captivation with Metamorphoses can be attributed to the central motif of water, a persistent 

focal point throughout the narrative. Exploring the underlying significance of this striking element was 

important to me. I considered the water through a dramaturgical lens and what it would mean to forego 

the water, as this would undoubtedly make the execution of a costume design simpler. I understood that 

the water serves as a metaphor for transformation itself. Each interaction, regardless of its magnitude, has 

the potential to alter the state of the water—illustrating the intricate connections between human 

experiences. A seemingly inconsequential breath can create ripples that reverberate across the surface, 

embodying the overarching theme of transformation: every human interaction bears significance, and 

every choice induces a ripple effect in the metaphorical waters of our existence.  

The mythological dimension of the text further intertwines this concept with the natural world, 

positing that a metamorphosis is a universal phenomenon experienced by all entities. This idea is 

demonstrated through various transformations observed in nature, such as the evolution of caterpillars 

into butterflies, the shattering of glass, the blossoming of flowers, and the decay of organic matter. Such 



2 
 

transformations are not limited to the mortal realm; even the gods undergo change processes, reinforcing 

the universality of metamorphoses across human and divine experiences. 

After the design team met with Director KenYatta Rogers, the concept crystallized. He 

emphasized the importance of the smaller voices rather than the gods themselves. He pointed out that the 

perspective of the ‘workers’ shapes our experience—those such as laundresses, singers, and individuals 

living in a disadvantaged state—who narrate the stories of the gods instead of the gods themselves. This 

approach shifts the viewpoint and deepens the divide between class and morality. Additionally, KenYatta 

advocated broadening the geographical scope and incorporating diverse backgrounds into the narrative we 

sought to convey. We should understand Ancient Greece and its ancestral spirits through a more 

expansive lens. This vision, coupled with the specificity evoked by a pool of water, led the creative team 

to settle in a long-forgotten sacred well. In this space, archivists, laundresses, maintenance workers, 

docents, and security personnel come together to unearth these stories from the past. 

The endeavor to unveil these narratives necessitates a captivating interplay between the ancient 

and the contemporary in costume design. The deliberate integration of modern elements—such as the 

presence of construction workers and archaeologists—highlights the urgent practicality associated with a 

production of this scale. Notably, Metamorphoses calls for the creation of around eighty-five distinct 

costumes to be shared among a cast of ten performers, each tasked with bringing a diverse array of 

characters to life. Additionally, the set design is thoughtfully crafted to support this modern take, mainly 

by strategically incorporating scaffolding structures on stage, vividly illustrating the archaeological 

excavation process. This blend of the old and new elevates the narrative and resonates with contemporary 

audiences, making the timeless themes of transformation more relatable and impactful (Figure 1). 

Exploring ancient narratives through a contemporary lens presents an invaluable opportunity to bridge the 

gap between the past and the present. By integrating modern elements into the production of 

Metamorphoses, we not only honor the richness of the original stories but also resonate with today's 

audience. The presence of construction workers and archaeologists introduces a tangible connection to the 

ongoing process of discovery and restoration, reflecting the dynamic relationship between history and 



3 
 

modernity. With upwards of eighty-five costumes required for ten performers, this production necessitates 

a thoughtful approach to costume design that embraces both historical accuracy and artistic innovation. 

The decision to incorporate modern attire is not merely aesthetic; it serves a practical purpose. 

Scaffoldings rigged to the stage are emblematic of archaeological sites, effectively creating a visual 

representation of the restoration process. Such design choices invite the audience to engage with the 

narrative in a multifaceted way, encouraging them to consider how ancient myths continue to inform our 

contemporary lives. By blending the ancient with the modern, this production of Metamorphoses not only 

captivates but also educates, prompting viewers to reflect on the relevance of these timeless stories in 

today's context. Embracing this duality will enrich the theatrical experience, making a compelling case for 

a production that honors tradition while inviting dialogue about its modern implications (Figure 2.) 

 

Defining the World: Research 

During my research, I engaged deeply with the works of playwright Mary Zimmerman, whose 

innovative approach is characterized by her collaborative development of original scripts alongside 

performers. Zimmerman’s methodology cultivates unique theatrical worlds shaped by the nuanced 

contributions of those within her creative space. This principle of inclusivity and specificity became a 

foundational element of my own process, particularly during the technical execution of the production. I 

focused on various forms of natural transformation as both thematic and aesthetic inspirations. These 

transformations, which include phenomena such as the fracturing of water’s surface, the formation of 

glass, and the corrosion of metal, served as guiding metaphors in my exploration of costume design 

(Figure 3). Additionally, I examined specific instances of metamorphoses, such as the evolution of 

caterpillars into butterflies and the growth of spores into mushrooms. Such imagery informed my 

conceptualization of shapes and movements within the costumes, allowing for a rich dialogue between 

natural processes and theatrical expression. For instance, the jagged aesthetics of broken glass evoke the 

power associated with a lightning bolt from Zeus, while the organic growth of a mushroom inspired the 

intricate pleating of Ceyx’s pants. This alignment of design with elemental transformations not only 



4 
 

nurtured creativity in the conception of the costumes but also established a deeper connection between the 

thematic undercurrents of the narrative and the visual language of the production. Employing natural 

transformations as a cornerstone of my costume design process not only enhanced the creative 

possibilities but also reinforced the collaborative spirit integral to the theatrical experience, reflecting the 

significant influence of Zimmerman’s methodologies in contemporary playmaking.  

