blog

MEMBER SIGN-IN

We're sorry, we can't find the username and password combination you've submitted. Please try resubmitting your information. Please note, username and password are not case sensitive.

Not a Style.com member? Join now, it's free and easy.

USERNAME PASSWORD

Remember me next time

forgot Sign-In Information?

submit

NOT A MEMBER?

Join Style.com to get full access to our special features and community. It's fast and free.

join now

JOIN NOW

We're sorry, but we could not accept your request. Incomplete/incorrect fields are highlighted in the form below with a ! symbol. Please fill out these fields and click submit.

To access this feature, fill in the fields below and click "Submit." To get full access to Style.com's special features and community, join now

USERNAME

PASSWORD

E-MAIL ADDRESS

CONFIRM PASSWORD

Please send me occasional e-mail updates about new features and special offers from Style.com.

Yes No

I understand and agree that registration on or use of this site constitutes agreement to its User Agreement, Privacy Policy, and Mobile Terms and Conditions.

SUBMIT

wolf in chic clothing

December 13, 2007 11:22 am

Peter

You don’t have to be Scrooge to crave a break from the Grinches, Rockettes,
and dancing sugarplum fairies that seem to be inescapable once Thanksgiving
is over. Offering a reprieve from the usual seasonal fare is Works &
Process’ unsaccharine take on Prokofiev’s “Peter and the Wolf” at the
Guggenheim Museum. Along with the Juilliard Ensemble under the direction of
George Manahan of the New York City Opera and a set designed by sculptor
Andrew Scott Ross, the production features fashion’s favorite ham, Isaac
Mizrahi, as the narrator. The designer-cum-actor took some time out from
rehearsals to answer a few questions for Style.com. For more information on
“Peter and the Wolf,” see www.guggenheim.org.

You’ve been involved in theater in one way or another for years. How has
this project been different?

Usually I write the show and I’m responsible for what I say. In this case,
I’m interpreting a wonderful classic text. It just feels terribly
lighthearted and fun. One way I’ve learned to prepare for these kinds of
engagements is to not prepare. It’s very important to leave some aspects to
chance, let something actually happen onstage, rather than pretending
something is happening. That means not obsessing. Being fully prepared but
not rehearsing too much.

Between running a fashion label and taping two TV shows, we’re guessing
you don’t have a lot of spare time. What made you want to get involved with
this production?

I wanted to read “Peter and the Wolf” because I love it, and when I was
asked I couldn’t refuse. I make time for anything as wonderful as
this.

Do you remember the first time you heard “Peter and the Wolf”?

I wish I could say I have a memory of hearing John Gielgud do it as a tot,
but I don’t. The recording I’ve had forever is the one of Leonard Bernstein,
which I adore. Though I may be crazy, I seem to remember seeing the divine
Elaine Stritch read it and that gave it a whole new meaning. I’m using her
as my slide rule.

There aren’t any costumes in this production, but let’s pretend for a
minute there were…

I’ve always thought it would be amazing to create old-fashioned hats to
represent each character. Cocktail hats, cloches, hats with ears, hats with
beaks, feathered bonnets, etc. Actors wouldn’t be costumed (other than the
hats) or staged; they would be seated on distinguished chairs in
distinguishing hats.

—Kat Thomsen

Photo: Courtesy of the Guggenheim Museum

tags: