Marjorie Bradley Kellogg, Deborah M. Dryden & More to Receive 2014 TDF/Irene Sharaff Awards
Scenic designer, writer and professor, MARJORIE BRADLEY KELLOGG, and costume designer DEBORAH M. DRYDEN are among the 2014 TDF/Irene Sharaff Awards recipients. The awards will be presented at a ceremony on Friday, May 2, at 6:30pm, at the Hudson Theatre (145 West 44th Street). Ms. Kellogg will receive the Robert L.B. Tobin Award for Sustained Excellence in Theatrical Design and Ms. Dryden was selected to receive the 2014 TDF/Irene Sharaff Lifetime Achievement Award for costume design. Ms. Kellogg's award will be presented to her by director Kenny Leon and Ms. Dryden's award will be presented to her by designer David Woolard.
Additionally, costume designer LINDA CHO (currently represented on Broadway with The Gentlemen's Guide to Love and Murder) will receive the TDF/Irene Sharaff Young Master Award (which will be presented by director Darko Tresnjak), and costume builder MARIANNE KROSTYNE will receive the TDF/Irene Sharaff Artisan Award (the award will be presented to her by designer Zach Brown).
During the ceremony, as a special memorial tribute to opera, theatre and film costume designer SAM KIRKPATRICK, there will be a screening of an original 15-minute film on his life, created by designer SUZY BENZINGER.
Throughout her long and distinguished career, elegance and an attention to detail were the trademarks of costume designer IRENE SHARAFF. Miss Sharaff was revered as a designer of enormous depth and intelligence, equally secure with both contemporary and period costumes. Her work exemplified the best of costume design. Such excellence is demonstrated by the winners of the 2014 TDF/Irene Sharaff awardees.
MARJORIE BRADLEY KELLOGG (Robert L. B. Tobin Award for Sustained Excellence in Theatrical Design) Ms. Kellogg's most recent work, Passions, appeared in the 2013 Glimmerglass Festival season and this spring, a production of Othello at Minneapolis' Guthrie Theater.
Her designs for the 2004 world premiere of Richard Danielpour's opera, Margaret Garner were exhibited at the June 2007 Prague Quadrennial, an international exposition of scenography. Other opera work includes The Tender Land for Skylight Opera and Paul Bunyan for the Manhattan School of Music. She was Resident Designer for the 1992-93 season of Tony Randall's National Actors Theatre.
Other Broadway credits are Any Given Day, the George C. Scott revival of On Borrowed Time, Lucifer's Child, starring Julie Harris, American Buffalo with Al Pacino, DA, Requiem for a Heavyweight, A Day in the Death of Joe Egg, Solomon's Child, Arsenic and Old Lace, Steaming and The Best Little Whorehouse in Texas. Designs for Circle in the Square include Spokesong, Heartbreak House and Present Laughter. Off Broadway, Ms. Kellogg has worked for the New York Shakespeare Festival's Public Theatre, the Signature Theatre, the Second Stage, the Manhattan Theatre Club, Playwrights Horizons and the Roundabout Theatre, among others.
She received the 2006 Distinguished Achievement in Scenic Design from USITT, the 2002 Ruth Morley Design Award, the 1995 Mary L. Murphy Award for Excellence in Design, and shared the first Michael Merritt Award for Design and Collaboration in 1994. Other honors were the 1983-84 Boston Theatre Critics Circle Award and Los Angeles Drama-Logue awards for 1988 and 1991, and a New York Drama Desk nomination for both the 1982-83 and 1983-84 seasons.
She has worked in London, Moscow, in film and television, and in the American resident theatres for thirty-five years. She was a 1992-94 Pew Charitable Trust Residency fellow with the Alliance Theatre in Atlanta, Georgia. She has taught at Princeton University, Columbia University and has been Associate Professor of Design at Colgate University since 1995. She is the author of four science fiction novels and a fantasy series. Her stage adaptation (with music by Michael Koerner) of Madeleine L'Engle's A Wrinkle in Time was produced by the Children's Theatre Company in Minneapolis, and her original musical, Livin' in the Garden (music by Melanie Hammet) premiered at the Alliance Theatre in 1997.
