Rambling Memories of Esther Season

 The boys recommended listening to Esther on our way to school. We had already listened through Joshua, Judges, Proverbs, and Ecclesiastes. While we listened, I kept remembering the version of Esther that we performed when I was in 8th grade. I was looking for a play to do this year. So over Christmas break I typed it up and began editing it. 

When it felt like doing this play was going to be a reality, I reached out to the original author to negotiate performance rights. He agreed to let me use my adapted script, on the condition that the scripts would be destroyed and there would be no recording, except photographs, of the play. Hopefully, if people want to perform the play again, they will seek out Esther by Sidney Henriquez for his script. 

The main alterations to the script were combining scenes so there were fewer scene changes, writing in more female roles, and toning down some of the Western interpretive elements, while strengthening the historical and Jewish connections. There were so many times while I was editing a scene when I got stuck trying to convey something that I didn't have the words for. I would pause and pray, then begin typing again, and the words flowed. 

Because of that, when the students began saying their lines, I did not feel particularly possessive about any of them. If they could adapt it to make sense, but easier for them to say or memorize, I gave them that freedom. Our favorite rehearsal was a props rehearsal, when they were allowed to say everything in own words. They did a great job understanding the meaning, then translating it into modern English.

However, things did not go smoothly. Many of my new actors didn't understand that when I said lines needed to be memorized, I meant that they would have to work on it outside of rehearsals. Several seemed to think scheduled rehearsals were optional, or as long as they came to two a week, it didn't matter what two they came to. Spring soccer had practice and games shortly after rehearsal, so some of the soccer players didn't come to rehearsal for a few weeks. 

But it wasn't just the students. I was/am teaching three elementary classes and three high school classes. Four of these required either writing or rewriting significant portions of the curriculum. The other two and books and workbooks, but explained concepts in very obtuse ways, so I had to figure out what they were trying to teach, then explain it in simpler words. Between grading, lesson prep, and basic directing, I was so busy just trying to survive. God gave me the energy every day, but there was not a lot of creative problem solving happening, simply because I didn't have enough time. 

So when two of my students brought in bags of sari's and dresses from India, we went with it. Between the costumes left over from previous performances and our church's nativity costumes, we were able to find clothes for everyone, and even costume changes! The manager of the thrift store was amazing at finding just the right props and set pieces. 

Early on, the high school students agreed that participating in the play would be better than going extra days in the summer, so I had all their help, but it required a lot of oversight that I couldn't give them. That meant it didn't get advertised as much as planned, the program ended up giving several people a headache, and we didn't get a Spanish translation. But all in all, it worked out, and most people were very happy with out it turned out. Those students who didn't act, but worked behind the scenes said that if they knew how much work it was going to be, they would have volunteered to act. 

Several parents volunteered to help with snacks, tickets, and refreshments, as well as adding a fundraiser to help raise money for the venue. They were amazing, but afterward they told me that it was a lot more work than they had expected. But they also said that they want to come do it again, but start working earlier next time.

I don't know how some of the things happened. At just the right time, people helped out. Kids made the scene changes happen. They figured out when to change costumes and when to enter. They reviewed lines backstage. Mom washed and mended old costumes. Dad painted the set. The boys taught other students how to run the lights and hook up the keyboard to the computer and speaker. A friend took photos.

I am filled with gratitude for everyone who helped out. And I must give praise to God, but it was only through his strength that this happened at all.

Esther 2026

Hopefully at some other point soon, I will have time to share reflections on the play, but for now, here are the photos.



Haman honoring Mordecai


First wine feast


Esther and Mordecai visiting through the wall


Gate keepers bemoaning their lot in life


Mordecai asking God for deliverance


Full Cast and Crew

Directing Lesson

Theater combines many things that I love. Storytelling, costuming, make-believe and imagination, learning and teaching, and making connections with lots of people in many different ways. Even though I have directed in the past, I had to learn and relearn so many things. These are some of the lessons that I have learned.

