ANASTASIA
Anastasia appealed to me as a costume designer because of its extraordinary range of periods, places, and social worlds. We begin in early 20th-century Russia, where the elegance and privilege of the Romanov family contrasts sharply with the lives of ordinary Russians. The story then moves into the 1920s and eventually to Paris, with brighter colors, fashionable silhouettes, nightclub dresses, and evening gowns.
The Neva Club gave us another perspective, with Russian dancers whose costumes evoke an earlier, romanticized Russia, while the ballet sequence creates an atmosphere of formal evening dress, black tie, and theatrical glamour. I loved the challenge of bringing these very different influences together into a cohesive design.
Although we had a good-sized budget for a community theatre production, the scale of Anastasia meant it still had to be used carefully. We thrifted, altered, repurposed, and built wherever possible, saving our resources for the gowns and hero pieces that really needed to carry a scene. Assistant Costume Designer Lynne Donaldson was invaluable throughout, bringing ideas, problem-solving, and creativity to every aspect of the costumes.
Wigs were also a significant element, with 25 used throughout the show. Wig Designer Ry-n Shimabukuro brought an incredible level of artistry to the characters and period. Ry-n is brilliant at what he does and such an asset to the Maui theatre community. His work added another layer of transformation that was essential to the overall look.
Six days before opening night, the Sewing Hui studio flooded due to Hurricane Lala. It was overwhelming and shocking to see the space, equipment, and supplies we had been relying on suddenly disrupted when we were still finishing costumes and handling all those inevitable last-minute details. But in the middle of that crisis, our level headed Studio Coordinator Patty Davis stepped up and got us on track. We packed up sewing machines, tools, and supplies and moved into MAPA's dressing rooms, where we worked together to finish everything.
MAPA gave us the space and flexibility we needed, and the cast met an incredibly difficult week with patience, kindness, and good humor. Everyone kept moving forward, helping wherever they could, and we got the show onstage. Anastasia will always be memorable to me not only for its scope and beauty, but for the remarkable group of people who came together to make it happen under circumstances none of us could have anticipated.
Anastasia, Maui Academy of Performing Arts, 2026. Director: Carolyn Wright. Scenic & Properties Designer: James Devereux Tait. Co-Lighting Designers: Maggie Lloyd & Mark Astrella. Projection Designer: Markus Kuenzel. Assistant Costume Designer: Lynne Donaldson. Wig Designer: Ry-n Shimabuku.
Photography by Chelsea Fine
