‘Wicked’ costume designer reflects on formative years at the Guthrie
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Paul Tazewell is the first Black man to win an Oscar for costume design for his most recent film, “Wicked.”
“There was never a Black male designer that I saw that I could see as inspiration,” he said at the Academy Awards during his press room speech. “And to realize that, that’s actually me.”
Tazewell called the achievement the pinnacle of his 35-year-long career in costuming. Many of those years were spent in Minnesota, designing costumes for the Guthrie Theater. Before arriving in Minnesota, Tazewell worked at the Arena Stage in Washington, D.C. His first Guthrie show was the ”Big White Fog” in 1995, directed by Penumbra Theater’s Lou Bellamy.
“I honor Minneapolis and what that space was,” he said. “That was a very formative period of my career, my creativity.”
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While still at the Guthrie, Tazewell began working on Broadway. He finished his run at the Minnesota theater in 2008 with Shakespeare’s “A Midsummer Night’s Dream.” He later won a Tony in 2016 for his costumes in “Hamilton.”
He spoke to MPR News about the evolution of his career.
The transcript below has been lightly edited for clarity and length. Listen to the radio version by clicking the player above.
What is the major difference working on projects in Hollywood and on Broadway compared to a regional theater like the Guthrie?
It’s really the size and scope. I think that I’m using the same creative muscles. even designing the same play or the same musical. With a different director, with a different cast, it’s always going to be something different.
When I compare what it was to design a “Midsummer Night’s Dream” at the Guthrie versus designing “Wicked,” it's just more of the excitement, the engagement, the creativity. There are more bodies to clothe, and a more expansive environment to create, to imagine.
In the theater, it might be a six or eight month process of designing — and then you go into creating those costumes, which might be, if you're lucky, 10 weeks, anymore within the world of regional theater.
You compare that to a year and a quarter of designing for the film. The time expands — and the marketing.
And the marketing stems from how the characters look, right?
That’s really exciting for me. I honor Minneapolis. That was a very formative period of my career, my creativity. And to now see the marketing for “Wicked” all over the world and how it’s embraced. It’s just really, it’s mind-blowing, and then to receive the Oscar for that as well. You know, it’s like, it’s doubly mind-blowing, right?
I have some photos of your work at the Guthrie. Some of them look like spiritual predecessors to ‘Wicked.’ What do you make of that?
At least I'm consistent.
Really, it just speaks to what my sensibility is and what I'm drawn to. And that first photograph where, I see the ombre of the hair and you see that in “Wicked” — I'm drawn to a visual that incorporates that. Because there is something about that in my brain, in my being, where that feels magical.
And Gertrude’s dress is based on a Dior dress that was of the period. That kind of sculptural sweep, I introduced that into Madam Morrible in “Wicked” because I’m trying to create that same kind of essence.
What do you think young Paul Tazewell would think of where his career has gone?
Oh, young Paul Tazewell had those dreams, but he had no idea how it was going to happen. If you go back before I was hoping to be a costume designer, I was hoping to be an actor and a dancer. Design was something that I loved to do as a side gig because I was doing it in high school. I didn’t know that I was going to make a career of it. To look back on it — it’s a beautiful evolution, and is very connected to everything that I am.
Are you planning to visit Minnesota anytime soon?
I certainly hope so. I’ve got great friends there. Some of my best friends, or one of my absolute best friends, is there. Now that we’re moving into the spring, hopefully, I think I’ll have more of a chance of getting there.
I remember when I was doing the first “Midsummer Night's Dream,” that was probably the single coldest winter that I’ve ever spent anywhere. It was just so, so brutally cold. It always seemed like I was getting asked to design something right in the middle of January. I know your springs and summers are really beautiful.