 In the exploration of character dynamics within this production, it is crucial to establish a clear 

hierarchy among the primary groups represented. At the apex of this hierarchy are the gods and 

goddesses, including notable figures such as Zeus, Silenus, Bacchus, Poseidon, Aphrodite, Iris, Lucina, 

Ceres, The Fates, Hermes, Persephone, and Hades. This divine assembly contrasts sharply with the 

‘workers’ — a term employed to delineate a lower class within the narrative, encompassing characters 

such as the Laundresses, Henchmen, Baucis, Philemon, Nymphs, Servants, and the Narrators. 

Furthermore, the narrative intricately weaves in characters who occupy the ambiguous space between 

these two distinct classes.  

The prologue introduces King Midas, a quintessential embodiment of greed, subsequently leading 

to poignant narratives centered on Alcyone and Ceyx, as well as the tragic downfall of another king, 

Erysichthon. This classification into three distinct groups is imperative, mirroring practices in the design 

of Shakespearean works that seek to clarify character identities and narrative arcs for the audience. While 

not rigidly defined, it is substantial that divine figures typically donned ornate crowns or headpieces 

complemented by grand silhouettes. Though Midas displays the customary crown, the delineation lies in 

the nuanced shapes and designs of the adornments. Embellishments associated with the gods were 

predominantly organic in form, contrasting with Midas’s more ‘man-made’ crown. In examining the 

‘worker’ class, I focused on utilizing natural fibers, reinforcing their distinct identity. This distinction was 

further accentuated through a deliberate choice of distressing in their garments, integral to articulating 

class disillusionment—particularly considering the gods’ condescending perceptions towards the workers 

(Figure 4). The characters inhabiting the intermediary space exhibited neither the ragged aesthetics of 

distress nor the lavish adornments of opulence. This thoughtful categorization not only aids in the 



5 
 

audience's comprehension of the narrative but also invites a deeper reflection on themes of class and 

identity within the framework of the production. 

 I emphasized earth tones when establishing the color world to illuminate the profound connection 

between the gods and nature. I incorporated vibrant pops of color throughout my research to capture 

pivotal moments and characters, particularly Iris, the goddess of the rainbow, and Lucina, the goddess of 

light. It was crucial to highlight their unique roles in mythology (Figure 5). In curating the images for 

presentation, I consciously excluded those that lacked relevance and clarity. Each selected image, while a 

small part of my overall vision, was carefully chosen for its potential to inspire costume design. I filtered 

through each image, knowing it would hold no value in my creative process if I couldn't envision a 

costume based on it.  



6 
 

Research Plates 

Figure 1: Modernity in the Design  



7 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 2: Modern Mythology Research  



8 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 3: Natural Transformations Research  



9 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 4: High Status Vs. Working Class Research  



10 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 5: Specificity in Details (Iris: Top, Lucina: Bottom)  



11 
 

 Renderings and Design 

 The next step in my design process was rendering based on my research. While rendering, I have 

found the importance of referencing research concurrently. Similarly, I create and reference a costume 

plot to know who is where and what the context is. This document was invaluable throughout 

Metamorphoses. I began drawing by using Procreate to create my line drawings. Using digital media 

during this step is time-efficient and limits the amount of paper used. I started rendering at the top of the 

show and worked my way through the script. If I were to do this project again, however, I think I would 

have worked on those within the same class group concurrently, as I believe it would have created a more 

substantial distinction of class to consider them together during this stage.  

 I worked with Mr. Frank Labovitz to enhance my ideas as I made my line drawings. For my 

process, I find it valuable to have someone outside of the project put their eyes on my work to gauge their 

perspective of my renderings and how they are being perceived from an outside eye. This process had 

many challenges, one being that I had a deadline to meet without a cast list. Attempting to design 

Metamorphoses without a cast list was problematic because the scale of the show continually grew 

without being able to decipher costume pieces that could be shared between characters. The cast of eleven 

each covered a numbered track, with each track covering anywhere from six to ten roles in the 

production. Without a cast list, I was forced to design each character as a stand-alone role, despite the 

knowledge that some items could be shared if I knew which actors played which roles. This meant I knew 

my design would continually shift. While there are always changes in design throughout the production, 

designing a show of this scale in multiple passes was challenging within the time frame. Regardless, I 

persisted through this phase of the process. After creating my line drawings, I printed them onto 

watercolor paper. I used watercolor as my medium for my renderings, though some of the redesigns were 

done in Procreate for time efficiency.  