1. Don't agree to direct until the support team is in place, or at least have an assistant director/volunteer coordinator. This can be one person who can then find volunteers and delegate, or it can be several volunteers who focus on just one part. Either way, those people (or person) should be settled before auditions take place. The areas that I can't direct and coordinate are: rehearsal snacks, rehearsal monitors, rehearsal photos, performance volunteers, posters and playbill design, advertising. A design team would also be great. I know costuming, but I'd love to share that. And I need help making the set and lighting look right. If I wait to see who auditions, then ask those parents, I don't get the time to work with the volunteers to share my vision for the show

2. Find a balance between individualized and mass communication. One of the things I've tried to do with the last three plays is make a personal connection with the parents or guardians of my cast members. This has been really helpful as we get closer to performances or need to make changes to the schedule. It is way more work to make those connections than to send a mass email, but it has been worth it every time. These families are so amazing. There dedication and sacrifice for the play inspires me to do my best. I need to continue figuring out the best way to communicate which information.

3. People love it when you are passionate about something, until it requires them to change. Then they feel like you are judging them. There were people would said, "I love hearing you talk about the play. You are so passionate!" so I thought being passionate was contagious. But my actors didn't care about my passion when they had to get on stage. In fact, my passion was intimidating and they expressed worry about not doing it right. They liked my excitement when I was telling the story, but they didn't like it when I was asking them to do it. I had to replace passion with compassion to make a human connection.

4. So much of directing is creating space to explore and giving choices, not telling actors what to do. This play I focused a lot on acting choices. Kids would ask me "What do you want me to do?" and I tried to ask them, "What seems right for your character?" If they didn't know, I'd show them a few different interpretations, then encourage them to play around and see which one fits the best. Part of that is also encouraging kids not to play stereotypes, but relatable characters. This was a new way of directing for me, and I have to continue working on balancing it with pushing kids to try a different choice. There were times when I thought that a certain action would make the scene more funny, but I didn't always challenge the actor because I wanted to respect their choices. So I don't think I have that balance quite right yet.

 As I told the actors, part of theater is sharing where we are at this point in the process. It isn't about getting the perfect performance, because we can always get better. And part of the joy of the process is being done, evaluating, and preparing for the next one.

Calling

 We went to a Homeschool Hangout at the public library. There were six families. Two of the other moms are my friends from times before kids; one more was a friend of one my friends. I talked to the other two moms, asked their names, and a few homeschooling small talk questions like, "What is your favorite curriculum?" I enjoyed making connections, even though I felt like I never moved beyond the "networking" phase.

When it was over, we went to the children's area and there were some of the students from ICS, our local Christian school, where I worked four years ago. I had worked with several of them in the last two plays I was involved in. They greeted me enthusiastically, which was wonderful. They also greeted the two new mothers that I met equally enthusiastically. Those two homeschool moms had also taught at ICS; one had been the grammar teacher, the other was the Spanish teacher. It was delightful to see the surprise on our students faces that we were all together. And it was fun to make connections with these teachers who I had heard of, but never met! It was lovely.

Then I got to help a student think about a paper topic. I asked him some questions, didn't let him get away with, "I don't know," gave suggestions, read his reactions, gave other suggestions in the form of questions like, "do you know about the origins of your interest? What do you know? What don't you know?" It took about five minutes, but by the time he had to leave, he had the beginnings of a topic. And I had a reminder of why I love teaching.

I was so happy when we left the library. So of course, I analyzed it. I was happy because I used my skills and talents to make connections, between people and between topics. I was happy because I got to see my friends. I was happy because I got to talk with kids, and I love talking with kids.

Then the great debate that has been going round in my head since I started homeschooling began, yet again. Would I better serve God and the world by going back to being a teacher? I would have more influence, help more kids, point more people to Jesus, right? But what about my family? Would they thrive in that environment? Or would it be survival, like it was before?

That night, I distracted myself from that inner debate by scrolling Instagram. One of the suggested posts was of a woman who wanted to serve God by helping the poor. She finally got to go on a mission trip, and on that trip she met Mother Teresa. Mother Teresa told her that she is helping the world the most by being a mother, and to never doubt God's calling to that roll. The story resonated with my feelings and reasoning, but it was also affirming of the choice that we have made to home school. 

I don't know what the future may hold. Maybe someday I'll go back to school. Maybe not. But each time the debate begins in my head again, I am reminded to come back to God and let him define me and my role in the world, not my daydreams and expectations.

