Eau Claire Children’s Theatre costume designer Ann Behrens shows off a costume that's deer to her.

When you watch a theater production, what do you notice first? The careful delivery of well-crafted lines? The shadows cast by the actors as they step into the spotlight? The first few notes of music that float over the air as the curtains are drawn back? While the words, motions, and music are integral parts of the show, one thing that ties them all together is the dress.

As a past costumer myself, I can attest that not only is it an art full of creativity and innovation, but this time-consuming and, at times, exhausting field adds that note of believability that most shows would fail without.

Deciding to revisit my high school drama roots and explore the world of costuming in Eau Claire, I found that it’s a realm that draws you in, whether you intended to make it your career or not. Volunteers, moms, middle school teachers — these are our costumers. They work with everyone from students to theater veterans, imparting their knowledge and experience. But where they got their start and how they “make it work” varies from artist to artist.

“I’m a non-traditional costumer,” said Ann Behrens, 20-year ECCT and five-year UWEC costuming veteran, joked. “I didn’t go to school for this, but when my daughter was in her first Eau Claire Children’s Theater show and I helped with the costumes, I got really excited about it. I got the theater bug.”

When she first began, Behrens was a volunteer who sewed costumes from home. Eventually, she was offered a full-time position at ECCT, where she still works today. And it seems another costumer in the area started in a similar way.

Seventh grade teacher Kathy Look began with the show My Fair Lady, at the Chippewa Valley Theater Guild. 

“I was approached by the assistant director to costume the show, and I told her I didn’t sew clothes,” she said. “To be honest, I had no idea what I was getting myself into, but I trusted her. I ended up having a ball and now I’ve costumed three shows so far, the last one being Chicago.”

But no matter how someone gets their start, it’s what they add to the show that stands out the most. The day-to-day rigors of single-handedly costuming an entire production can be trying.

    When it comes to more modern productions like Rent, the research isn’t as heavy-handed. However, when it comes to period pieces such as 1776, Behrens said she could spend hours pouring over library books, websites, or videos.

“It’s inspiring,” she said. “Once I have an idea of how I want the costumes to look, I make it my own by starting with a basic pattern and design and embellish from there.”

Behrens said you have to think of interesting ways to represent the character that aren’t always literal. For example, she might take one element of a character’s costume to create a representation of who that character is. For Seussical she used a wrinkly gray fabric to represent Horton the Elephant and embellished a suit with it.

Though Look hates to start from scratch, she loves to add her personal touch to each piece, too.

“Day to day you get the director’s vision and you get to add your touch,” Look said. “But the important thing you have to remember is that actors often have to sing and dance in these clothes – they need to be comfortable. It can be difficult to incorporate your vision into a working piece of clothing.”

While the making of costumes is a big job, the work of a costumer doesn’t end after the last stitch is sewn. “I become like a fly on the wall backstage,” Look said. “I watch for costume malfunctions and changes between scenes. When they need me, I’m right there ready to fix something or help hurry someone out of their costume and into a new one.”
Behrens additionally rents costumes fr    om ECCT’s enormous storehouse to schools across the nation and Canada. “We get a lot of orders for shows like The Wizard of Oz, The Sound of Music and A Chorus Line,” she said. “It’s important that we build the costumes to last.”

Both offered advice to those looking to get into the field. The most important thing is the ability to be creative at a moment’s notice, Look said.

“A lot of people will tell you to be a costumer, the most important things you’ll need are a sewing machine and an iron,” she said. “But, to be honest, the best qualities a costumer can have is a sense of humor and a good work ethic.”