 Woman by the Water was inspired by mossy statues and needed to be underdressed beneath the 

preshow look for this performer, as was the case for many costumes (Figure 6.) Zeus, like many of the 



12 
 

gods, had a statement piece. He had a long, immaculate train trailing behind him (Figure 7.) Ceres, 

goddess of agriculture, grain crops, fertility, and motherly relationships, wore a large fur coat that should 

look like sheep skin (Figure 8). These small details were important to showcase the individual traits of the 

characters. My goal in these hints at their mythological roles was to make well-rounded, dramaturgical 

choices that were clear to audience members without foreknowledge of Greek Mythology. Hermes, for 

example, had his famous golden wings adorning his head  (Figure 9), Poseidon, god of the sea, had a 

large octopus plastered to his shoulder (Figure 10), and Bacchus, god of wine, wore white pants that 

should be dyed towards the hem to look like wine (Figure 11). Many ideas, when isolated, were a bit ‘on 

the nose,’ but when considered on a larger scale for the show, were essential to distinguish individuals.  

 I designed many characters to have specific details that fit into the language of our world. Instead 

of standard shirt collars, I went for a Mandarin collar. Instead of a flat bodice or a flat dress, I designed in 

favor of pleating and drapery. I made simple choices that create a unique and specific world when you 

zoom out and see the entire show. One of the more critical design choices made during this phase was to 

have a throughline of the workers throughout the show. Rather than creating a new ‘worker’ to perform 

the role of the narrators we see, we decided that it should be the laundresses, archeologists, construction 

workers, and the like who come back and tell us these stories. Creating this throughline added a 

consistency that felt necessary to develop cohesive storytelling. 

 Midas and his daughter required an elevation, as Midas is called a ‘one hundred billionaire.’ 

KenYatta wanted to create a moment for Midas where we see him put on a long coat, similar to my 

research. He wore a suit and added a long brocade coat lined with gold fabric so the gold was closest to 

his skin (Figure 12). His daughter mimicked him in color and elevation and is frozen by Midas in the 

story when he touches her, and she turns to gold. Using the silhouette of a baby doll dress played into the 

frozen doll moment. I used light colors for her, hoping to create a canvas for lighting designer Scott 

Monnin to use a lighting cue to turn her to gold (Figure 13). Midas’ servant was also connected to him 

with a gold-dipped skirt so that even his servants met his standards (Figure 14). 



13 
 

 Silenus is written in the script as entering drunk, wearing a leopard skin skirt with a wine bottle in 

a paper bag and leaves in his hair. This is another moment of humor written into the script. As he is the 

god of the first and of wine, I used this note from the script but gave it a modern twist, putting him in 

pants with a sheer shirt but a long leopard print coat, with the leaves in his hair remaining (Figure 15.)  He 

and his previously mentioned companion, Bacchus, seemingly come from ‘playing human,’ though they 

do not seem to be able to let go of their godliness entirely.  

 Alycone and Ceyx are both of the sea. Ceyx is a king and a warrior. I was inspired by the white 

clothing of the US Navy during the 1950s, which feels reminiscent of Greek mythology. Alcyone, 

however, is the daughter of the god of the wind. The two of them, together, transform into birds at the end 

of their story. I played into this fact, adorning her dress with windchimes made from seashells and pleats 

hanging from the shoulder that, when lifted, became wings (Figures 16 and 17.) Aphrodite is elegant and 

effortlessly beautiful. The idea behind her costume was to look as though she did not have to try hard to 

embody a goddess. I designed her in gold, knowing that a bold choice in fabric would allow for simplicity 

in silhouette (Figure 18.)  

 Orpheus, Eurydice, Hermes, Hades, Persephone, and the Fates feel more prominent in modern-

day American culture. Their story is among the most frequently told, and has been depicted recently in 

productions like Hadestown and Eurydice. This created a challenge in my mind, as I wanted to find a new 

perspective to tell them. The solution was simple: follow the rules we had already created for the show. I 

took a step back when examining these characters. I found their shapes and unique elements once I 

zoomed out and saw how they fit into the story. Ultimately, Orpheus had a flower blooming on his shirt, 

playing into nature and this overflowing idea of his love. Eurydice’s flowing and asymmetrical dress 

exhibited her free spirit (Figure 19.) Hades’ name means “The Unseen One.” I considered the 

performance space, a black box theatre, and how he might intentionally disappear into the space. I wanted 

to play with the textures and finishes of the fabrics to create a dynamic look (Figure 20). Persephone, the 

goddess of harvest and fertility, was drawn to represent that growth, depicting a blooming flower through 

the shape and painting of her dress (Figure 21.) 