Update: I directed a play again

Often when we say God's time is always the best, we are trusting that giving up something was the right choice. But it is good to be reminded that sometimes God's timing is giving us the thing we have longed for, right now.

When I stopped directing plays because the boys couldn't handle Mommy being away for so long and distracted so much of the time, I thought maybe when the boys were in junior high, I would be able to direct again. But I wasn't looking for it this year.

In the summer, Mom and Dad took the boys to Bloomburg Theater Ensemble's The Lion, the Witch, and the Wardrobe. It was the boys introduction to live theater. They were disappointed with several of the interpretations, especially the modernization of the script, and the casting of a girl as Peter. She did a great job, but Peter is such a hero for the boys, it was disappointing. After the play the boys said things like, "I think, I don't know, but I think I could have done a better job acting Peter and Edmund."

Then in February, we went to see the Logos presentation of The Horse and his Boy at the Museum of the Bible. The boys loved it. Thomas and I enjoyed it. The main things I disliked was telling Shasta's history chronologically instead of as he learns of it, and the epilogue which linked The Horse and his Boy with The Lion, the Witch, and the Wardrobe, was a little clunky and didn't feel true to the book characters. And unlike the previous play, I began to think, "If I were directing, I would have..." which was followed by, "I bet the boys are old enough to participate in a play."

 But for a few weeks, it was just a nagging thought, something to consider for next year, not something I was going to pursue immediately. Then Dad asked if I would direct the version of Beauty and the Beast that my brother and I wrote seventeen years ago. After some planning conversations to see if it would work logistically, we decided that we could do it.

I'm not going to go into detail about how those logistics fell apart, how we only had five kids from the school who was supposed to sponsor the play, none of my previous actors were interested or could come to all the performances, and we opened the casting to homeschoolers and a junior high sibling. As with any play there was a bunch of craziness, a week of "how are we going to pull this off," and plenty of reminders to "Speak Louder!" But in the end, we got nine students who had never acted before to perform a play that was really good. Many of those students and parents, and several of the audience, have asked when we are going to do another play.

Because of the play, it was a whirlwind spring. After the play, it was a whirlwind to finish the school year. For the last few weeks, I have finally been able to sit, relax, and reflect about all the changes this year has brought. The boys went from never wanting to act to enjoying it and planning when they can do it again. I went from thinking "Someday in the future..." to "the future is now." But also we formed new friendships and strengthened old relationships. Homeschooling, with its flexibility and freedom, is not only accepted, but enjoyed by our family, and admired from those who see us learning. (As a side note, we have had several people working in and around the house during our school days this year. I always worry when they come because it is obvious the boys "ought to be in school" and aren't. But every single one of them has said things like, "Wow, your kids are learning really well!" or "They are definitely learning more here than they would at school." It is really affirming when the manual laborers who meet the boys go from saying "stay in school, don't get a job like mine;" to "these kids are set up for success" - though this might also be that we have a better plumber now too.)

This play has been a good experience for all of us. We learned what we were able to do. We grew and strengthened our skills. We began to dream about how it make shape the future. But we are also have been reminded that God's timing is the best for us.

The week of Lasts

Last week was Malcolm's last day of Kindergarten and the Kindergarten Graduation.

Thursday we finished Eamon's project (due Friday) so Thursday was his last day of school.

Saturday, I planned/helped plan a huge drop off/pick up event for students to return textbooks and Chromebooks and pick up anything they had left at school. We also had the teachers cheer and wish everyone a happy summer. It was the day we celebrated the last day of school with a meal from BK.

Today was meetings, but I have more so it wasn't quite the last day of meetings yet. However, I did schedule our last Town Hall with the high school student for Friday.

In one of the meetings today, Dad asked us to reflect on the year and how God showed his presence to us, then share how we saw God at work in our students. It was good to stop and think, even if it doesn't feel like the end of the year for me yet.

I shared that throughout the year, I would get to a point where I thought, I can't do anything more. I can't take this anymore. I am stretched to my limit. And then one more thing would happen. In those moments of desperation, God reminded me, No, I can't do it, but He can. His power is made perfect in my weakness, and He sure had a lot to work with. I know I messed up plenty, but if I did anything good this year, it was because God guided me.

