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THE HOUSTON GRAND OPERA

PRESENTS

THE MERRY WIDOW

January 30th - February 16, 2003

 


Hanna (Susan Graham) is wooed by the Parisian bachelors St. Brioche (Nicholas Phan, left) and Cascada (Aaron Judisch, right) in the Houston Grand Opera's 2003 production of Lehar's THE MERRY WIDOW. Photo by George Hixson. For tickets and general information, please call 713-228-OPERA or 1-800-62-OPERA.

HOUSTON GRAND OPERA
INTERVIEW WITH MELISSA GRAFF
COSTUME DIRECTOR FOR HGO


January, 2003
by Theresa Pisula
HoustonTheatre.com

All girls grow up loving to dress up Barbie Dolls. In this interview, we will meet a lady who does just that for a living, but in a much grander scale. Melissa Graff is the Costume Director for the Houston Grand Opera and she dresses up hundreds of Barbies and Kens, well-renowned and internationally recognized opera singers, dancers, and actors. With this "Dream" job she has the distinct opportunity to shop for all the clothes, shoes, and accesories, fabrics, in other words, "the ultimate shopping experience."

Melissa Graff was the Costume Designer for the Houston Grand Opera's production of Little Women, which was broadcast in August 2001. It was the first world premiere that HGO has ever revived, which was remounted in March, 2000. It has since gone on to many opera houses nationwide and is widely considered the next great American opera.

Melissa Graff has been with Houston Grand Opera since 1987, becoming the costume director in 1993. Ms. Graff was the costume designer for the 1995 Houston Grand Opera Studio production of Savitri, and the 1999 MMS production of Madame Butterfly; she has also designed additional costumes for the international tour of Porgy and Bess. She was the costume designer and costume realizer for HGO's world premiere of Carlisle Floyd's Cold Sassy Tree. She has assisted in and realized many productions for Houston Grand Opera, including the 1997 production of Hansel and Gretel designed by Maurice Sendak, the 1998 Multimedia Modular Stage production of Carmen and the 1999 world premiere of Tod Machover's Resurrection.


The can-can girls from Maxim's surround Danilo (Bo Skovhus) in the Houston Grand Opera's 2003 production of Lehar's THE MERRY WIDOW. Photo by George Hixson. For tickets and general information, please call 713-228-OPERA or 1-800-62-OPERA.


Upon talking to Melissa, I found out that she was born and grew up in Houston, Texas. Which probably explains why she's very humble, and down-to-earth. She doesn't like to talk about herself much. Which is a quality that is very much unlike the more uppity, ostentatious "thinks she's better than anybody else" diva Martha Stewart. So instead of causing Melissa any undue embarrassment, I tried to focus the interview on her work with the Houston Grand Opera. Which is in itself, quite ostentatious. Joy Partain, the public relations contact at HGO, also joins us during the interview. Through the production of The Merry Widow as it is displayed in the pictures of this article, and through the costume design career of Melissa Graff, one can see that she takes pride in what she does and what is presented and that she works extremely hard.

Theresa: In preparing for a major production like The Merry Widow, what is your role in the grand scheme of things?
Melissa: Mmmmm. Where do you want me to start? (laughs)
Theresa: What is your first priority?
Melissa: A year ago, I went to San Francisco and saw the show because it's so big, and so massive. It was good for me to go and see what's happening, and we basically start.....they send us a book with pictures and plots that tell us who wears what and start doing research for what shoes we need and undergarments we need. We start looking at the size of the costumes that are coming versus the size of our people, to see if we're gonna have to build anything to accomodate, cause not everybody fits. It's like me trying to fit into your clothes or you trying to fit into my clothes.


THE MERRY WIDOW: Backstage with the performers in costume. The Houston Grand Opera, 2003.


We start setting up the shipping, we get it here, we unpack it, we get it behind everybody's name. We start fitting it, everybody's gotta come to the fitting. Let's say we do all the fitting, and buy the fans, and buy the gloves, buy the shoes.