14 
 

 Ultimately, while all the designs were challenging, the most significant obstacle was Eros and 

Psyche. In the script, the god and mortal are written to be fully nude, except Eros, who is wearing a 

blindfold and decorated with wings. The dramaturgical point was supported by Kenyatta, the director, for 

the vulnerability given to the moment a performer stands before an audience in any level of nudity. 

Importantly, it is thought that loving another soul or allowing someone to love oneself is also quite 

vulnerable. Ultimately, this is their story. The challenge, however, was maintaining the performers’ 

comfort and creating a version of nudity that fit into the parameters of a university setting. Eros is the 

Greek god of erotic love. In conversation with Psyche, we also learn that many believe him to be a 

monster. He needed to be nude, beautiful, monstrous, winged, and blindfolded, and he then also needed to 

travel into a pool of water. I found an image of a woman in a dress that, when wet, clung to her body as if 

she were nude (Figure 22.) This image inspired Psyche’s costume, though Eros’ design continually 

transitioned throughout the process. The wing structure would be visible, so I designed a wired wing 

wrapped in a semi-transparent fabric. Every visible wire used to create the wings would be covered and 

visually aesthetic. KenYatta flagged the sightline issues the wings would cause as the design developed, 

so I continued sketching until landing on a loosely woven idea. The original idea to cover the wire 

developed into using twine to wrap the wire and rope to hang down from the wing-shaped structure, 

which added another level of vulnerability to the character, as he seemed to be falling apart.  

 Eventually, the gargantuan phase of rendering and designing Metamorphoses came to a close 

once the designs were agreed upon by Kenyatta and me, and I could hand off the design and paperwork to 

the costume shop. The design felt achievable in the allotted build time and shoppable if the budget was 

tightly managed. The magic of mythology was woven into the design. It was in unison with the set 

design, which spoke to one another in their simultaneous modernity and antiquity and transitioned me 

into the cost-out phase.  



15 
 

Design Plates 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 6: Woman by the Water  



16 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 7: Zeus  



17 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 8: Ceres  



18 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 9: Hermes  



19 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 10: Poseidon  



20 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 11: Bacchus 



21 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 12: Midas 



22 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 13: Midas’ Daughter  



23 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 14: Midas’ Servant  



24 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 15: Silenus  



25 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 16: Alcyone  



26 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 17: Ceyx  



27 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 18: Aphrodite  



28 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 19: Orpheus and Eurydice 



29 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 20: Hades 



30 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 21: Perseophone  



31 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 22: Eros and Psyche 



32 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 23: Iris 



33 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 24: Lucina 



34 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 25: Sleep 



35 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 26: Poseidon’s Henchmen 



36 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 27: Hunger 



37 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 28: Erysichthon 



38 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 29: Erysichthon’s Mother 



39 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 30: Oread 



40 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 31: Atalanta 



41 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 32: Pomona 



42 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 33: Vertumnus 



43 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 34: Myrrha and Cinyras 



44 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 35: Phaeton 



45 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 36: Apollo 



46 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 37: Scientist and Therapist 



47 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 38: Fates 



48 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 39: Laundresses 



49 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 40: Baucis and Philemon  



50 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 41: Q and A 



51 
 

Chapter 2: Production Process 

Cost Out and Revisions 

After presenting my piece list (Figure 42) and finalized designs to the costume shop manager, Jen 

Daszxzyszak, for review, budget and labor  numbers were approximately one thousand dollars over 

budget and three hundred hours over the labor hours available for Metamorphoses. One challenge unique 

to this production was the double casting of the role of Performer Six. This track covered the roles of 

Zeus, Henchman, Sleep, Erysichthon, Narrator One of Orpheus and Eurydice, Third Performer in” 

Narcissus Interlude,” and Cinyras. The overall cost per look for this production was $152.73, meaning 

track six came out to $1069.11. My original design was within budget, but the addition of the dual casting 

caused me to go over. The two performers were not similar in size, so they could not share garments and I 

had to be creative in solving this budgetary issue.  

 Using my piece list, I began by sourcing some items I knew I was hoping to have for the 

production that were less than Jen’s predicted cost. Knowing I also needed to decrease my labor hours, I 

sifted through my piece list to discover which performers could share items between looks. My original 

intention for Metamorphoses was to use base costumes to alleviate the large amount of costumes needed 

for the many different roles. I also believed it would minimize the scale of quick changes throughout the 

performance. However, Kenyatta wanted to separate the various stories more clearly, straying from the 

design away from ‘base looks.’ This element came back differently, however, during the cost-out process. 