DEBORAH M. DRYDEN (TDF/Irene Sharaff Lifetime Achievement Award) recently designed costumes for Robert Schenkkan's All The Way at the Neil Simon Theatre, New York. She is currently working on part II of The Great Society which will premiere at the Oregon Shakespeare Festival in July, 2014. Deborah holds the position of Resident Costume Designer Emerita for the Oregon Shakespeare Festival for which she designed for 34 seasons, retiring from that post in 2012. She has designed costumes for theatres including: Arena Stage, Hong Kong Repertory Theatre, Kennedy Center, American Conservatory Theatre, Berkeley Repertory, Huntington Theatre, American Repertory Theatre, Arizona Theatre Company, Chicago Shakespeare Theatre, Alaska Repertory Theatre, Portland Center Stage, Portland Opera, Old Globe, Minnesota Opera, Denver Center Theatre, Alley Theatre, Milwaukee Repertory, Intiman Theatre, San Diego Opera, Seattle Repertory, La Jolla Playhouse and the Mark Taper Forum. She is a Professor Emerita of Design at University of California, San Diego, where she taught for many years. Her special interest in interdisciplinary design training resulted in an Artist-in-Residence semester at The University of Wisconsin-?Madison in 2010. A career long passion for fabric modification and the textile arts led to the publication of the book Fabric Painting and Dyeing for the Theatre. Deborah continues to teach workshops and master classes in design and fabric dyeing and painting. Exhibited work includes Prague Quadrennial of Scenography and "Curtain Call, Celebrating a Century of Women Designing for Live Performance," NY Public Library of Performing Arts, Lincoln Center Awards include the Michael Merritt Award for Design and Collaboration and the USITT Distinguished Achievement Award Deborah resides in Ashland, Oregon with her husband Robert Hirschboeck.
LINDA CHO (TDF/Irene Sharaff Young Master Award) is currently represented on Broadway with two shows: A Gentlemen's Guide to Love and Murder at the Walter Kerr and Velocity of Autumn at the Booth Theater. She was born in Seoul, South Korea, and was raised in Toronto, Canada. She studied Fine Arts and Fashion at the Paris American Academy in France, then received a BA in Psychology at McGill University in Montreal. Following McGill, Linda attended the Yale School of Drama where she studied under legendary designers Jess Goldstein, Jane Greenwood, Ming Cho Lee and costume shop director, Tom McCallister.
Other NY credits include productions at: The Acting Company, Asia Society, Atlantic Theater Company, Classic Stage Company, The Drama Dept, Juilliard Theater and Opera, Labyrinth Theater Company, Lincoln Center 3, Manhattan Theatre Club, NY Public Theater, Second Stage and the Vineyard Theatre.
Regionally, Linda has designed at Alabama Shakespeare Fresival, Arena Stage, Baltimore Center Stage, Chicago Shakespeare, Dallas Theater Center, George Street Playhouse, Goodman Theatre, Goodspeed Opera, Guthrie Theater, Hartford Stage, Hartford Theaterworks, Huntington Theatre, La Jolla Playhouse, Long Wharf Theatre, Los Angeles Opera, NJ Shakespeare Festival, Opera Theatre of Saint Louis, Oregon Shakespeare, Shakespeare Theatre in DC, The Old Globe Theatre, The Philadelphia Theatre Company, Village Theatre in WA, Virginia Opera Association, Westport Country Playhouse, and the Williamstown Theatre Festival.
Internationally, Linda's work has been seen at The Royal Shakespeare Company in the UK; Can Stage in Toronto; Hong Kong Performing Arts Center; The National Theater in Taipei; and Stratford Shakespeare Festival in Canada. She also served as the Costume Curator for the 2011 United States National Pavilion at The Prague Quadrennial.
Linda has been recognized with awards and nominations from The San Diego Critics Circle Awards, Connecticut Critics Circle Awards, Elliot Norton Awards, Helen Hayes, Lucille Lortel, Drama Desk, and, in the past three years a stork has awarded her with two little boys, Fynn and Foster.