And like all good endings, new beginnings flow out of them. But the Word of the Lord remains forever.

Teaching Video

I made my first teaching video yesterday. After watching it a few times, I am rather critical of it, but at the same time, I am also rather proud of it. Maybe this teaching online thing won't be so bad... maybe?

Anyway, that is what I did instead of blogging my 100 words.

Non Nobis, Domine

Non nobis, Domine, non nobis
sed nomini tuo da gloriam.

As Christians, we acknowledge that God uses us to bless and encourage others. Sometimes we don't know that we are doing it. Sometimes we try really hard and it seems that we aren't really doing anything. But there are times when we get to see that God is working through us. Our touring drama production was one such time.

Sure, I came up with idea. I wrote script. I worked hard to bring poems, songs, and readings together with the story of Ragman. But when I was done, I asked God to bless it and make it beautiful.

The first change was the music. I have a few girls who play the violin, so I went with music that they new and could play. I changed one to be a piano solo. But I planned on finding an accompanist.

The next change happened when I realized that it wasn't long enough. I had been telling churches it was 45 minutes long, but in reality it was 25-30 minutes. So I prayed and went back to the drawing board, and added Scripture readings, some from the gospels, some from Isaiah 53.

Then I forgot to follow up with accompanists. I had a piano solo for the accompanist at a very crucial spot in the program. One day before practice, one of my students was playing the piano. It was beautiful. I asked him if he had prepared any pieces for church. He said there was just one, "The Old Rugged Cross." He played it for me and it was the perfect fit.

The Script was complete and so much better than the original.

Because we didn't have set performance dates right from the beginning, I knew some students wouldn't be able to make all the performances. Each performance has been with different students and different challenges. But I have been able to see little bits of God working at each of them.

Our first performance was the first time we cut the lights and used (electric) candles. When the lights came back on, and the Ragman rose from the dead, a little girl near where I stood breathed, "Wow!" The second performance was the first time we had performed it with a complete cast, straight through - not even in practice had we done that. Afterward, someone told me that they were almost in tears during the piano piece and the complete a cappella vocal piece was fitting in its simplicity and sincerity.

We were warned that the third performance might have a rowdy audience. It was an evangelistic youth program and most of the kids don't sit and listen to anything. While we were waiting for our turn, I became aware that there was a spiritual battle going on in the room. I began praying that our voices would be able to be heard and that God would show his power and love to everyone present. When we began, it was quiet. The audience was listening. As it continued, we heard comments that showed they were following the story. When the Ragman died, there were cries of confusion and concern. In the darkness that followed, there was silence. At the end, the pastor was thrilled; he had never seen this group pay such good attention in the two months they have been working with them. Several of my actors also said they felt it was one of their best performances.

So good for us? Everyone involved did work hard and gave up a lot of time and energy. The parents of my cast were amazing in their willingness to make time for rehearsals and in their flexibility with crazy performance times. My family and friends gave up their time watching the boys. We pulled together and made something beautiful. But again and again the best things were things we can't take credit for. It was God working through us.

Not to us, Lord, not to us
But to your name, give glory.

Drama Love

We finished drama classes with a showcase. It wasn't a full performance because we only worked on the specific pieces for a three weeks. We used our scripts and tried to use some vocal expression as well as basic movements. So we didn't create what I would call great art.

But I have been thinking a bit about what it means to be an artist. There is an aspect of creating something. There is the connection between the created thing and the artist. But the audience also puts something into the creative process. The experience of a piece of art depends on all those things, so each person will experience something different. But somehow art is a universal language. It touches us and makes us feel things in ways we don't understand.

As I think back over the drama class, there are many things I would do differently. It was a learning experience for me as well as them (I hope). But the beautiful piece of art that we created was not a performance or show, but the simple relationships that were formed. I prayed again and again that God would enable me to see them as He sees them. And if this love I have for them is even a tiny bit of how much God loves them, how great is His Love!

So our performance may not have been masterful, but the real artwork was in the relationships that reflected God's Love. And I think, that is near the heart of what it means to be an artist.

