Anja Schulz-Hentrich (Photo: Renate Liedtke)
Scenic exercises and work in the sewing workshops have already begun. There are more than 55 artists on stage. They must all be tightened to the conceptual specification. Fashion designer Anja Schulz-Hentrich is responsible for designing the costumes for The Three Musketeers. The scope is enormous. Rinat Lydtke started a conversation with her.
R. Your Lady: You just showed me two poles–only with the ladies’ and gentlemen’s costumes in ballet. What roles are assigned to all of these costumes?
a. Heinrich Schulz First, the dancers slip into the roles of actors and horses, after which they have to very quickly transform into Parisians, then they appear on stage as guards in the cardinal’s army, after which they very quickly turn into knights again very quickly goes to the Milady de Winter number, where the ladies And ballerinas are very sexy and elegantly dressed. And then there’s a procession of women again like Parisians at the cabaret show number – with really fumbling, and that’s at 1 minute 40 seconds, and then there’s some guards, and others can actually change their clothes, and those, the bouncers – if you’re in costumes, you gotta hurry on these Step, because then you are a baroque hunting party and the ladies are animals. Then they have less than three minutes to turn into knights. This is the first chapter there are two works.
Do you already know the times when the other rallies should take place?
I’m not 100% sure of all of them yet, but going from “sexy chic” to “Parisian chic” takes 1 minute 40 seconds. Dancers have to rush off the stage to a small closet under the corridors of Sondershausen Palace, where they have to change clothes and wigs very quickly. And that in one minute and 40 seconds. I still don’t know how to do that.
Are there additional women’s clothing?
Yes there. Additional stylists were hired and more staff in the makeup department was also planned, otherwise it would be completely impossible. The mask is distributed in different rooms in the castle. The higher chambers are planned for “slower” movements, which can take approximately four minutes, and the mask below is set up for very fast movements.
We only talked about ballet, but there is also a choir and soloists …
The ladies of the choir all wear three costumes, the ladies four, and some men also have individual assignments, so Jens Bauer plays King Ludwig XIII. Bonacio, Constance’s husband, is Mr. Radev and is also a Senior Ranger.
But these many costumes can’t be sewed, are there some in the store?
A large portion is in stock, as well as many new products and some clothing has been purchased and adapted. There are more than 200 costumes in total.
How were your figurines made? You even draw them.
I gather my inspiration up front, find a basic idea and do a quick sketch. Then you have to design everything in an attractive way for the presentation in front of the group, so I draw the sculptures for that. It is also an important reference point for garment masters. These painted figurines make it easy to understand what I’m talking about. Theoretically, I could also create the template on the computer, but I noticed that the path from the head through the hand to the paper makes a lot of sense, because when I try it I immediately remember that I have drawn a ring or a pearl necklace and additional shoe buckles are planned.
Is the jewelry part of the costume or the prop? The piece of jewelry plays an important role in the musical.
Although jewelry is a prop, it is definitely always a part of the outfit. I won’t want to let that go I can’t just put any earrings on, I’ll organize that – including the Queen’s necklace in particular.
Did you buy that extra?
Yes, diamonds were bought – cheap rhinestones, of course. But then a problem arose. When I picked up the necklace, it was twisted. The actress who plays Anna Austria should very quickly put her on the scene. Anna pledged the jewelry to the Duke of Buckingham. When the king asks her to put it on the ball, she has to get it back and put it on as quickly as possible. It should not happen that the singer on stage begins to sort out the links of the chain first. I had a hunch I might have sewed the tulle behind it to keep the necklace shape – plus a magnetic closure so it’s easy to put on quickly. But I’m afraid the necklace is too heavy for a simple magnet. I have to think of something there too.
Conceptually, you want to build a bridge from history to today – says director Sabine Stirkin in the concept presentation. Does this particularly stimulate your imagination?
In old historical films, good-looking and charming men are often overwhelmed with pointed collars, tall boots and arm bracelets. We have a great staff, I didn’t want to hide our reps. In terms of approach, it’s historical fashion, but it’s liberated from frills. There are leather coats, of course there are also boots, but that has been carried over to today.
What outfit did you have to think about the most when approaching it?
That AD de Winter. The character claims to be a beautiful and attractive woman. She’s always portrayed as a monster, but you have to look closely at the source of that – she was raped when she was 15 and then also called a prostitute and left Porthos for it. She played with the materials on her costume. The costume has leather parts, but I combine the leather with delicately shimmering chiffon, because it actually has a very thin and fragile side. This you are trying to hide with the skin. The combination of the two materials also makes everything look very interesting.
Is there a horse on stage too?
Yes we need a horse D’Artagnan has a horse, which is Pomme-de-Terre. Our horse is represented by two ballerinas, one is in the foreground with the horse’s head and the other is the stern with the tail. The two could go their separate ways. For the sound of horses pounding, I got Irish tap boots, which are a little more subtle than regular tap boots, so the feet get something like a hoof and the rattling sound on the sidewalk or stage is great.
What is stressful about your job?
Organizing fixtures. Organizing fittings for 55 people during times when the sewing shop is busy and when there is no training for the people involved is an incredible logistical effort. But the fixtures themselves are great fun. It’s a great band, and the new guests are all very charming and looking forward to what’s next. And when the performer feels comfortable in the costume and I get good feedback, that of course makes me very happy.