The Lion, The Witch, and the Wardrobe
Prime Stage Theatre - New Hazlett Theatre - March 2023
Director: Wayne Brinda - Set: MK Hughes - Asst. Set: Toni Woods - Lighting: Madeline Barber - Sound: Samantha Magill -
Makeup Design: Laura R. Smith - Props Master: Alex Keplar - Fight Choreographer: Michael Petyak
“The Chronicles of Narnia” is a much beloved series of novels, and it was an absolute joy bringing this world to life with Prime Stage’s production of The Lion, The Witch, and the Wardrobe. I know I grew up with these books, so I had a clear mental picture of the world from the very first day. Inspired by MK Hughes’s storybook woodcut set and Madeline Barber’s colorful lighting palette, I worked to create the fashion and character behind the iconic characters of the White Witch, Aslan, and the Pevensie children.
“Particularly enthralling was Rachel Pfenningwerth as the icy White Witch who rules over Narnia. With her pale makeup and silvery garments - one of many memorable costumes by Madeline Macek, she was the very vision of a beauty with a beastly heart.”
— Sharon Eberson with onStage Pittsburgh
For the White Witch, I drew inspiration from 1930s surrealist fashion. Examples from Elsa Schiaparelli’s body of work were particularly inspiring. I wanted the Witch to look familiar but unattainable to the Pevensies. She couldn’t be outright terrifying, but she needed to have a certain mythical quality. In a metallic silver velvet and a duo-chrome organza, she was intended to give the impression of black ice - you don’t know how dangerous she is until you’re too close to her.
In direct contrast to the White Witch’s icy, sharp tones, Aslan was warm and earthy with textures of thick linen and fur.
Aslan went through several redesigns in our effort to get him right. My first concept had him in a typical 1940s mens suit, particularly inspired by J.R.R. Tolkien and C.S. Lewis, with the added element of a fur-trimmed velvet cape for that regal touch. I wanted Aslan to look familiar to the children, almost looking like their father. The second design kept the fur around the shoulders, but veered more towards 1940s mens workwear. The final design was much fuzzier and more based in the world of fantasy than that of reality. I worked closely with makeup designer Laura R. Smith to combine our designs to create a cohesive cast of characters.