Going through the costume pieces with a fine tooth comb was tedious but necessary to create a show that 

fit the defined parameters. Ultimately, each performer had around one-third fewer items and shared many 

more garments throughout the show. I met the goal of an estimated $8,000 materials budget, $400 for hair 

and make-up, and only around 40 hours over on the labor budget, which was approved due to the addition 

of the double cast role.  While this was useful in lowering cost and labor hours, it created a more tedious 

element of tracking garments throughout the production. 



52 
 

Organization 

 It was apparent early in the process that the design process would need to be incredibly organized 

to run smoothly. By delegating some of the work to my assistant, Ilana, we created an efficiently 

organized show between us that was vital throughout fittings and in communication with stage 

management. The costume plot (Figure 44) was essential in knowing which characters were where and 

when. It was continually updated and color-coded to keep up with the costume changes that would need 

to take place. Due to the large amount of quick changes, they were broken down into two categories: ‘ 

quick’ and ‘extremely quick.’ There were many times in the script that an actor would be the last 

performer exiting a scene as one character, only to return as a completely separate character at the 

beginning of the next scene. Tracking these changes early on was necessary so that the stage management 

and directorial teams kept these in mind as they developed the blocking. I provided a list of quick changes 

we referred back to throughout the production and used it as a conversational tool to organize the 

conversations with KenYatta about these changes.  

 An intentional organization was added to creating the draper packet for the costume shop. I made 

my draper packet using a combination of my designs, the costume plot, and the piece list. The draper 

packet helps communicate the show’s logistics with the costume shop. A primary focus in the draper 

packet was emphasizing that there were a lot of unknowns with the water and that we should all assume 

that each costume would get wet. Even if a character was not choreographed as getting into the water, 

there was no controlling the water on the stage or other performers, so everyone was assumed to get wet. I 

broke down each track, highlighting their many roles and quick changes, then broke down the specific 

costume items I intended to purchase and provided line drawings and more specific clarification for the 

costumes the shop would build (Figure 45). 

 After creating the draper packet and meeting with the drapers and craftsperson to discuss the 

production details, I could begin purchasing and start fittings with performers. While buying, it was 

essential to have many different options for the performers to try on to efficiently use my time, the time of 



53 
 

the actor, and the draper. I pulled numerous costume items from costume stock to maintain the budget 

alongside the purchased items. While in the fitting room, I referred to the paperwork to move things along 

and ensure the changes could happen quickly. As the actors learned more about their characters in the 

rehearsal room, we learned more about their costumes in the fitting rooms. One recurring design element 

that came up was the use of shoes. Early in the process, we decided that this production was relatively 

shoe-less aside from the characters who climbed the scaffolding, due to safety concerns. The challenging 

part of this is sometimes, throughout the process, an unexpected or new character would find themself on 

the scaffolding in the blocking. Shoes were added during the pre-show sequence as the performers would 

be walking outside the stage area, which could not be as closely monitored for them to walk without 

shoes safely. So, each performer had a pair of shoes for their ‘worker’ look, but they could not be shared 

with the more godly characters for aesthetic reasons. Due to the timing of these shoe discoveries, rather 

than a cost-out revision, there was a lot of budget shuffling on my end. I worked with a sense of openness 

to new options and creative choices to achieve the design.  

 

Fittings and Embellishments 

 Much like in the purchasing process, I maintained the openness to ideas and creativity in the 

fitting room. To the best of my ability, I worked in show order during fittings. We started with the worker 

looks, leaning towards earthy blue and brown tones. Many of the more hands-on workers wore denim or 

workwear-specific garments. These characters also owned most of the distressing notes discovered during 

fittings (Figure 46). I worked closely with the craftsperson, Lisa, to balance creating new distressed 

garments and pulling items from already distressed stock to balance the labor. A large part of this 

constantly shifting production was the water element interacting with costumes. While we were preparing 

for all the costumes to get wet, some garments that I fell in love with and felt were right for the character 

became challenging to work with during tech. A great example of this was Erysichthon’s mother’s dress. 



54 
 

During the fitting, the actress, Kayla, wore a beautiful long black dress with gold embroidery down the 

length of the skirt. It had an element of rusticness to it, as well as elegance, that helped push the actress to 

appear older (Figure 47). We moved forward with alterations on this dress, but when we made it to tech, 

we found that as Kayla fully submerged in water, the dress soaked up more than anticipated. Kayla 

transitioned directly from the now-soaking-wet Erysichthon’s Mother to Pandora for a fifteen-second 

transition. I knew she would have this quick moment and be wet for it, but I did not believe the dress 

would hold so much water. Many moments like this came from finally being on stage that could not have 

been discovered in the fitting room, as is true for most productions, especially Metamorphoses. As 

performers came through, we discussed their knowledge of blocking and why I chose specific items. We 

referenced the costume plot as we went along and practiced some quick changes in the fitting room to 

understand the time frame we were working with and, ultimately, successfully fit the performers. 

