ugg type boots uk The Dayton Ballet’s resident costume designer talks about his
Senior, teacher and student discounts are available at box office.
Extra: Artistic director Karen Russo Burke and three dancers will conduct a post performance Q A after each performance.
A Cinderella Tea will be held Saturday, February 9, immediately following the matinee performance. Guests will have a photo taken with Prince Charming and will receive a keepsake from the day. The tea is sponsored by the Soin Family.
WHAT OTHERS HAVE TO SAY
is very good at what he does and sets very high standards both for himself and for those with whom he works. He been designing and constructing costumes for dance and theater for over 30 years. Most people like that are perfectionists and require a lot. Thank goodness I can sew! Working with Lowell outside of the costume shop is very rewarding. He has very good ideas both artistically and administratively, but is never disappointed if his ideas aren used. He always thinking.
Lowell knows fabric. He knows dance/movement. He knows how to construct complex costumes just from looking at pictures. He has an excellent sense for color. The combination of two of these traits is rare. To have them all in one person is truly unique and Dayton is very, very fortunate to have had Lowell designing and living in Dayton for so long. True, he has had many exciting opportunities to create costumes for brand new ballets, but being the wardrobe supervisor for a ballet company also includes washing a lot of tights, ordering tens of thousands of dollars worth of pointe and ballet shoes and, let not forget the paperwork. Oh, and he still performing, most recently as Uncle Drosselmeyer in Nutcracker. Lowell is a true Renaissance man if ever there was one, and I feel very fortunate to have him as a colleague and as a friend.
Kathy Reed, Chief Operating Officer, DPAA and former Dayton Ballet executive director
is good at what he does because he was a dancer, so naturally a perfectionist!!
When working with Lowell, it is so interesting because he brings new ideas to the table that get you brainstorming and thinking outside of the box.
Karen Russo Burke, Artistic Director, Dayton Ballet
a young dancer growing up at Dayton Ballet, I had no idea how privileged I was to wear Lowell costumes. Having worn some of the most beautifully constructed costumes as a dancer with The Metropolitan Opera in New York City,
I am still in awe of Lowell talent. His costumes look amazing on stage because each design tells a story and is beautiful in its own right. Having been a dancer himself, he knows precisely how to make us feel glamorous AND comfortable!
Jennifer Sydor, Dancer
Lowell A. Mathwich, resident costume designer for the Dayton Ballet, has designed everything from classical tutus to baseball uniforms.
His body of design work encompasses over 95 ballet productions, and he has also worked for Dayton Opera, Dayton Contemporary Dance Company and the Human Race Theatre Company.
Mathwich has received a DayTony Award of Merit for Costume Design and in 2004 was awarded a Master Performing Artist Fellowship in costume design for dance, funded by the Montgomery County Arts and Cultural District.
Prior to his career in costume design, he enjoyed a 15 year career as a dancer.
The ooh and aah that greet an opening curtain at the Dayton Ballet are often a reaction to the beautifully designed costumes that seem a perfect fit for the drama about to unfold.
For many years, those fanciful designs have come from the rich imagination and talented hands of Lowell Mathwich, the Dayton Ballet resident costume designer. Mathwich, a former dancer, currently spends much of his life in the costume shop on the fifth floor of the Victoria Theatre building.
The upcoming premiere of the second full length ballet of the current dance season, will showcase Mathwich at his best. The show, which opens on Thursday, Feb. 7 for a five performance run, features a musical score by Sergei Prokofiev. Because I was able to sew, I would make extra money building costumes for the company. When I came to Dayton Ballet in my first year, I was an apprentice and to make sure I had a full salary, I acted as assistant to Barbara Trick, who was doing costumes.
We had a designer here from New York Mimi Maxmen who was building head pieces for Swan Lake and I worked with her. She was a friend of Stuart Sebastian in the late and and at a certain point, Stuart gave me the opportunity to design a small piece he was doing. And the pieces got bigger and more frequent,
and in 1989 I was given the opportunity to design That was my first full length ballet.
I stopped dancing because it wasn fun anymore. And I still do perform. I still do Drosselmeyer in and I done Lord Capulet in and Juliet. The first time I went to the garment district in New York I was getting ready to design and build in 1988. It was just amazing! It sad now because the garment district is shrinking and many of the buildings are being torn down and they building office towers in their place.