酱百老汇

托尼奖获奖服装设计师杰斯·戈尔茨坦回顾了她跨越英式衬裙和好莱坞魅力的职业生涯。

安德鲁·瑟斯顿； Jess Goldstein的草图

杰茜•戈尔茨坦（Jess Goldstein） 1972年毕业，她精心挑选的布料和针脚让百老汇的明星们不仅扮演了角色，还确保了他们的外表。 说到服装设计，戈尔茨坦是一流的。 He’s outfitted dozens of movies and smash Broadway shows, including the long-running 泽西男孩 and the critically acclaimed 2011 Disney production, 报童. A three-time Tony Award nominee (and winner for period comedy 的竞争对手), Goldstein has worked with such stars as Al Pacino, Kevin Kline, and Kristin Chenoweth. 在这里，他分享了一些他最喜欢的设计和它们背后的故事。

1 ] 马裤到比基尼 •  From petticoats to Speedos, sometimes in the same night; 幸运的是，不是在同一个舞台上。 In 2005, Jess Goldstein was working on two very different plays: 的竞争对手, a comedy of manners written in the 1770s, and 良好的振动, the Beach Boys musical. “I was constantly running between fittings of the glorious petticoats and breeches of late-eighteenth-century England,” says Goldstein, “to the wet suits and bikinis of an indeterminate period in Southern Californian culture. I even had to miss 的竞争对手’ opening night because of dress rehearsals on the other show.” Goldstein’s versatility would be rewarded: he scooped a Tony for his work on 的竞争对手.

2 ] 服装讲故事 • A well-chosen costume can make the difference between an actor playing a character and becoming him. Despite decades of screen and stage success, Kevin Kline needed Goldstein’s help in 2004 to inhabit Falstaff, the bloated, errant knight of Shakespeare’s 亨利四世 plays. “凯文演的福斯塔夫太棒了，”戈尔茨坦说，“但他需要不断的鼓励，才能完成身体上的转变。” 戈尔茨坦补充说，制作“真的让我展示了服装设计作为讲故事的力量。 The play shows a cross section of medieval life, from royalty to soldiers to peasants, and I felt I was particularly successful in making what is sometimes thought to be a rather primitive and clumsy period look attractive and sexy to modern eyes.”

3 ] 额外的! 额外的! • A so-so movie in the 1990s, 报童 is proving a star performer on the contemporary stage. 戈尔茨坦认为，这部迪士尼赞助的音乐剧，讲述了1899年报童罢工的故事，可能会在百老汇长期上演。 他说：“我觉得我从来没有在节目中获得过这么多的乐趣。” “我真的不知道对试衣的年轻演员有什么期待，但他们似乎都很喜欢自己的服装，并经常说他们多么希望人们仍然穿着这些风格。”

4 ] 雅皮士莎士比亚 • This isn’t the cheeky Puck of history. For a 1988 production of 《仲夏夜之梦, Goldstein was charged with spinning the sprite of Shakespeare’s forests into a character for a “postmodern yuppie world.” 在创意团队对工业景观的设想中，机械装置——驱动舞台效果的小工具，比如让有翅膀的角色飞起来——也成为了服装的一部分。 戈德斯坦说：“飞行背带很难隐藏在暴露的服装下，所以它们实际上成为了服装的一部分。” “这是帕克的早期草图，融合了足球裤、傻帽和坦率地夸张的驼背垫。”

5 ] 银幕 • Sometimes stage leaps to screen and Goldstein’s designs follow—albeit with some tweaks. When comedic drama 爱! 勇猛! 同情! became a movie in the mid-1990s, Goldstein was asked to re-create and update his designs from an earlier Broadway production. 在这两部改编作品中，所有演员都是男性，他们都在为一场艾滋病募捐活动排练芭蕾舞。戈尔茨坦说：“舞台剧没有给男演员足够的时间在舞台下换上真正的芭蕾舞短裙。” 他们只能在之前的白色拳击短裤和背心上加上薄纱裙和羽毛头饰。 在这部电影中，我们全力以赴地呈现出传统的古典芭蕾风格。 （我想知道）最初的概念是不是更有趣。”

6 ] 棘手的二十多岁 • Some eras are easier to re-create than others. The 1920s—the decade in which 迷人的4月 is set—is considered one of the most challenging, says Goldstein, with frills replaced by unappealing sharp edges. 他说：“我觉得大多数历史时期都需要对现代观众进行一些过滤，因为他们可能不喜欢博物馆级别的准确性。” “For 迷人的4月, we tried to give the women’s boxy 1920s shape a little more curve and grace, and we used softer, lighter-weight fabrics for the men’s suits.”

7 ] 镇上的大人物 • Wondering if you’ve ever seen a play outfitted by Jess Goldstein? 很有可能就是这个。 “泽西男孩 was that rare show that I knew was going to be an enormous hit just from reading the first draft of the original pre-Broadway production script,” says Goldstein. Of all the shows he’s worked on, 泽西男孩, now in its sixth year on Broadway, is one of the best known. Among Goldstein’s favorite 泽西男孩 outfits are those worn by the show’s female actors. “剧组中只有三位女性，但每人扮演大约12个不同的角色。 这是我最喜欢的一套他们的服装，当他们组成天使唱‘我男朋友回来了’。”

8 ] 白手起家 • A quick-change conundrum: how to turn an actress from smudge-covered chimney sweep to a gold-glimmering star. 戈德斯坦说：“快速的改变可能会很棘手，因为当它们真的很快——不到一分钟——它们不可避免地会导致某种妥协。” “In 苹果树, Kristin [Chenoweth] had a matter of seconds to change from Ella the Manhattan chimney sweep to Passionella, the Monroe/Mansfield Hollywood star and icon; 这意味着她要为两种造型简化妆容。 Like a true Broadway star, Kristin was fearless!”