Behind the Seams: Sewing Hui Mentorship Students Bring The Revolutionists to Life
- Admin
- 17 minutes ago
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WAILUKU — In The Revolutionists at the Maui Academy of Performing Arts (MAPA), four women of the French Revolution take center stage. The costumes they wear are the result of thoughtful design, historical research, and hands-on student mentorship through the Costume Design and Production Mentorship Program at the Sewing Hui of Maui, a 501c3 non-profit organization.
The production stars Bobbie Jo Curley as Olympe de Gouges, Leighanna Locke as Marie Antoinette, AJ Ching as Marianne Angelle, and Lily Werner as Charlotte Corday. Set in 1793 during the French Revolution, The Revolutionists blends historical figures with contemporary language, humor, and themes. Sewing Hui Founder, Costume Director and Designer Jennifer Oberg said she was drawn to the production because it offered both historical grounding and creative flexibility.
“The play is set in a clearly defined historical period, but it also allows a more interpretive design approach,” Oberg said. “That allowed us to honor the era while making choices that support the story and the characters.”
Because the show features only four characters, it provided an ideal learning opportunity. The mentorship program is structured to mirror a professional costume shop, similar to the union and non-union shops where Oberg worked in film, television, theater, and opera. “The scope of the production made it possible for students in our Costume Design and Production Mentorship Program to participate in building complete costumes from scratch,” Oberg said. “Every dress on stage, including a vest, a denim coat, a pair of bloomers and knickers were made in our studio. That kind of experience is incredibly meaningful for young designers and costume creators. It teaches not only design, but construction skills, fit, function and how that relates to story-telling.”
A Design That Evolved With the Story
Oberg said her design approach shifted significantly after hearing the play read for the first time. Initially, she imagined leaning into the comedy of the script, using playful fabrics and color choices while maintaining period silhouettes. That perspective changed after attending the first read-through with the four actors.
“Even though there are many comedic moments, by the end of the play it is actually quite serious,” Oberg said. “I was concerned that costumes designed for humor would overpower the drama and undermine the message.”
After discussing her thoughts with co-directors Carolyn Wright and Eliza Wright, Oberg reworked the design plan. The redesign unfolded through sketching, multiple meetings, and close collaboration with the directing team to refine silhouettes, color palettes, and the visual arc of each character. The playwright specified that one character wear a white dress at the end of her life. Jennifer suggested dressing the other two characters who die in white as well, creating a visual contrast with the surviving character.
As rehearsals progressed, the costumes continued to evolve. Practical discoveries led to refinements. Marianne’s original jacket design was adjusted when it became clear the jacket would be coming on and off frequently, so a vest was added to maintain a cohesive look. Her red sash, initially planned as an exterior element, was ultimately worn beneath the jacket, a historically grounded choice since such a visible symbol during the period could have been dangerous.
Period-Inspired, Not Period-Accurate
While Oberg did research, the costumes for The Revolutionists are period inspired rather than strictly period accurate. The costumes incorporate deliberate contemporary details to bridge the gap between history and present-day audiences.
Marie Antoinette carries a Hermès-style purse and wears rose-colored glasses, a visual metaphor for her idealistic worldview. The spy Marianne carries a modern messenger bag, emphasizing her agency and movement. Olympe, the writer, wears contemporary red reading glasses, signaling intellectual intensity and the ability to see the world with conviction. Charlotte Corday, the assassin, wears a modern Lacoste watch with a red silicone strap, underscoring her fixation on time as she prepares to assassinate Jean-Paul Marat. Her long dark coat is in the silhouette of the time period, but is made from sturdy modern denim with top stitching that we see on jeans today.
“These details are intentional,” Oberg said. “They help connect the story to the present and remind audiences that the play’s themes are still relevant.”
Oberg also pointed to the dramatic shift in women’s fashion between the 1770s and the 1790s. During the earlier Rococo period associated with Marie Antoinette, women’s gowns emphasized opulence and exaggerated silhouettes, supported by panniers, large side hoops that extended skirts dramatically. As the Revolution progressed, fashion became simpler. Corsetry fell out of favor, silhouettes softened, and clothing reflected changing political and cultural values. “Compare Marie Antoinette’s fashion of the 1770s to the style of Jane Austen by the early 1800s. A practical woman like assassin Charlotte Corday is not going to be dressed in elaborate fashion. She's on a mission and needs clothing that will support that,” Oberg pointed out.
