Sonya Berlovitz

2011-12-14T18:42:00.000-08:00

Social Exchange: Sonya Berlovitz, Costume Designer

Permanent and its partners always seem to attract an eclectic following of Facebook and Twitter friends, from artists to designers to similar creative businesses—not to mention the occasional (okay, frequent) wingnut. But, hey, that’s the beauty of social media: it’s a mixed bag. Inspired by this vast array of new friends, we’ve decided to occasionally highlight those we find most fascinating on our blog. To kick things off, we’d like to introduce you to costume designer extraordinaire, Sonya Berlovitz, the first subject in the series.

An award-winning costume designer whose work has been featured in inumerable productions, Berlovitz has spent a good chunk of her career based in Permanent’s hometown of Minneapolis, MN. Most notably recognized as resident designer for the now defunct (but fondly remembered and nationally recognized) Theatre de la Jeune Lune between the years of 1980-2008, she created costuming for over 50 productions. Having gained her education in both Paris and Chicago, Berlovitz’s ambition and talent have taken her all over the country, designing for theater and dance productions of all shapes, sizes and genres. Her latest endeavors have pulled her more fully into the dance realm, designing costuming for upcoming productions at the new Minneapolis-based Cowles Center and The Lab Theater.
We caught up with Sonya via Facebook and asked a few questions about her history and craft…
Can you remember the defining point in your life when you knew you’d be a designer?
When I started design classes at La Chambre Syndicale de la Couture Parisienne in Paris, France. It just felt right.

“Deception” photo by Dominique Serrand
What was your most memorable experience designing for a production?
Designing my first show in 1980 for Theatre de la Jeune Lune called 1929. There were 42 people in the cast and the budget was $750. Also, designing Haroun and the Sea of Stories at Berkeley Repertory Theater and having the opportunity to meet Salman Rushdie, who wrote the book. Also, designing any opera at Theatre de la Jeune Lune.
If you could design for any play, what would it be and why?
Mario and the Magician by Thomas Mann, which has actually only been done as an opera. It’s a great story about the rise of fascism and it would be a great challenge to make the characters and setting more contemporary.

“Miser” photo by Michal Daniel
Have you ever created a traditional fashion line?
I created a fashion line in 2001 and held a show in the lobby of Jeune Lune. It was inspired by the 1930’s and most of the models were actors. My mom also modeled. I’m a terrible sales person and wound up giving away most of the pieces to the actors and friends.
You did a stint as a textile designer. What components does one factor in when creating a unique yet wearable textile?
For a handwoven fabric one factors in the thread content, what time of year the garment will be worn, color, texture, the lengthwise grain (warp) and the crosswise grain (weft) and then within the technology involved, trying to create something new with the traditional method of the loom. When I worked in Japan I played a lot with thick and thin combinations of threads and sheer and not sheer.

For Stuart Pimser Dance Theater
In an interview you once compared your love of combining fabrics to painting (which you also have a background in). Do you often have a solid plan going into things, or do they evolve in the process?
I try to have a fairly solid plan going into things and at the same time a willingness to let the process evolve and see what emerges. That way I too can be surprised by the result. It’s more fun.
You designed some costumes for the Cowles Center Opening which were pretty awesome. One thing we imagine that presents a challenge in costume design is the garment’s flexibility during performances that contain a lot of dance and movement. What are some tricks of the trade that might surprise us?
Elastic. Lots of elastic. Sometimes shirt tails have added elastic loops that help keep the shirts tucked into pants and/or skirts even with lots of movement involved. Lots of fabric with lycra. There are a number of newer fabrics out now that don’t look like knits, but have a small amount of lycra in their content to make them stretchy enough for dance costumes. It’s a nice option.

For Cowles Center opening
Broad question: What inspires you?
I’m inspired by several sources. The story, if it’s a narrative piece, film, paintings, fashion (mostly the Japanese designers), sometimes architecture.
What projects are you current working on that we should keep an eye out for?
I’m beginning work on two dance projects: Zorro for Zorongo Flamenco which opens Feb. 22 at the Cowles, and Stuart Pimsler Dance Theater’s Difference which opens on March 9th at the Cowles. I am also working on Werther and Lotte, an original, new production being created by the Moving Company which will open March 22nd and run through April 15th at the Lab Theater.
To see more of Sonya’s work visit her site at www.sonyaberlovitz.com
Friend her on Facebook HERE

The Ravagers

2011-10-27T11:47:00.000-07:00

Ravagers Sneak Peek!