Drama Class

This year, instead of directing a fall play, I am teaching a theater overview class. We are covering things that I just don't get to talk about with my drama kids... things like how to write down blocking, how to develop a character, and the importance of listening, as well as introducing them to the backstage stuff. But in the process of preparing and teaching, I am learning lots.

My "tips for theater and life" for the next class I have found especially applicable for life.

• Don’t be afraid of making mistakes or not getting it right 
• Be in the moment - not in your head; don’t analyze your performance while you are performing. 
• Don’t worry about what people think of you. 
• Focus, not on your performance, but on the moment.

When an actor worries about getting things right, they are not able to take the risk of listening to other. They are not able to trust their fellow actors or sometimes even the director. The director can make a safe place where there isn't a right way to portray a character, which will then free creativity and allow for listening and working together.

And when a mother is afraid of making mistakes or not getting it right, she is not able to take the risk of listening to her children. She isn't able to think of creative solutions or even see what are the issues that need to be addressed. But when she creates a place where mistakes are possible, forgiveness is taught, and love can be given and accepted, besides life can be a lot more fun.

The other tips are other ways of wording the same thing, with slightly different emphases. Being in the moment as mother, lets me deal with a situation without overanalyzing it while it is happening. I can think about if it was a good way of handling it later. And it allows me to step out of my "chore-focused brain" and focus on the needs of my children while dealing with an issue, rather than seeing their issues as interruptions from what I need to get done. Finding focus for each moment is also helpful to remember. I need uninterrupted moments just to keep my sanity, but I can find those interruptions easier when I focus on something other than the distractions that surround me, or when I use those distractions to help me focus on the moment (another acting technique). Not worrying about what other think of me as a mother seems obvious, but how often do I wondering what .... would think if they could see me parenting. It completely ruins my ability to effectively communicate!

All these things remind me that I, and my performance, are not the center of the world. I don't have to control my children, but instead free them to listen and respond. I don't have to control what others think of me because I am already loved and accepted by Christ. And my life is a gift - a gift from God, so I can give to others, which means I can be filled with thanksgiving, rather than criticism, stress, and self-doubt.

There are more things that I am learning, but they will be covered in other classes.

I got to act!

Last week was our final tour drama production. Because of conflicts in schedules, three of my actors were not able to make it. Two had reading parts, and my lovely props and costume assistant and I were able to cover those parts. One of them was an actor. And she happened to play some of my favorite parts, though I think I would say that about all of the parts. When she told me that she couldn't do it, I was initially panicked, thinking I would have to reschedule or cancel performances. But instead, I was able to act those roles.

Before every show there are a few nerves. Will everyone remember everything? Where will I be needed most? Will I get to sit back and enjoy the show, or have to jump up and step in somewhere? Will ___ finally get those lines that he always misses? But before this show, I had nerves that I haven't felt for ages. I had only had a chance to go through it with the actors twice. I wasn't positive I had all my lines. I didn't know how I was going to read and act. I worried that it would be too much like the "ME SHOW."

But once it started, the familiar took over and all went smoothly. The cast all pulled together so well. They covered for my mistakes. (I forgot a line and jumped on top of one of their lines.) And best of all, I felt the connection that I love about acting.

There was the connection with the audience...seeing their thoughtful gazes, hearing their laughter, feeling their interest in the story we were telling. And there was the connection with the other reader...quick glances to make sure we were together, reading each others movements to know when to stand and who would move the props. And there was the connection with the actors.

That is where I get most touched. I worked with these kids to open up with each other, to share, to listen, to be present, and so on. I got to see it happen as they got better and more comfortable with themselves on stage. And that night I got to feel it. They were listening to me and my subtext. They were getting energy from my performance and giving it right back. They understood a bit more about who we were being together. And it was beautiful.

I'm not sure if the acting was amazing or anything like that, though I think it was probably one of our best performances. But I try so hard to give these kids a safe place, a place where they are loved and approved of, a place where they can grow and share and learn and ask questions and feel. I try to build a safety net for them, so they know that when they fall, it won't change my love and appreciation for them. And that night, I knew they understood it because they gave that place of safety right back to me. When I made a mistake, they covered graciously and didn't think anything of it. They listened, they waited, they pitched in to help, they were part of a team, each of them making the whole stronger. (As as side note, the actor who was unable to be there got to "direct" me as I practiced filling in for her, another really neat connection.)