Theresa: You go out and shop for everything.
Melissa: I don't. I just make sure it happens.
Theresa: But that's like the ultimate shopping experience. You just supervise the shopping.
Melissa: I have a staff, I have 5 people that work just strictly, unpacking, organizing, working in the fittings. I have 2 assistants, one is administrative, who would take care of the shipping aspect and bringing the supervisor's here during their travel. One assistant who is in the production who has done all the research for me to approve as far as what shoes we need to purchase or pull or brought, beg or borrow or steal at this point.
Theresa: And you supervise everything.
Melissa: And then I have someone who actually receives the labor, who stays in contact with me to let me know if we need more or less.

Theresa: Where do you shop for shoes? (laughs)
Melissa: All over the world. Seriously, I have a lot of sources.
Theresa: Do you use the internet a lot?
Melissa: Yeah, we use the internet. I have file cabinets full of sources. And there are places you can buy 'em. It's not that hard. They're not all identical, but they're not bad. We have dancers in this show, so we have to use dancer shoes. I'm just saying this because dancers are not......well, they're more difficult..........
Theresa: (laughs)
Melissa: We fit everybody, we do alterations.
Theresa: Wow.
Melissa: Get labels in them with their names on it. It's a lot of organization.
Theresa: So you start from scratch.....
Melissa: Basically, except for the clothes coming in. These came in from the San Francisco Opera. Every show is different. This is a rental.
Theresa: You mean, The Merry Widow production is a rental from the San Francisco Opera.
Melissa: Yes, in hindsight, although this is very difficult, it is easier than starting from scratch. (As opposed to a show) where you look at a sketch and you have to do every single little detail. This show, we rented all the costumes from the San Francisco Opera.
Theresa: How difficult is it when everything is new?
Melissa: It's more difficult, because you start with just sketches and you have to decide where you're gonna have them built. You have to start all the research, to find all the pieces. And then, on top of that, you have to create like, what we call a bible, that has every single little piece, and every swatch of fabric, and where it was bought and how much it cost. We have to buy the fabric, get them shipped wherever we need them shipped.
Theresa: It's pretty glamorous (laughs).
Melissa: No, it's very hard work (laughs). It's not glamorous.


HGO Costume Director Melissa Graff sits with Joy Partain (HGO Public Relations)

Joy: (joins in the laughter.) How far in advance do you have to prepare for a premiere versus a rental?
Melissa: For a premiere? We like to have those started at least a year out. We're lucky if we get that. It's rare that we get that. Our timelines are a year to a year and a half.
Theresa: And you try to be as close to authentic as possible.
Melissa: We try to be as authentic as possible, oh yes. Even the women's foundations (for make-up), what they wear. They're usually are, of the period. All the women in The Merry Widow are in corsets, and that's what they wore. And it's a certain corset, a certain style. There's a lot that goes on putting on a production.


Danilo (Bo Skovhus) tries to resist the charms of Hanna (Susan Graham) in the Houston Grand Opera's 2003 production of Lehar's THE MERRY WIDOW. Photo by George Hixson. For tickets and general information, please call 713-228-OPERA or 1-800-62-OPERA.


Theresa: I actually consider this as a dream job (laughs). You're like the ultimate shopper, you know?
Melissa: Yes, you are the ultimate shopper (laughs). I know, but it's really not. It is very frustrating (laughs). I may have 4 or 5 people shopping for me, and bringing it to me to approve it. To say, yes or no, this won't work, this works, especially in a new production, there is more "new" things. And if you can't find it, it's even harder. We have things come in by mail. We have people beating the streets, I have people sometimes that I hire and I tell them what I'm looking for, they go out and do it. So, I'm not the ultimate shopper, I just pick from what they bring me.

Theresa: For this production, how closely do you work with the Costume Designer, Thierry Bosquet (who currently, is in Europe).
Melissa: Actually, I did not work with him at all, because he did not come with this production at this time. His schedule did not allow it. So, basically, I had so much information and I work with that. I did fax him last week to tell him these are the things where I've made changes. 'Cause you always have to make a change, the hat doesn't work for one person because she's taller or she doesn't wanna wear it, or something.....where the style or the dress is not great for that person's body type, so you wanna make a few adjustments, which is what we've done. So I faxed him to let him know as a courtesy that we were changing a few things. And he was totally okay with that.