 Due to the large scale of costumes, I was not allocated many builds for this production. The 

unique items built were Woman by the Water’s unitard, Midas’ coat, Sleep’s cloak, Orpheus’ pants, and 

Eros’ drape and wings. The costume shop built two other items not included in the production: Apollo’s 

Pants and Iris’ dress, though they were cut for different reasons. The fabric purchased for Apollo’s pants 

was woven with elastic strands that shrink when washed and dried. Upon returning to the costume shop, I 

found that the once-flat metallic fabric had become wrinkled and morphed. While we knew it may get 

splashed with water, I was not anticipating this fabric would go through a wash cycle. Ultimately, the 

fabric was unusable, and I went with a purchased pair of pants. Iris’ original dress design was a simple 

one-shoulder dress with light gathering from the neckline and an asymmetrical hem (Figure 23.)  The 

simplicity came from the idea that by using metallic rainbow fabric draped with lace over the top, we 

would have a beautiful moment when the light fell on her dress, revealing the colorful nature of the 

Goddess of the rainbow. There were a couple of issues with the garment, the main one being that the fit of 

the dress continually felt too snug on the performer, and I did not feel comfortable sending them out in the 

dress. KenYatta seconded this sentiment, expressing that the lace made the character feel less youthful 

than anticipated. Ultimately, I modified a dress from stock with subtle but beautiful rhinestones that shone 



55 
 

when the light fell on it. I used the initial rainbow fabric to create a waist sash to maintain a nod to the 

original idea and identify the character as Iris. While stressful, these moments in the design process allow 

me to problem-solve and look back more closely at the characters in the story to examine a new direction 

for them, and can sometimes create a more exciting look in the end.  

 A large, ever-shifting project was working with Lisa, the craftsperson, on Ero’s wings. As 

KenYatta developed the show’s blocking, it was clear to him that the original design was too large and 

would block sight lines. The fabric initially chosen was a semi-transparent lightweight linen. The 

character was played by a muscular 6’2” man, so the wings intended to match him in scale. We played 

with many different shapes, and were inspired by a simple bat wing shape with fewer tiers and less 

structure. Lisa and I brainstormed on creating a base for the wings that could carry weight while 

maintaining their shape. My mentor, Frank, suggested working with a samba backpack wing base, which 

is used for large festival wings. Using this as a base, we wrapped the wire with rope, exposing some of 

the wire to aid in expressing Eros’s vulnerability during the on-stage moment. I researched an open weave 

texture, similar to a distressed crochet, and we created a similar element on the wings. The only base for 

the actual wing part of the wing was at the top of the structure, allowing for movement on the floor and in 

the pool, and for him to be seen without obstruction.  

Outside of the fitting room, I spent a lot of time embellishing. I put costumes that needed more 

details onto dress forms and looked at different trims and details that could create a more cohesive 

production. I thought about how the characters related to each other. A specific example is Persephone 

and Hades. Persephone wore a combination of two dresses layered over one another. The bottom tier was 

a long, distressed white dress. A more modern silhouette in a satin floral print was layered over the top. 

While Persephone carries a lightness and happiness with her, her counterpart, Hades, has a darker tone. It 

felt important to show the influence Hades carried over Persephone. I played on the form with different 

trims, landing on a simple, thin black and metallic combination around her waist  (Figure 49). These 

small gestures throughout the garments were impactful in connecting characters and creating 

cohesiveness. Midas’ daughter received new gold buttons to connect her to her father. Hunger was 



56 
 

adorned with distressed rope braids tested and retested for movement. The braids hung down in a non-

uniformed pattern to give uneasiness, and their face was shielded with more rope hanging down in front 

of their face. Elements like this are places where I like to play and be creative without intruding on the 

shop and are the final detail necessary for a production’s visual composition.   



57 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 42: Partial Preliminary Piece List  



58 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 43: Partial Finalized Piece List  



59 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 44: Partial Costume Plot  



60 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 45: Partial Quick Change Tracking List  



61 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 46: Distressing Reference  



62 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 47: Kayla Harvey-Ali Fitting Photos 



63 
 

                       Zeus Fitting          Ceres Fitting 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 48: Select Fitting Photos 



64 
 

    Lucina Fitting                                        Preshow Fitting                                         Hades Fitting 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 48: Select Fitting Photos  



65 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 49: Embellishing  



66 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 50: Scene Tracking Document 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 51:  Draper Packet Entry: Midas 



67 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 51: Make Up: Nina, Kayla 



68 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 52: Hair: Terrence, Mars  



69 
 

Chapter 3: Tech. Week 

Costume Parade 

 Costume parades are not as common in the professional world; in the university setting, it is an 

opportunity for professors and directors to provide designers with feedback early in the tech process so 

changes can be made in an adequate amount of time. The shop mainly received technical notes like 

removing tags, adjusting the fit of costume pieces, and adjusting the hems of dresses and trains. The notes 

I needed to consider from a design standpoint were more aesthetic questions like: should Phaeton wear 

silly goggles rather than sunglasses while floating on a rubber duck in the pool (Figure 35)? A note was 

given to consider a dark wine-colored shoe to carry the line of Bacchus’s “wine-dipped” pants down to 

his feet. I changed the color of some hard hats for construction workers, pulled belts, changed buttons, 

added some trims, and started considering some more considerable changes, like the previously 

mentioned dress for Iris. 