I am so thankful for them, and their parents, and the opportunity to act with them. I can't wait to do it again.

BTE's As You Like It

On Friday, I was given the opportunity to go with the ICS high school to watch BTE's As You Like It. Not only was this the play that I met Thomas in, it was also the play that a significant portion of our high school performed in the fall. So the students got to see another interpretation of a play they were extremely familiar with. In fact, some students were able to sit on the stage to watch the play, like in the Globe. And afterward, they were able to meet their counterparts.

They warned us before we sat down that they went extremely fast with the lines. Then as the play began they explained some of the double casting. Our students were able to follow it completely, which made them feel very intelligent. From what I heard, they especially loved meeting the people who played their parts. And the ensemble members are really great people. They seemed to enjoy meeting our kids who knew and understood and laughed at Shakespeare.

I did not know that they had cut the part of Audrey, which I think disappointed our Audrey a little bit, and of course they cut the lines down significantly. You kind of have to if you have only an hour and a half to tell the story. The double casting was very clever and the use of music, not only to provide accompaniment to the songs in the script, but also to set a mood was brilliant. Duke Frederick's theme was an electric bass being played by a violin bow (or cello bow; I am not good enough to be able to tell from that distance). My favorite bit of double casting was Oliver and Adam. It made the scene where Oliver and Orlando fight very amusing.

Having played Rosalind, it was interesting to see her interpretation of the character. Our Rosalind was very much in control of everything. She was a clever CEO of the play, and it worked. This Rosalind seemed much more witty in the moment. She didn't have everything planned out, but rather had an idea and acted on it, then kept the idea going. The result of her interpretation was that she was not in charge of everything, but let Celia or Orlando or others take the center stage. And it worked. It gave certain scenes a completely different feeling, but both interpretations were completely consistent, both with themselves and with the script, and even "human," in the sense that people could actually be that way. When I played her, I tried to play her a bit of both, and I don't know if it worked as well.

They made it very clear when characters began to know that Ganymede was Rosalind, which allowed the intensity before the resolution to build for Rosalind, especially as she related to Orlando. That last scene where she tells him that he will be married tomorrow was always one of the hardest for me to act because Rosalind is balancing so many things and emotions. BTE's Rosalind did very well to balance everything, but I felt that Orlando carried the scene. His love and patience with her, combined with his frustration that she was keeping up the ruse was really powerful. You wanted him to just tell her to stop playing around and be honest with him, but then when he cared enough to play along a little while longer, was really beautiful. To me, it conveyed what I always wanted to when I acted that scene with Thomas. It makes Rosalind finally feel safe enough to give up her control and games, and it makes Orlando be an intelligent, compassionate man in love, rather than a manipulated, frustrated man that you wonder will stick out the relationship (as accused by a classmate in a essay back when we were reading it in college). You know that they will love each other for a long time because they now trust each other well enough to understand each others' fears and masks.

I missed some of my favorite lines, and I missed some of the characters, but they got so much of the emotion and characters just right that I really enjoyed it and wished everyone could have seen it.

And their final song has been stuck in my head ever since.

Final Costuming Post

Here are a few other photos from the play.

Orlando and Adam

Jaques and Duke Senior

Silvius and Phebe

Lady Frederick and Duke Frederick

Orlando, Rosalind (Ganymede), and Celia (Aliena)

Spying on Phebe and Silvius

Phebe and Silvius

Touchstone threatening William

Oliver and Celia (But for the bloody napkin!)

Touchstone and Audrey

Wedding Scene

Jaques de Boyes (played by my brother, the director)

CAST PHOTO

Costuming 5: The Beard

In our interpretation, Sir Oliver Martext was actually a decent man, he was just a back wood preacher. So he served as our Hymen too. However, the actor also played Adam and has a very youthful face. To help both give him age and to build his characters, we gave him facial hair. A grey mustache for Adam and a big ole beard for Sir Oliver Martext.

