BWW Q&A: David Toser of Aristocrats at Irish Repertory Theatre

Aristocrats by Brian Friel Directed by Charlotte Moore will run January 11 - March 3, 2024 at the Irish Repertory Theatre. The productions stars Roger Dominic Casey, Meg Hennessy, Tom Holcomb, Colin Lane, Shane McNaughton, Tim Ruddy, and Sarah Street. Set in Ballybeg Hall in County Donegal, Brian Friel’s Chekhovian masterpiece chronicles the decaying home of District Justice O’Donnell, where the family congregate for a wedding, but stay to attend a funeral.

Friel’s tale of three sisters and their ‘eccentric’ brother reveals the way in which the ache of one family becomes the microcosm for the ache of a society. Aristocrats was first produced in March 1979 at The Abbey Theatre in Dublin.

Irish Repertory Theatre hosted a revival of Aristocrats in 2009, directed by Charlotte Moore. The production featured John Keating, Geddeth Smith, Lynn Hawley, Orlagh Cassidy and Laura Odeh, and was described as a “first – rate revival” by The New York Times, and praised for a “top flight ensemble” by The New York Daily News.

As part of The Friel Project; THE FRIEL PROJECT Welcome to Irish Repertory Theatre’s 35th Season Celebration: The Friel Project. We are excited to present a retrospective of the work of renowned Irish playwright Brian Friel, to take place from October 20, 2023, through May 5, 2024.

The season will feature three of Friel’s works set in Ballybeg, a fictional town in Donegal, Ireland: Translations, in an Irish Rep debut production, Aristocrats, and Philadelphia, Here I Come!. The Friel Project will include selected concert readings from the playwright’s vast canon and additional planned events culminating in an exhibition in the Irish Repertory Gallery.

David Toser, Costume Design, has designed costumes for over twenty-eight productions at Irish Repertory Theatre, most recently for "Two by Synge," "The O’Casey Cycle," and "The Home Place." His work has been featured on and Off-Broadway, in over 100 regional theatre productions, and on television. Additionally, he has served as the costume designer/consultant for 30 Tony Award shows.

Can you share about your creative process when designing costumes for a play like "Aristocrats"?

"Aristocrats" presents some special challenges because it is set in the late 1970', early 1980's. The family background is of great privilege but time has not been kind to those still at the family homestead. We are in small town in Ireland. All of these factors play into the garment choices. Getting "on the same page" with the director, Charlotte Moore, is of utmost importance.

How did you approach the costume design for this specific production, given its setting and time period?

Given the period and social status of the characters I began researching high end wardrobe choices from a bit earlier. Classic pieces and styles. There is one specific reference to Laura Ashley for an outfit for Claire and some descriptions by Brian Friel that were of great importance to honor. Only a few outfits will be custom made, The season plays an important part in choices.

What was your biggest challenge when working on the costumes for "Aristocrats"?

Finding sources for the garments (I prefer to call wardrobe for this particular show - clothes rather than costumes). I should be conversant with NYC thrift shops by the time I complete this project. Working this way is very helpful to the desired look as broken in, worn (not shabby) is appropriate. If new garments will be discreetly aged.

Can you tell us about a memorable costume you designed for "Aristocrats" and the thought process behind it?

A seemingly very simple dress that Charlotte and I agreed upon for Judith (Danielle Ryan) in act three is a technical and pleasing challenge. Long ago I trained in fashion at Parsons and this dress is reactivating some of the technical dressmaking I learned there. Fun.

How has your long-standing relationship with the Irish Repertory Theatre influenced your work?

I have had a long standing relationship with Irish Rep. They are a very positive environment for all involved which is most appealing. I love doing productions that are very unique and not being pigeon holed as a dramatic play, musical, comedy, revue etc.. I have been given the opportunity to design this entire range at Irish Rep.

How do you source unique pieces for your costumes? Do you have any go-to places or methods?

For "Aristocrats" the sourcing is primarily hitting the thrift stores, using some pieces and accessories from Irish Reps own storage and finally the tdf Costume Collection. Like most designers I do have secret sources (not secret if I reveal them here) but they will not be of use for this presentation.

Who or what has been the biggest influence on your style as a costume designer?

"Curiosity" and the power of observation have had an enormous influence. I had excellent education in the history of what we wear. That was a start. I love to travel, visit museums and exhibitions etc.. A great way to build vocabulary. I was also blessed to work with Irene Sharaf, Ann Roth, Jane Greenwood, Alvin Colt, Florence Klotz, Raoul Pene du Bois and many others. Lucky me.

What do you hope audiences will take away from the costume elements of the production?

This may be an odd comment - but for "Aristocrats" I would hope that the audience is unaware of "costumes" but rather that what these superb performers wear looks "just right" as though they were wearing clothes from their characters closet. We have a superb cast and so it is a special privilege to work with them.

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