One of the things I have loved about designing for Opera is the opportunity to re-interpret characters across multiple worlds. The following images are from two productions of La Bohème. The first was Opera Orlando’s 2017 production directed by Robert Neu, set in the 1920’s; the second director, David Ward for Opera in the Ozarks, told me he “would like to set this Bohème in present-day (2019) ‘à la Rent’, but still in Paris”.  1920’s costumes were a blend of vintage pieces, dresses built-for-the-show, and altered contemporary pieces; for the contemporary production, pieces were off-the-rack with the exception of Musette’s coat, which was built for the production.

 

In both productions, the base concepts were:

* Mimi’s costumes were in fading shades of pink, reflecting her song about the pink beret she is gifted by Rodolfo on their first date, and emphasizing her declining health.

* The ‘Bohemians’ looks were distinctive from the ensemble. The 1920’s production had them in warm browns and burgundy vs the ensemble golds, black, cream and teal; the contemporary production had them in bright prints vs the ensemble solids, with the exception of Schaunard, the philosopher, who was a ‘yellow vest’.

* Musette was in bright colors to match her vivacious personality, but her style simplified as the show progressed.

* Ensemble costuming was based on the “one great piece” European fashion approach, with an emphasis on accessories in the period production, and on color in the contemporary show.

 

Photos courtesy of Opera Orlando (credit: Brion Price) and Opera in the Ozarks