Imagine your creations have to convey the personality of certain characters and the mood of a script; have to perfectly fit their wearer so as not to hinder his or her movements and accord to the aesthetic ideas of yet other people; have to be visible and transmit their meaning even from far away and harmonise with the stage setting and the props; and of course, have to be affordable given a tight budget. In short, as a costume designer you need much more than only creativity and craftsmanship to satisfy all the various requirements and demands of a play and its production.
All this and much more is what Sarah Booth, twenty-two year old costume designer, explains to me on the phone. Although the phone has to bridge the immense distance between Mexico and London, there is no way not to notice her brimming enthusiasm. She is so excited about her first really big production after just having graduated from Exeter University, and the opportunity of designing the costumes for Maurice Ravel’s childrens opera L’Enfant et les Sortileges (The Child and the Spells: A Lyric Fantasy in Two Parts) and the world premiere of O’Saci, a dance theatre by the Brazilian composer Miguel Kertsman; the first is about a rude child whose toys one day retaliate as they come to life; the second about a cheeky Brazilian folklore character who gets blown to England and falls in love with a Welsh Water nymph after helping to put out a burning village.