Oberg compares the transition to the shift from 1980s to 1990s fashion. “In the 1980s, you see opulence, bold colors, big shoulder pads, oversized hair,” she said. “By the 1990s, everything changed. Fashion became much simpler. Politics and culture always affect how people dress, especially when they want to distance themselves from a certain moment in history.”
Historical Detail and Student Mentorship
Students in the program benefited from guidance by Mary Nowakowski, a Sewing Hui member and university-level costume historian. Nowakowski introduced students to period construction techniques and historical details, including furbellows, decorative ruched trims made from long strips of fabric gathered into serpentine, S-shaped curves and applied along the front edges of gowns. The term furbellow comes from an English adaptation of the French word falbala and was widely used in the 18th century to describe elaborate garment decoration.
Nowakowski also shared lesser-known aspects of Revolutionary-era fashion, such as guillotine necklaces, a striking trend of the 1790s in which women wore jewelry featuring miniature guillotine charms. The necklaces reflected the era’s dark humor and political awareness.
Students in the Studio
Student Riley Franco designed Marie Antoinette’s overall look and assisted with sourcing fabric, accessories and refining details. Under Oberg’s direction, she draped the dress on the form, sculpting the fabric by hand and pinning it in place to define the silhouette before creating the final pattern. “We were incredibly fortunate to receive a donation of hundreds of yards of fabric from Marge Bonar, which has been very useful in teaching students how to drape dresses,” Oberg says.
Other students and volunteers worked collaboratively for 150+ hours on Marie Antoinette to cut out the various fabrics, sew the dress together, create all the ruffles, bows and embellishments and attach them to the dress, along with making a decorated petticoat and bloomers. Riley also served as the show’s assistant costume designer, makeup designer and backstage dresser. “Working on a costume for Marie Antoinette was one of those dreams I thought would never come true, but with this mentorship program, I was given the ability to see my creative costuming skills come alive,” says Franco.
“For students who want to become costume designers, we are teaching more than just design. We are teaching leadership,” Oberg noted. “Being a leader in the costume department means knowing how to communicate with directors, actors, the production team, and your costume makers. It means being willing to collaborate and try other team members’ ideas, while being able to calmly stand up for your own ideas if you feel they are the best for the story. Riley witnessed all of this. She sat in on design meetings with the directors and learned to listen to the actors’ needs as well, while being assertive about keeping her general design ideas intact. It won’t be long before she is ready to design a full show herself.”
Students and volunteers also created from scratch a green overdress and white underdress for Olympe; a blue dress, denim coat, silk knickers, and white dress for Charlotte; and a vest for Marianne, along with alterations on Marianne’s other costume pieces. The total time spent on all four characters, including Marie, was around 350 hours.
Evelyn Evergreen, who Maui audiences may recognize from her role as Clara in The Nutcracker at the MACC last December, participated in the program as a stitcher on Marie's dress. “Thanks to Ms. Oberg and the mentorship program, I learned lots of new techniques working on a beautiful dress. For example, I learned how to do a lining, and make ruffles authentic to the time period,” said Evelyn. “This was a great opportunity for me, because I am interested in historical dresses.”
Additional mentees include Kalia Leuffgen, a junior in high school and Violet Rose, a sophomore in high school, working as stitchers. Aleutian Presley, interested in sewing, patternmaking, upcycling, and textile sustainability, also participated. Eighth graders Maia Benton and Lila Ulene, who previously collaborated on new Soldier costumes for Alexander Academy’s Nutcracker, continued developing their skills through the program.
Sewing Hui volunteers who worked on the costumes include Lynne Donaldson, Patty Davis, Mallory Armstrong, Jani Hoffmeier, Vicky Gray, Pamela Patrick, Gail Norris, Aljona Andrejeff, Mary Nowakowski, Diane Mathison, Cheryl Bien, Shannon McCaffrey, Kathy Amico, Marla McCall, John McCall, Tia Lanzetta, Rita Avancini, and Micah Oberg.
A Collaborative Creative Team
The production is supported by a talented creative team. “What an incredible group of people on this show. It is so good for our students to see their costumes on a professional set complete with proper lighting and sound,” says Oberg. Scenic and Properties Designer James Devereux Tait created an immersive set designed in the round, bringing the audience directly into the world of the play. His design places viewers inside the action, using striking imagery to heighten the immediacy of each moment. Lighting Designer Maggie Lloyd further amplifies that impact through lighting that is both evocative and precise, shaping the emotional landscape of the production. Her work establishes mood, isolates intimate moments, and underscores the gravity of scenes in which the characters confront mortality and consequence.
