Liberation

We talk about costume design as storytelling, about clothes as armor, about how what someone wears can completely transform how they move through the world, and about the incredible craft that goes into building character from the outside in.

We also get into how Queen built this career, her experience with Cats the Jellicle Ball and Liberation, quite literally showing up and banging on doors, learning to advocate for herself and the people around her, and what it means to stop separating the different parts of who you are to just make yourself easier for an industry to understand.

I hope this episode leaves you thinking about what might happen if you trusted what you uniquely have to offer, showed up fully, and let all of who you are inform the work you make.

More importantly, I am so, so happy to be back with you for Season 4.

thing that actually allows you to just like be in the storytelling and not be drawn out of it.

Or the opposite, which is like, this is meant for you to see this thing.

And I mean, we can talk about cats, we will talk about cats, but like that is, in my experience, having seen that, it was like the costumes are part of the visual of the storytelling to celebrate these characters, whereas Liberation, which another one we'll talk about, was like, these are the human beings and how do, quote unquote, real people in this time period embody their characters.

And the contrast of seeing your work in such vastly different spaces, I mean, like, oh!

This is probably the most blockbuster casting of the year we're going to get.

Bess Wohl, who wrote Liberation, Pulitzer Prize, and Tony Award-winning play Liberation, has written another play.

The play, Small Mouth Sounds, will open at the Ethel Barrymore Theatre with performances starting February 18th.

The production will be directed by Joe Mantello and produced by Scott Rudin.