Style: October 07, 2022

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52 <strong>Style</strong> | Art “There is this frothiness in the two girls, a levity and bounce in their costumes.” In the first act the costumes have influences ranging from the 1950s to the 1970s, borrowing silhouettes from 20th-century American-English fashion designer Charles James and beauty pageants. “The eligible maidens would have done Miss Universe proud.” Given the size of the production, it was a challenge putting all the parts together in one smooth operation, she says. Added to that were the complications of Covid-19 and ensuring the cast and crew were kept safe. “Everyone was so professional and kept to the strict guidelines to keep the show touring.” Now the premiere is over and the show is on the road, Emma, who grew up between Australia and San Francisco, can relax. Hence the visit to Manapouri, a place she discovered thanks to her stepfather’s family connections to the area. She also has extended family living in Dunedin and Queenstown. “I miss it. I feel very connected, connected to the people and culture. I bought this little house as a retreat. I adore it.” It is a place she can visit when she wants to escape the bustle of life in Los Angeles, where has been based for eight years with her American partner. The holder of a Green Card for five years, she has been designing sets and costumes for ballets, operas, television shows and movies. “But I keep coming back to ballet. They’re so different, so much harder than the other forms, you have to work around the athletes’ bodies. It’s all about the design and making it look effortless.” Her credits include Wooden Dimes for the San Francisco Ballet, The Firebird for Texas Ballet and the award-winning The Crucible for Scottish Ballet. She is “incredibly in awe” of what dancers can do and enjoys their artistry and dedication. Emma likes to watch rehearsals for inspiration and often a design can change drastically once she has seen the dancer work. She also has to keep in mind things like weight and volume so it does not impede the dancers’ movements. “The fairy godmother character evolved. Casting, dancing, pointe shoes, the way a body moves, can all change things.” The work is a contrast to what Emma calls the hilarious HBO men’s dancing reality show Finding Magic Mike that she recently worked on. Her recent film work includes Blacklight, directed by Mark Williams (Ozark) and starring Liam Neeson. “Film is really disposable; with theatre you are building sets that will be used by many to come.” She is heading back to the United States to work on two works for the San Francisco Ballet by young choreographers and has a trip planned to Italy to work on an opera. But summer is in Emma’s sights and she hopes to return to New Zealand and catch up with her two new friends. “Get the gang back together.”
and many more exciting shows at dunedinartsfestival.co.nz
Page 1 and 2: The south island lifestyle magazine
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Style: October 07, 2022

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