#Prince aladin costume trial
#Prince aladin costume professional

Can you tell us how much of that early development you were apart of? T/S: This production of Aladdin has had a bit of a life even before its Toronto try-out or move to Broadway. Things happen as they are meant to and try to enjoy each step of the process.” I’ve learned that the process of maturing as an artist working in the theater isn’t to be rushed. The arrogance of youth! It took 15 years to land my first Broadway Show and another 6 years to land my second. I remember when I got out of school thinking I would give it 5 years and if I wasn’t working on Broadway I would go back to San Diego and teach. While I was doing that I designed everything that came my way and the jobs got bigger and the budgets trickier to manage. I stayed there until 2002 so it was close to being a 20-year chapter in my life. It was an incredible blessing in those early years to have a shop at my disposal and a steady income doing what I loved. When I graduated in 1983 I was hired by the undergraduate theater program at NYU to run their costume department, getting the student productions on their feet and eventually teaching design.

NYU is an amazing program with a brilliant faculty and New York City as your playground.

#Prince aladin costume trial

It was trial by fire once I got to New York but my experience at NYU was crucial in my development.Ĭourtney Reed as Jasmin. Grossmont Junior College hired me to design a number of plays and musicals for them. In the year and a half before moving to New York I designed every thing I could get my hands on. NYU accepted me and I moved to New York in 1980. I was 20 years old and completely unskilled…I had never drawn or sat down at a sewing machine but I had a background in play analysis through my studies in dramatic literature. I finished up my credential over the next year and a half and began to prepare to interview for the NYU Master’s program in Costume Design. Bob saw something in me that even to this day amazes me, and he inspired me to go to NYU and study costume design.

#Prince aladin costume professional

He was a visiting professional who was interviewing the SDSU Master’s Candidates in costume design. I was in my senior year and design was the furthest thing from my mind but the professor suggested that I sit and talk with the designer Robert Morgan who was in town working at the Old Globe Theater. It wasn’t design as I’ve come to think of it, but was an exercise in matching period paintings and portraiture to classic plays. The class was set up to design characters from classic texts (THE SCHOOL FOR SCANDAL for example) as we studied each period.

Gregg Barnes: “I was an undergraduate student at San Diego State University majoring in dramatic literature and happened to take a Costume History course to fulfill a humanities requirement. Tyranny of Style: Can you begin by telling us a little bit about your education and background in costume design? Gregg opens up about his career in costume design and the exciting process of bringing this much beloved cartoon to the stage!Īdam Jacobs as Aladdin. He has been working on his latest show, Disney’s Aladdin on Broadway, throughout its evolution over the last three years. Gregg Barnes is a Tony Award winning costume designer, best known for incredible Broadway designs that range from Legally Blonde to Follies, and Kinky Boots.