Sound Designer Harrison Tatik provides a sonic environment that supports both the comedic rhythms and the darker dramatic turns of the play. His work adds layers to the storytelling through music, subtle auditory details, crowd sounds, and stark effects such as the sound of the guillotine, creating a rich and immersive soundscape that draws the audience fully into the world of the production. Behind the scenes, Production and Stage Manager Angel Emerson ensures that every element of the performance runs seamlessly, with guidance and support from Artistic Director Emeritus David Johnston.
The mentorship program also benefitted from the expertise of professional wig designer Ry-n Shimabuku. Shimabuku brought remarkable skill and creativity to the production’s hair design, particularly with the complex Marie Antoinette wig. That wig alone required more than 30 hours of meticulous work, because it had to sit securely atop a second wig hidden underneath. This innovative solution was necessary for a key moment in the show, when Marie removes her elaborate hairpiece to reveal shorn hair just before her journey to the guillotine. Shimabuku’s professionalism and technical expertise not only solved a challenging theatrical problem, but also gave students a rare opportunity to observe and learn from a craftsman at the top of his field.
“It was a thrilling moment on opening night when actor Leighanna made her entrance as Marie, and the audience spontaneously erupted into applause,” says Oberg. “Between Leighanna’s brilliant acting, her incredible wig and magnificent dress, she overpowered the room. I was bursting with pride for our students.”
Voices From the Stage
Performers have taken note of the care and craftsmanship behind the costumes. Actor Bobbie Jo Curley praised the work enthusiastically.
“The costumes are absolutely magnificent, such fine workmanship,” Curley said. “Jennifer pays so much attention to detail. She is so kind and really dedicated to making us feel good and comfortable. I love putting mine on every night. I wish I could keep it.”
Director Carolyn Wright echoed that appreciation. “Working with Jennifer and the Sewing Hui has been a delightful experience,” she said. “The students in the Costume Design and Production Mentorship Program are very fortunate to learn from such a consummate professional. We are grateful for all the hard work Jennifer, her students, and volunteers put into creating the costumes for The Revolutionists.”
Supporting the Program
The Sewing Hui’s Costume Design and Production Mentorship Program is supported through a combination of grants and community donations and is currently 80 percent funded. Continued support is essential not only to sustain the program’s current work, but also to expand opportunities for students. Part of that expansion includes inviting highly skilled professionals like Ry-n Shimabuku to collaborate with the program so that emerging costume creators can learn directly from experts. Born and raised on Maui, Shimabuku has over 20 years of experience with hair and makeup, including film, television, commercials, pageants, bridal, special effects, stage, and theatre. These mentorship opportunities enrich students’ understanding of advanced techniques and real-world practices while ensuring that the program maintains high artistic standards. Community support plays a vital role in helping students envision pathways beyond Maui while strengthening the local arts ecosystem.
“We are looking for additional funding to round out the program,” Oberg said. “One of our goals is to be able to take students to visit university costume design programs, especially for those who are considering pursuing this field at the college level. If you are interested in supporting this program financially, please reach out to us.”
What’s Next for the Mentorship Students
The mentorship continues beyond The Revolutionists. Students will be learning more skills on The Mousetrap, Agatha Christie’s classic mystery set in 1952, at Maui OnStage, directed by Kristi Scott. Students will also have the opportunity to create costumes for Alexander Academy’s Alice in Wonderland, a large ballet production with 150-200 costumes, directed by Amelia Nelson. And next will be A Gentleman’s Guide to Love and Murder, a musical set in the Edwardian era, also at Maui OnStage. New students are welcome to join the program on a rolling basis.
Through mentorship, collaboration, and design, the Sewing Hui’s Costume Design and Production Mentorship Program is creating more than costumes. It is preparing the next generation of artists while enriching Maui’s performing arts community.
To support the program or to inquire about a new student joining the program, please contact Jennifer Oberg at the Sewing Hui at 808-757-5915 or thesewinghui@gmail.com. For more information, visit thesewinghui.com.
To purchase tickets for The Revolutionists, go to MAPA’s website at www.mauiacademy.org. The show runs through February 22, 2026.
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