 The Costume Parade also impacted me on a larger scale, as KenYatta often climbed down the 

seating steps to look at items up close or ask performers how they felt in their garments. Maintaining 

control of the room was challenging as I communicated with the costume shop supervisor, my mentor, 

my assistant, who took notes for me, and my director, who took in the costumes differently than me. After 

the parade, I understood that to be a successful designer, I needed to be able to speak up for my own 

needs as well as move with the needs of others. In retrospect, I should have followed KenYatta to the 

stage and asked my notetaker to follow or asked  KenYatta to sit with the group for the discussion. 

Thankfully, I learned from the experience, and as tech proceeded, I adapted my communication in the 

room to make it more accessible to my director.  

Quick Changes and Challenges 

Most of the challenges of tech came in quick change form. Even with the pre-planning and 

practice with rehearsal garments, nothing outweighs the tension of the first quick change. Many of the 



70 
 

anticipated changes based on the script were solved by underdressing many clothes. These were planned 

for and considered when choosing garments during the fitting process. Track One transitioning out of 

Ceres and into Atalanta was challenging to achieve. We tried many different methods before we were 

successful. The actress, Emma, wore a green dress, a dramatic sheepskin fur coat, a large beaded 

necklace, and a crown on her head. In addition to these costume items, she also had to climb down the 

scaffolding at the end of her scene and travel from the upstage left vom to the upstage right vom for her 

next entrance. Upon her entrance, she wore a white pair of linen pants, a pleated blouse that crossed in the 

front with a hanging drape. The shirt was not the simplest to get into, but it felt worth the fuss. We added 

a slit to the front of the green Ceres dress after the parade to help Emma climb the scaffolding. This 

alteration made underdressing the pants challenging, but we ended up underdressing them and pushing 

the pants leg as high up on her as possible, effectively concealing them. We underdressed her Atalanta 

jewelry and put her Ceres necklace on a magnet for easy removal. She wore her jacket open rather than 

closed to avoid the closure, and ultimately, she made her cue.  

Another big challenge was the water-soaking dress for Erysichthon’s mother. After seeing how 

much water it held, the floor became slippery, and it was difficult for the actress to perform as Pandora 

for the quick transition. I purchased and added a new dress to her tracking for the show, which added a 

quick change for her. She, too, was supposed to travel between voms for her next entrance, which we 

could shift after consulting the directorial team. Some challenges were unexpected, such as Zeus’ struggle 

with his drapery as he climbed the scaffolding. KenYatta and I also debated whether or not the character 

should wear the metallic fabric as he climbed the scaffolding. I felt it was important for the character, and 

KenYatta thought it was distracting as he rose. In the end, after trying many different ways to keep the 

drape in the scene, we compromised with him only wearing the drape in the Zeus scenes that were not on 

the scaffolding. I met the quick changes and challenges with determination from myself and the costume 

stage manager, Erin. She worked diligently to track costumes to their next entrance and learned the quick 

changes when the crew was unavailable. Without her work, the tech. process would have been chaotic, so 



71 
 

I am grateful for the rapport we built. It reminded me of the importance of collaboration between 

designers and managers, crew, assistants, and every other role that makes the art of theatre possible.  

Chapter 4: Reflection 

Opening 
 When the show finally opened, the costume design was cohesive and a vital tool to clarify the 

different stories. The preshow set the tone for the rest of the production and cleverly invited the audience 

to participate in the storytelling. The set and costumes aligned with the modernity and roughness of the 

worksite facet of the set while simultaneously telling the mythological stories that transport us through 

time. Using the pool as a “well” was a triumphant nod to the piscinas of the past. If I could redo the 

process, I would have fought for a different stage orientation, as the alley theatre orientation did not allow 

costume mistakes. With the audience up so close and personal, it was difficult to avoid them seeing any 

imperfections in the costumes, errors that would have been less apparent from a proscenium stage, for 

example. The central nature of the pool on the stage also meant that actors, unless wholly submerged in 

water, were playing on the edges of the stage closest to the audience or over to one of the sides of the 

stage.  

