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The Phantom of the Opera

Designed by:
Maria Björnson
Art on display:
Cic members on display:

Red Death built by Parsons-Meares, Ltd., mask and hat by Rodney Gordon, Inc. Phantom beaded cape built by Vincent Costumes, suit built by Eric Winterling, Inc., mask and hat by Rodney Gordon, Inc. Carolotta built by Carelli Costumes. Meg built Carelli Costumes. Masquarade Mandarin & Ribbon Candy built by Parsons-Meares, Ltd. Mme Firmin built by Parsons-Meares, Ltd. Christine's negligee over Slave Girl Costume built by Parsons-Meares, Ltd.

Cic member Costume Credits:

BraTenders, By Barak LLC., Costume Armour, Inc., CEGO Custom Shirts, Ernest Winzer Cleaners, Parsons-Meares, Ltd., Rodney Gordon, Inc., Vogue Too Pleating, Stitching and Embroidery

Phantom Suit and Cape - Silk tailsuit worn by the Phantom.  For an elegant man of his time, after the sun goes down, this was pretty normal stuff. 2 piece tailsuit of woven patterned silk.  Silk faille waistcoat, shirt and silk bow tie. (Eric Winterling, Inc.) Wool sateen cape with jet embellishments. (Vincent Costumes) Fedora and Mask (Rodney Gordon, Inc.) Black leather boots with red lining. (T. O’ Dey)

“Meg” from IL Muto - The Jeweler’s Assistant.  In the ‘opera’ of IL Muto, the non-speaking super’s role is being played by a member of the corps-de-ballet,  Meg Giry.  A very typical costume for an opera in the style of the Mozart era. Lavender and blue metallic brocade bodice and skirt with a lace fichu and ruffled underskirt. Dress.  Carelli Costumes

“Mme Firmin” - Wife of the owner of the Paris Opera.  This is a “waterfall” bustle dress from the fashion era when the wealth of the husband could be easily gauged by the elaborateness of the wife’s dresses. Bustle Dress, Eric Winterling, Inc. Necklace.  Miriam Haskell. Wig. Leone Gagliardi

“Ribbon Candy” - From the Masquerade scene.  This costume is meant to represent a confection, to be sure.  However, in the Victorian era, this ensemble would have been considered pretty racy because you have such an un-interrupted view of the female leg. Paneled bodice,  skirt, tights, & hat all matching. Costume by Parsons-Meares, Ltd.

“The Countess/Carlotta”  in Il Muto - From the Il Muto “opera”.  Just a little something you might wear to receive your guests who are lucky enough to be on the list of those allowed to the Boudoir.  (In this case, the Hairdresser, the Jeweler and his assistant, and her Confidante.) Corset, petticoat, and Negligee robe. Costume by Carelli Costumes. Embroidery by Penn and Fletcher Wig, Leone Gagliardi

Mandarin” - From the Masquerade scene.  A lovely example of the lengths people went to  when creating a persona for a fancy dress Masquerade ball.  Multi-color metallic brocades with embroidery, piping, and sequin embellishments. Tunic and breeches by Parsons-Meares, Ltd. Hat by Rodney Gordon, Inc. Boots by Montana Leatherworks.

Christine” Negligee - Dressing room scene, into the Lair.  When the Phantom lures Christine out of her dressing room after her surprise debut, she has put a silk dressing gown on over her Slavegirl costume. Hasn’t quite had the chance to get back into her own clothes. Ivory silk jacquard, with silk burnout ruffles. The Slavegirl costume is multi-paneled velvet with gold trims and hand-painted fringe skirt. Matches the set worn by the Corps de ballet. Costumes by Parsons-Meares, Ltd.

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Production Credits:

ADDITIONAL COSTUME CREDITS: Barbara Matera, Ltd., Vincent Costumes, Inc., Woody Shelp. Backdrop hand-painted by Hochi Asiatico, Julz Kroboth & Chris Muller.

Production Photo Credits:

Pictured: John Riddle & Meghan Picerno. Photo by Matthew Murphy. Pictured: The Company of THE PHANTOM OF THE OPERA. Photo by Matthew Murphy.