This week’s Ravagers post includes another sneak peek from Sonya Berlovitz’s sketch book, with comments from Christina Lien (SU Company Member and Ravagers Costume Assistant).
Costumes, costumes, costumes… stitching, stitching, stitching… My artistic past is glittered with dressing, building, stitching, and costuming large-scale productions, but I have not dove into this area of design and construction with SU for a while. Currently, I am one of four stitchers working under the beautiful and talented Sonya Berlovitz constructing the costumes for Ravagers. The cast is on the larger side of things and the task of costuming the show sometimes makes me catch my breath and raise my eyebrows.

I love donning my sewing and stitching hat and all is well in my corner of the world as I construct nine dresses for nine (very tall) men, who in addition to playing sons of Aegyptus, play daughters of Danaus at moments.
All the sister’s dresses – all 19 of them! – will look exactly the same. They’ll be hand painted by Sonya, and like Danaus’s costume (that was posted here last week), the colors are meant to reflect the desert where they live.

Unlike the sisters, who are supposed to act identically, each of the brothers is allowed to be an individual. So the men will have the same basic silhouette, but their pieces will vary slightly to show that individuality. Their colors will be greys, greens, and blues to reflect their more fertile home land.
I’m tapping into skills I haven’t exercised at this capacity in a while. It’s always super exciting to be working on a new show, but even more brilliant to be part of a specific production crew with amazing new people, including creative and talented designers.
Tickets are now on sale for The Ravagers, opening at the Hollywood Theater in Northeast Minneapolis on November 4th.

2011-10-14T15:52:00.000-07:00

www.savageumbrella.org

Father Knows Best: The Dads of Ravagers

This week’s post features two of the costume sketches from the The Ravagers for Savage Umbrella Theater Company from renowned costume designer Sonya Berlovitz and background on the characters of Danaus and Aegyptus by director Blake E. Bolan.

The Ravagers‘s plot may revolve around the fifty daughters and fifty sons, but at its heart, it’s very much a play about the two brothers who are the fathers: Danaus, father of the daughters, and Aegyptus, father of the sons. And that story works on two levels.

It’s easy to see all the trappings of a familiar story about patriarchal monarchies. The younger son feels jealousy toward his elder brother. Aegyptus has the sons, Aegyptus has the better land, and after the kingdom is reunited by the marriages, Aegyptus’s sons stand to inherit all of Danaus’s land. It’s easy to get caught up in the plot. But the more compelling story is the metaphors of these two men. Who is East and who is West? Dictator and king? Capitalism and communism? Who is right and who is wrong?

Starting with simple suit as the base for Aegyptus and Danaus, Sonya highlight’s each man’s temperament in their outerwear. Here, we see the soft lines of Aegyptus’s wrap, alluding to comfort, ease, and luxury. He’s affluent, proud, and happy.

For Danaus, Sonya has created sharp angles for his overcoat and tie, implying a certain starkness. His clothes are more utilitarian than his brother’s, as he is a man with fewer resources, as well as a much more stringent attitude. Danaus is a man concerned with power, not likely to relax for even a moment. You will also notice here the brown hues in Danaus’s outerwear – Danaus raises his 50 daughters in the desert, and these colors reflect the tones of sandy soil you might find surrounding his home.

Cowles Center for Dance Opening Night

2011-09-15T08:40:00.000-07:00

Photos by Jeff Wheeler.

2011-05-07T16:24:00.000-07:00

Magazine | Silhouettes | November 2008 | MinnesotaPlaylist.com

Interview with Sonya Berlovitz by Arts Collective Manufactured-Dissent

2009-04-28T17:25:00.000-07:00

Sonya Berlovitz designs costumes for theater productions both in Minnesota and nationally. Through bold use of color, fabric and design, she brings a contemporary aesthetic to the stage. Check out our Q&A with Sonya.