Ah, Godspell. How you shaped our ’70s Catholic school childhoods by influencing an entire generation of semi-closeted nuns to pick up their guitars and force us to learn half the songbook. Do they still have guitar masses? Or did all those Birkenstock’d nuns finally drop the veil and head off to the Lilith Fair?
Fun idea for an episode, even if costumers from sea to shining sea were grinding their teeth and yelling at the TV (not at the same time because that would be impossible) for misrepresenting costume design. We’re not theater queens (one of the few stereotypes we fail to embody), bu even we know that costuming and fashion design are two very different practices.
And not to be nasty or anything, but who really cares what the actress thinks about the character? She’s not on the short list of people the costumer should be consulting for opinions.
The drama this episode amounted to the same low-key drama we’ve been subjected to all season: Kara is overwhelmed and cries; Kenley is loud and gets on everyone’s nerves. Actually, she only seems to be getting on Mila’s, Mondo’s and Michael’s nerves – and those three are the sourest of the lot this season. That’s a surprising thing to say about Michael and Mondo, but think about it: most of the workroom whispering and confessional-slamming is coming from those two.
Also, Joanna was in a production of Godspell! The things you learn on this show. Go on, Joanna; sing a couple verses of Day by Day for us!
By the way, she really is an excellent mentor and has managed the insurmountable task of making people forget about Tim for a while.
So congratulations, Mondo. Clear winner, to our way of thinking.
Gotta give Georgina some props. With everything else going on here, she managed to zero in on one execution flaw: that uneven hem. She’s technical in her critiques, which is refreshing because it’s not about coming up with the funniest zinger or most creative use of the word “disco.” She gives real, precise, and very on-point critiques, to our pleasant surprise.
Anyway, we loved this look. It’s theatrical as hell and has that theatre-costuming shorthand for “rich” while still maintaining a boho feel that suits the production. It’s also, to our relief, not another Mondo creation of a high-waisted something or other paired with cartoonishly retro styling. He really broke out of his own box while remaining true to himself. You can see that it moves well and that the pieces can be taken on and off onstage. We’ve opined before that Mondo might be a better costumer than a fashion designer and now we’re utterly convinced of it. He addressed every concern of the production, made something true to the character, and rendered it in a dramatic and memorable way. Anyone stepping on stage in this outfit will command the audience’s attention.
And it’s Schmauf Wiedersehen to Kara. We has a sad because we loves her so much.
We agreed with the gist of what the judges were saying: that this was the start of some good ideas, but she didn’t take it quite as far as it needed to go. It looks to us like she realized she wasn’t making something theatrical enough and slapped that big bow on things to bump it up a little. It wasn’t the best choice. Take that bow away and you have the start of a decent costume, but even then, there were choices made that don’t quite fly. This looks a little mature to us; mainly because of the pencil skirt, which seems like a terrible choice for a character who will be singing and dancing across the stage. And despite the jewelry and faux fur stole, it really doesn’t read “rich” in anything approaching a modern way. This is not how young wealthy women dress. This is how old wealthy women dress.
Still one of our absolute favorite of the PR alums, and an extremely talented designer in her own right, but bless her, she just gets too overwhelmed inside the reality TV sausage factory.
[Photo Credit: myLifetime.com - Screencaps: tomandlorenzo.com]