MARIANNE KROSTYNE (TDF/Irene Sharaff Artisan Award) got her training at the North Carolina School of the Arts. After completing her MFA in costume design and designing for the North Carolina Shakespeare Festival, she migrated to Washington D.C. to pursue a career as a draper first at the Shakespeare Theatre then at Arena Stage and Washington Opera with summers spent draping and managing the shop at the Wolf Trap Opera. While in Washington, she had the pleasure of working with Zack Brown, Martin Pakledinaz, Paul Tazewell and David Roberts, all of whom became lifelong friends. In fact, it was Zack Brown who suggested she start her own studio. When a sprawling three story Victorian became available in her hometown, she took the leap and started Krostyne Studio on the uppermost floor. Since opening the studio, she has had the privilege to continue to work with some of the finest designers in the business building costumes for productions across the United States as well as internationally.
Marianne's Broadway credits include Beautiful with Alejo Vietti, Nice Work if You Can Get It, Anything Goes, Gypsy and The Pirate Queen with Martin Pakledinaz as well as costumes for the touring companies of Flashdance with Paul Tazewell and The Acting Company's Romeo and Juliet with Matthew J. LeFebvre. She has done work for many of the major regional theaters in the country including The Alliance, The Alley, The Guthrie, Goodspeed, The Goodman, the McCarter and the Pittsburgh Public.
Her opera credits include Faust at the Met and Margaret Garner at the Detroit Opera with Paul Tazewell, Showboat with Paul Tazewell and Faust with Robert Perdziola at the Chicago Lyric, Louise with Kaye Voyce at the Spoleto Festival and Cosi Fan Tutte with David Roberts at the San Diego Opera. This past year she built all of the costumes for the New York Philharmonic's A Dancer's Dream with designer Irina Kruzhilina. She has also built costumes for various productions of The Nutcracker with several designers including, Zack Brown, Robert Perdziola and Fabio Toblini. Other dance projects have included San Francisco Ballet's Don Quixote with Martin Pakledinaz, Pacific NW Ballet's Swan Lake with Paul Tazewell and The Trisha Brown Dance Company's Toss with Kaye Voyce.
Her television credits include NBC's The Sound of Music with Catherine Zuber, History Channel's The Mayflower with Andrew Poleszak and ABC's All My Children with David Zyla. She continues to work on a regular basis with the Big Apple Circus and the Norwegian and Royal Caribbean Cruise Lines as well as serving as an adjunct faculty member for the School of Drama at Carnegie Mellon University.
SAM KIRKPATRICK (Memorial Tribute) was born in County Fernanaugh, Northern Ireland and studied theatre design at the Central School of Arts and Crafts in London. One of his first major productions was Philoctetes (1964) for the National Theatre of Great Britain in London. In the field of opera, he has designed productions of Dinner Engagement (1966) and Prima Donna (1966) for the London Opera Centre, The Soldier's Tale (1965) which was presented at the Bath Festival and at Covent Garden in London, and The Magic Flute (1967) for Sadler's Wells Opera. In theatre Mr. Kirkpatrick has designed Amphitryon '38 (1966), Ardele (1967), and Call Me Jacky (1968) for the Oxford Playhouse in Great Britain as well as Romeo and Juliet (1965) and A Midsummer Night's Dream (1966) for the Nissei Theatre, Tokyo, and The Merchant of Venice for the Guthrie Theater. He was also the designer of the ill?fated 1978 Broadway?bound Jack O'Brien?directed production of Nefertiti the Musical, which played 40 performances at Chicago's Blackstone Theatre and starred Andrea Marcovicci and Michael Nouri.
Mr. Kirkpatrick also designed a production of Singular Moves (1966) for the Ballet Rambert of London. For film, Mr. Kirkpatrick has acted as a costume designer for an Orson Welles film entitled Chimes at Midnight (1965); has done research for Travels with My Aunt and Mary, Queen of Scots; and has been an assistant costume designer for Nicholas and Alexandra and The Great Gatsby.