THE MERRY WIDOW: Backstage with the performers in costume. The Houston Grand Opera, 2003.

Theresa: What is the Costume Designer's role?
Melissa: The costume designer does all the sketching. He's the first approval, in picking out the fabrics and doing that kind of thing. I present stuff to him. And after doing a little work, I'll take over. So, I make certain decisions, if he's not here.
Theresa: Give us a little job description of the costume director.
Melissa: I'm pretty much the right hand man of the costume designer. Above that, I take care of everything else. This show is more than just putting the clothes onstage. We do massive things other than putting clothes on stage. That's just one part of my job.

Theresa: Such as?
Melissa: Budgeting (laughs) our favorite, and shipping, our next favorite. What else am I doing? I'm working with the women for the Opera Ball. Making major decisions. This stack on my desk (shuffles all the paper around) is more the paper end of it. The Houston Grand Opera also send shows out to other places. Right now, I've got 2 or 3 of them out, and they're calling me day and night.....for me to answer questions. Like, I would talk to San Francisco and say, "Okay, tell me how this works" or "where did you buy these shoes?" People call me to ask me.


THE MERRY WIDOW: Backstage with the performers in costume. The Houston Grand Opera, 2003.


You know, we pay our own bills, we have to code everything. There's a lot of paperwork. That's why I have an administrative assistant, because it is huge amounts of paper. We have to insure everything, I think The Merry Widow is insured for probably $2 million dollars in case we have fire, floods.....
Theresa: Yeah.....and it does happen.
Melissa: Somebody's gotta call the insurance company. So, I mean, you know it's a bigger job than costumes out of a box. And I have to put out all the fires and deal with all the personalities. There's also working with varied people, dealing with the personalities, the personality - oriented aspect of the job.


THE MERRY WIDOW: Melissa Graff fitting one of the performers backstage. The Houston Grand Opera, 2003.


Theresa: How long have you worked here?
Melissa: I've been here since 1987. But I've been in the actual running of the costume shop for 10 years, about 4 or 5 years after I started.
Theresa: How did you become a part of the Houston Grand Opera?
Melissa: It was an accident. I have always been an artist, not with costumes, but in other dimensions, in magazines, in graphic arts, in photography. I happen to leave my job, and made a phone call because I knew people in this business and said that if anybody needs something, to call me. The opera called me the next day, and I never left.
Theresa: Where did you start?
Melissa: I started out ironing (laughs). Sewing buttons. This is the truth. Steaming, I got to graduate to Velcro, eventually. So, I started in the stitching line.
Theresa: Sure, we all have to start somewhere. I think it's interesting to know how you get to where you are, supervising these massive productions.
Melissa: I didn't come in here to do this. I came in here to tide myself over. It was the opening year of the Wortham theatre. They were doing 3 operas at one time, and they were overwhelmed, so I got lucky and got a phone call. And just got along with the girl that was running the shop (Jill Focke) and she kept bumping me up to doing organizational work. She and I worked well together. She could see that I had a design eye and good organizational skills, which you have to have to keep count of hundreds of costumes.


THE MERRY WIDOW: Backstage with the performers in costume. The Houston Grand Opera, 2003.

Theresa: How many are you dealing with in this production?
Melissa: In The Merry Widow, I would say we're dealing with 400 to 500 costumes. Plus, they have pieces, they have their tights, they have shoes, different shoes; they have hats, gloves, ties, shawls, and purses. You know, I say 500 costumes, that's like a total number, and then the pieces exceeds that number.
Theresa: That's amazing.
Melissa: And, I got lucky. I've had a lot of training here, and decided to apply for the job when it came up. And then, I just moved up.
Theresa: Well, considering that this is the "Dream" job, somebody will want to know how they can get started in this position.
Melissa: In particular, what I do is, I run a costume shop. You don't particularly go to school to learn how to run a costume shop. There are not that many programs for that (offered out there). Most people, who go into costumes, want to be a costume designer. They want to draw sketches and they want to design the clothes. In my field (in college), our biggest drawback is that they don't teach people in college how to do the organization, the running, the business end. So, it's a very unique situation, you have to be an artist as well as a business manager.