 After some post-opening contemplation, I realized that many notes I could not solve were fabric-

based issues. I often questioned the costume choices for Hermes throughout tech. His costume was 

precise as drawn but bothered me for reasons I could not figure out. I know now that the actor wore an 

athletic stretch fabric pant while his cohorts wore linens and more natural fabrics. The pants stood out 

against the rest of the show and felt out of place. There were a few things, like the Hermes pants, that I 

would change if I could go back in time, but ultimately, they did not ruin this production of 

Metamorphoses. The feedback for the show was overwhelmingly positive. No one paid mind to the fabric 

of Hermes’ pants. Ironically, as designers, we always know the most about a show at the end of it, but we 

learn and get better with every production.  



72 
 

Metamorphoses was a challenge to beat with an eight-thousand dollar budget for eighty different 

characters. We told ten stories in an hour and forty-five minutes with a pool of water on stage. It set a 

precedent for collaboration and challenged everyone involved in the production. I pushed limits while 

maintaining boundaries and spread a small budget across many costumes while retaining an elegant and 

successful design. Metamorphoses celebrates the fundamental experience of transformation and growth in 

life that keeps us moving forward. It examines the inevitability of change and our actions’ impact on 

others. As storytellers, we learn from our community and inspire one another with our choices.  

Metamorphoses, while challenging, made me a better designer and storyteller and gave me confidence in 

my ability to create exciting and compelling art. I successfully realized a design that clarified character, 

defined class, and felt elevated and beautiful alongside the many transformations witnessed. 

 

  



73 
 

DC Theatre Arts Review: 

“...Bailey Hammett’s costume design plays its own part in the storytelling and helps to 

accentuate Breeden’s steps. When the ungodly and selfish Erysichthon (Polsky) is cursed for 

felling a sacred tree of Ceres (Emma Callagy), goddess of agriculture, Ceres sends Hunger 

(Amelia Talbot) to plague him. Talbot is covered in a dark bodysuit, face covered, arms and 

torso wrapped with vines. Slinking across the rocks, Hunger crawls and attaches like a parasite 

to Erysichthon’s back, driving him to consume away his fortune and ultimately consume 

himself. The effect is eerie and dark, with a touch of comic absurdity, which suits the work 

perfectly. 

 

Another exquisite execution of the creative team’s vision is the scene between Eros (Nash), god 

of love, and Psyche (Lucy Bond). The couple wade in the shallow pool, Psyche in what looks like 

a linen gown, and the blind Eros, with wings fastened to his back, resembling as close to a god as 

a person can. The image of the pair, reaching out for one another across the water, was 

gorgeously picturesque. 

UMD School of Theatre, Dance, and Performance Studies’ rendition of Zimmerman’s 

Metamorphoses served the source material well. It conveyed its thoughtful and sometimes 

playful insights on the faults of humans and gods alike. The rather artsy production is an almost 

indulgent work that spoils the senses with poetry, elegant choreography, and splashes of color 

and light (designed by Scott Monnin). Watching the story unfold was a wonderful experience, 

executed with clear professionalism and skilled passion. Congratulations to the talented cast and 

crew for creating a true piece of art, and honoring one of the great works of literature, with a 

modern touch…” 

Written by Kendall Mostafavi 



74 
 

Production Photos  

 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Preshow  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Scientist 

(Photos by Timothy Kelly and Taneen Momeni) 



75 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Silenus and Midas 

 

Midas and Midas’ Daughter 

(Photos by Timothy Kelly) 



76 
 

 

Ceyx and Alcyone 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Poseidon, Henchmen, and a Sailor 

(Photos by Timothy Kelly) 



77 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Woman by the Water 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Myrrha and Cinyras 

(Photos by Taneen Momeni)  



78 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Vertumnus and Pomona 

(Photo by August Henney) 

 



79 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Apollo 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Phaeton 

(Photos by Taneen Momeni) 

 



80 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Ceres 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A Laundress and Silenus 

(Photos by Taneen Momeni) 



81 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bacchus 

(Photo by Taneen Momeni) 



82 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Aphrodite 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Preshow: Architect 

(Photos by Taneen Momeni) 

 

 



83 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Hades and Persephone 

(Photo by Taneen Momeni) 

 



84 
 

ung 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Hunger 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Therapist 

(Photos by Taneen Momeni) 

 



85 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Erysichthon’s Mother 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Iris 

(Photos by Taneen Momeni) 

 



86 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Orpheus, Eurydice, Hades, Hermes, The Fates, and a Narrator 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sailors, Ceyx, Poseidon and Henchmen 

(Photos by Taneen Momeni) 



87 
 

Bibliography 
 
Mostafavi, Kendall. "Ovid’s ‘Metamorphoses’ at University of Maryland Is a True Piece of 
Art." DC Theater Arts, 25 Nov. 2024, dctheaterarts.org/2024/11/25/ovids-metamophoses-at-
university-of-maryland-is-a-true-piece-of-art/. 
 

 
Zimmerman, Mary. Metamorphoses 'A Play'. Northwestern University Press, 2002.