I have made facial hair pieces in the past, and reusable ones at that. By attaching the crepe hair to netting or tulle, it can be removed for future performances, saving hours of prep time. However, for each of those, the hair was supposed to stay on the entire performance (mostly). And I had time to build the facial hair piece on the actor.

For this piece I had neither of those options. The Beard could not be glued to the actor's face, but able to be added and removed easily. And I had no time to build it on him since I made it either the day or the day before the play opened. I also realized that my latex glue was completely dried up and the spirit gum was glued shut.

I took a brown felt ribbon and in the middle sewed a little piece forming a little pocket for the chin to fit into. That way it wouldn't slip while he talked. Using our Yorick Skull (that we got for our pirate party), I glued the tulle onto the ribbon with felt glue. I then untied the ribbon and added the beard hair, still using felt glue. The funny thing about felt glue is that it doesn't dry as quickly and leaves all sorts of residue on fingers and combs and scissors and anything that it touches, but at least it dries clear. I used a lot of glue, but some of the hair still didn't want to stick.

It was a tricky, sticky process. But when it was done, I was very proud of it.

Costuming 4: Phebe's Wedding Dress

In our telling of the story, Phebe was a lady of Duke Senior's court who was banished with him. In her banishment, she was "discovered" by Silvius, a local farmer, who desired her hand in marriage. She thought herself to far above him in education and literacy, so was quite attracted to the intelligent shepherd Ganymede. Her dress, while not the height of fashion was to have a little taste of the Court.

Similar to Rosalind's, Phebe's dress was made out of a lace table cloth. However, this tablecloth was much heavier, so I had to make the dress in two pieces, a skirt and top. Because of the pattern of flowers, I made a straight skirt attached to a waistband. The top was similar in style to Rosalind's, except it had a side opening. The velcro wasn't really strong enough to hold the weight of the material and was always coming undone. Fortunately, she too had an under-dress.

I didn't get to finish her dress either. It was supposed to have lace over the shoulder straps that matched the pattern of the dress. And I wanted to make the side openings a little stronger. But I think it looked really good on her.

Costuming 3: Rosalind's Wedding Dress

The plan was to make three flapper dresses that could be used in the court scenes, then slightly altered for the wedding scene. After using an old sheet and some lining material to make some low-waisted knee-length dresses, I realized that this plan was going to be a lot of work. People also began mentioning flapper style dresses that they had and the two huge sequined dresses that I had also fueled my creativity.

To make a long story short, Rosalind, Celia, and Lady Frederick (Lord 1, in the script) had one set of dresses and Rosalind, Celia, Audrey, and Phebe had another set of dresses. We borrowed Rosalind and Celia's court dresses. I altered Lady Frederick's dress and Celia's wedding dress. I let Audrey use one of my dresses (which just so happened to be Phebe's wedding dress when I performed the play) and made Rosalind and Audrey's wedding dresses.

Searching for inspiration in the many boxes of material in our props room, I found some old tablecloths donated because they were stained. I brought them home, sprayed them with stain remover, and washed them. I then brought out my mother's dress form and began playing around. After draping fabric and pinning and re-pinning, I had a dress I was some what pleased with. Please remember that I had already made the under-dresses, so it wasn't just a lace dress.

Using half the tablecloth, I positioned the center of the table cloth in the center of chest. I then draped it so the hem was even and cut under the armholes. I held out the extra material in the back and pinned it closer fitting in the top, but gradually becoming the full width of the table cloth by the hem. Then using some of the other half of the table cloth, I made strips to go over the shoulders.

The trick was getting it off the dress form and sewn together. By neglecting my poor baby, I managed to get it done in about a day. It is accented with roses (hand sewn on by my loving mother) and a ribbon to cover up some mistakes. The ribbon ties in the back. I wanted to have good closings, but I had to settle for velcro because of the time crunch. I also don't know how I would get the closing I want without making an under-dress that I would attach the dress to, but since the dress has a back closure and the under-dress that I had made has a side closure, it didn't work with this one.

The finished product was a straight dress, with enough elegance to fit Rosalind's past, but enough simplicity to fit her current situation. Now that I have had time to look at it and think about it, I have a few things I would have done differently, but alas, Time has a way of doing that, but I know what to do if we ever use it in another 20's play.