Theresa: And you've worked as a costume designer?
Melissa: I have been, yes I have. The last thing I've done is Houston Grand Opera's Little Women, which fortunately, was on PBS' Great Performances which was really a thrill for me. And I've done some small things, and I design everyday. You have to put a feather here, you know small things, but not everybody can do it.

Theresa: Tell us about your past background, your artistic experience.
Melissa: Past artistic experience, is my college is in photography, in graphic arts. So, basically, I've taken some courses, which is the same thing as design. I've done a lot of magazine lay out, which is a different dimension. I went to a Community college, and then I got the job. My mother's involved in this too.

Theresa: What does she do?
Melissa: She runs the costume shop for the Houston Ballet. When I started here, I started in the shop, but I also came on as a dresser. She helped me get started. Her name is Patricia Padilla. She runs the ballet and we have a good working relationship.

Theresa: (laughs.) Do you call her up and say "Mom?" You know, ask for advice.
Melissa: Actually the ballet's a lot smaller. She did try to get me into this, I have to tell you, she tried when I was about 18. I actually grew up with her being a dresser and working in the shop. When I was growing up, it is not a field I wanted to get into, or I wanted to pursue. I don't know 'cause I didn't enjoy sewing and she enjoys that more than I do. I did get to be a dresser for the first time at 18, you know, and I didn't like that. I did the Ice-Capades and the headwear weighed more than I did. And I didn't have time to work on the weekends, and I wanted to go out and play, 'cause I was young.


THE MERRY WIDOW: Backstage with the performers in costume. The Houston Grand Opera, 2003.


Theresa: Who else inspired you in costume design, besides your mom?
Melissa: When I was here and as I started working with the costume designers, I found a good spot for me as an artist. I just learned a lot from all the designers that were coming through. It was kind of, in its way, more exciting than working with the magazine, because the dimensions changed. I did some design putting magazines together as a graphic artist. So, I was always doing this.

Costume design turned out to be a different element, a different challenge, and a whole different set of circumstances. You have to work with your director. Things change everyday. It changes all the time. It's very challenging, and I like that. And I tell you, you have to be good with people, and I kinda get along with everybody. Everything works for me with this job.

Theresa: Who influenced you the most?
Melissa: Probably my mother. She's always been a very strong influence in my life.

Theresa: Do you have a favorite costume designer?
Melissa: I don't because so many of them are very close to me. I have friends all over the world. As you can see from my board, they send me postcards and e-mails. Costume designers that I've worked with, artists, we all stay in contact. Like, I'll stay in their homes sometimes.

When I do travel, generally I'll stay in a hotel, but I have the invitation to stay anywhere I want, if I wanted to go on my own as a tourist. I can stay in Germany with Costume Designer Carl Fredriech Oberle. I can stay with Sue Blane or Paul Pyant in the United Kingdom. They're good friends, very good friends. My social life stays active when I'm away from home and I always have a dinner date.

Theresa: Do you travel a lot?
Melissa: I do, yes I do. For different reasons, for meetings, for shop visits, to go look at shows that we have rented out to make sure they're being done.


MELISSA GRAFF, Costume Director for The Houston Grand Opera


Theresa: What qualities make a good costume designer?
Melissa: That does determine the play for us. Everybody that we hire for the Houston Grand Opera pretty much has an incredible reputation. All of them are different. Generally, I will have very high standards that we have to adhere to.

Theresa: What would you like the audience to gain from watching this operetta, The Merry Widow?
Melissa: Immediately, they will gain a great visual aspect. From the moment the curtain goes up, we get applause because it's so beautiful, visually. It's a stunning production. They're gonna gain that from the moment the curtain goes up. And because it's so light and fun, it's actually very entertaining. I think it's overwhelming visually. The audience goes Wow! It's like a fairy tale.

Theresa: What would you like to say to the Houston Theatre going audience?
Melissa: Come out and see the show! And we appreciate your support for the arts.