Susan Hilferty's guest appearances

Susan Hilferty

ATW - Downstage Center

Tony Award Winners on Downstage Center

Lynn Ahrens

Eve Ensler

Joel Grey

David Hyde

Joe Mantello

Patti LuPone

Andrea Martin

Jim Norton

Angela Lansbury

Kristin Chenoweth

Des McAnuff

Beth Leavel

Mercedes Ruehl

Linda Lavin

Betty Buckley

OwlTail

With her Tony-winning costume designs for the hit musical "Wicked" virtually circling the globe, costume designer Susan Hilferty describes the detailed process by which the show's creative team conceived their own vision of Oz, and the level of work required to execute the show's distinctive costumes.  She also talks about her initial interest in both fine art and scenic design, even as she worked in costume shops as an artisan; the lucky break that got her professional design credits while still an undergraduate; her decision to go to the Yale School of Drama after several years of working in New York and how that led to her 30-year collaboration with South African playwright Athol Fugard; her quick takes on the varying directorial styles of her most frequent collaborators, including James Lapine, Des McAnuff, Carole Rothman, Robert Woodruff and the late Garland Wright; her counsel to students, as the head of the graduate design program at NYU's Tisch School of the Arts; and why she felt she was going to have to protect Frank Wedekind when she began work on the musical "Spring Awakening". Original air date - September 8, 2009.

Susan Hilferty (#233) - September, 2009

With her Tony-winning costume designs for the hit musical Wicked virtually circling the globe, costume designer Susan Hilferty describes the detailed process by which the show's creative team conceived their own vision of Oz, and the level of work required to execute the show's distinctive costumes.  She also talks about her initial interest in both fine art and scenic design, even as she worked in costume shops as an artisan; the lucky break that got her professional design credits while still an undergraduate; her decision to go to the Yale School of Drama after several years of working in New York and how that led to her 30-year collaboration with South African playwright Athol Fugard; her quick takes on the varying directorial styles of her most frequent collaborators, including James Lapine, Des McAnuff, Carole Rothman, Robert Woodruff and the late Garland Wright; her counsel to students, as the head of the graduate design program at NYU's Tisch School of the Arts; and why she felt she was going to have to protect Frank Wedekind when she began work on the musical Spring Awakening.