Costuming 2: Duke Frederick

I used Al Capone as my model for Duke Frederick. However, the actor playing this character, rather than being a large man was a beautiful high school girl. She was also playing the Duke Senior, so I had to develop two costumes that looked different enough, but also made her look somewhat manly.

For the Duke Frederick costume, I borrowed my dad's beautiful grey pin-striped wool suit. It fit the girl in the shoulders arms and length, but had enough room around the midsection for me to build a little bit of paunch.

I got from the thrift store a short sleeved shirt (I didn't want her to be too warm as she was always changing costumes and wearing multiple layers,) and a tie. My original plan was to stitch the shirt into the suit using large hand stitching and stuff between the layers. However, I couldn't get the jacket to lay smoothly on the shirt. So I made a black vest and stitched that to the shirt. I then stuffed the front and sides. Under the jacket, it looked like she was wearing a three piece suit, and was slightly portly. Not much, but just enough to fill in her feminine curves.

The most exciting thing to me was that when she put it on, she began to move differently and was able to complete the look by not moving like a girl. In fact, my favorite scene was of her threatening Oliver. So subtle, so classy, so menacing!

I wasn't thrilled with the way the hair worked, but sometimes it worked better than others. Trying to get long hair tucked into a hat without looking like lots of hair is tucked into the hat is very trying. But she was such a good sport about it. I didn't make anything for Duke Senior, just insisted that she wore a huge baggy sweater that was similar to a farmer picture I found (but didn't save and now can't find it again).

The final thing about this costume that took a lot of time was replacing all the buttons with velcro so she could change faster. Then I had to sew the buttons on top, so it didn't look like she was missing buttons. After all the time I spent on it, I hope this shirt comes in handy for future plays too.

Costuming 1: Introduction

Play: As You Like It, by William Shakespeare
Setting: 1920's
Director: Keith (my brother)
Costumer: Me

It amazed me how well this play fit in the 20's. From the power play between the Dukes, to the class system, to the "wrestling/boxing match," things kept coming up that fit perfectly. We had Al Capone as a model for Duke Frederick and Charlie Chaplin as a model for Touchstone. I also used Jack Dempsey, Rudolph Valentino, and Louise Brooks for inspiration. Movies such as Chariots of Fire and Enchanted April also proved helpful.

I started with the "City" people - Frederick, his lords and ladies, Rosalind, Celia, Oliver, and Touchstone. My director's idea was to use the power-play of the 1920's gangsters to explain the setting, so I researched Al Capone and his influence on society to build the costumes. In my research I spent at least an hour drooling over the suits and dresses on Boardwalk Empires Facebook page.

Rosalind and Celia were to be flappers, but not too flighty. I imagined Rosalind to be a bit more "sporty" and Celia more "sparkly." I tried to bring out roses in Rosalind's costume wherever possible. We had one of the characters "Lord" actually be Duke Frederick's wife. I imagined her to be a combination of "The Master's" Wife from Dr. Who and Caroline from Enchanted April. And as soon as I saw pictures of Charlie Chaplin, I knew what I wanted Touchstone's costume to be.

Then moving to the country, I researched farmers of the 1920's. Overalls and jeans were not uncommon, but neither was making hay while wearing dark vests and pants. Keith wanted Duke Senior to be a Gentleman Farmer and create a difference between his rank and Silvius'.

I pictured Rosalind and Celia to dress up as they thought farmers looked, not like they really would have dressed. Corin and Audry were combined into one character and Silvius and Phebe were part of the Duke's entourage. Jacques was a traveler, so I wanted him to convey the idea of being well-to-do, but also travel worn.

I am very happy with the way everything turned out, but there were a few pieces that I was especially proud of, so in following posts I will show pictures and explain what they are and how they came to be.

Girls Club Pictures

This one was hard to make. There were so many great pictures to choose from, but here are the ones I chose to capture the fun of the evening. Believe it or not, we talked about what made good outfits - things like it matching and fitting and not being to crazy. You can tell they understood the lesson, can't you?

Catch-up UPDATED

This is about three weeks over due, and there will be more coming, but here you go, girls!
I hope you like it. Coming soon: Dress-up Clothes.

UPDATE: