Sasha Q Goodner - Theatre Work

Draper Experience, UNC School of the Arts

UNC School of the Arts- Opera scenes/The Impresario - Vest and Breeches

Designer: Nikki Harada

First Hand: Madison Anysz

I made basic blocks for this build and adapted the pants to be fall front breeches. The vest and coat had trim hand sewn onto them.

Fashion fitting

fashion fitting

mock up fitting

Breeches pattern

Vest pattern

Buff played by Andre Portis

Rendering by Nikki Harada

UNC School of the Arts- Natasha, Pierre and the Great Comet of 1812 - Dress

Designer: Avery Mclintock Smith

First Hand: Madison Anysz

This build was flat patterned, and the top was flatlined to cotton broadcloth while the skirt was flatlined to voile. The green trim is bias tape. The sleeves have a control sleeve with organza sewn to it to allow the white sleeve to stay up, and the yellow top sleeves were bagged out to allow for a clean finish.

fashion fitting

mock up fitting

Rendering by Avery Mclintock Smith

Bodice pattern

Skirt pattern

Sleeve Pattern

Sonya Played by Tanner Mcintrye

UNC School of the Arts- Stock, 17th Century Stays

First Hand: Natalie Juran

Stitcher: Zenora Collier

Stitcher: Stella Inskeep

Stitcher: Addie Reedy

I patterned the corset using a draft from the book “Stays and Corsets Historical Patterns Translated for the Modern Body Volume 2”. After the pattern was corrected through a fitting, everything was cut out. The fashion fabric was fused onto broadcloth with wonder under and flatlined to the coutil. Then the boning channels were sewn, the corset was put together, and all of the seams had bones besides the back panel, as that is the alteration point.

UNC School of the Arts- Stock, Cartridge-Pleated Skirt

For this skirt, I was given a waist measurement and an outseam to make a cartridge-peated skirt. It’s made of a cross-grain continuous fabric cut, and the shaping is provided at the waist to account for the hips and possible bum roll. Flannel was put in the waist seam allowance to bulk up the pleats. The back seam was sewn, and the placket was put in. Then it was pleated and sewn to the waistband. On the front of the waistband, right before the skirt transitions to gather, the waistband is separated to allow for alterations if needed.

UNC School of the Arts- Die Fledermaus - Overcoat- Draper

Designer: Gabi Hertel

First-hands: Natalie Juran Nikki Harada

For this build, I worked with another draper, Iris Barger. She made a block for the singer. I adapted the corrected block to be this open overcoat. It is fully lined, and there is a seam at the waist to allow for a better-fitting garment. I made the belt from fabric with some collar canvas to give it structure. I also made trim for the sleeves out of the same fabrics as the belt.

fashion fitting

Mock up fitting

bodice pattern

skirt front lining pattern

skirt pattern

Rosales played by Carly Orr

Fairview, Suze Alterations

Designer: Aman Mundle

First-hand: Natalie Juran

The church suit bought for the show was bought 2-3 sizes too large, as that was the smallest size available. Everything had to be taken in, the lining and fashion. The arm sleeves had to be changed, and the shoulder pads on the inside had to be taken out as well. The skirt had to be taken in as well. The vent on the back had to be extended as the hem was rising, and both garments had to get new zippers.

Fitting photo

Grandma played by Elise Mcfarland

Rendering by Aman Mundle

Wild Party, Eddie, Pants, and Vest

Designer: Inga Domenick

First-hand: Natalie Juran

Stitcher: Stella Inskeep

I patterned the pants and vest, then corrected the patterns and cut them out of the fashion fabrics. The zip fly and pockets were put on for the fitting, and corrections were applied again. The vest's shell was constructed for the second fitting, but the vest pockets were not put on as they had changed dramatically from the first fitting. Then, the two pieces were finished.

pants pattern

vest pattern

Eddie played by Alex Ekker

Wild Party, Phil/Felon, Plus Fours

Designer: Inga Domenick

First-hand: Natalie Juran

Stitcher: Stella Inskeep

The plus fours were patterned with a pants block. A mock-up was made. Then, corrections to the pattern were made, and the fashion was cut. The pockets and fly were put in for the fashion fitting. The ends of the plus fours needed to be dropped, and the back needed to be brought out. Plackets and fake buckles were added, as this garment was a quick change.

Plus fours pattern

Felon/Phil played by Jake Bryant

First-Hand Experience, UNC School of the Arts

The Rover, Wilmore's New Clothes

Designer: William Wharton

Draper: Audrey Pugh

Stitcher: Cesbastian Syrus Gomez

I cut out the mock-up and sewed it together. For the final, I flatlined the fabric, bag-lined it, sewed it together, and did the body slashes. I also did a lot of the closures. The slashes were made of bias-cut strips. A centerline was drawn, sewn a quarter of an inch away from it, and tapered at the ends. It was then cut in the middle and folded to make a bias tape-like appearance.

Fashion fitting

Mock up fitting

Wilmore played by Jack Zubieta Elliot, photo taken by Allison Lee Isley

Rendering by William Wharton

The Rover, Wilmore, and Lucietta Alterations

Designer: William Wharton

Draper: Audrey Pugh

Stitcher: Cesbastian Syrus Gomez

For Willmore, their cuffs needed to be let out, so we ungathered the bottom of the pants to extend the cuffs as much as possible. I also put ecstatic loops and other buttons as closures to allow for more movement. For Lucietta, I put a level line on the skirt and hemmed the pink skirt and the striped skirt. I also evened out the petticoat and hemmed it using an opera tuck.

Lucetta played by Elise McFarland, photo taken by Allison Lee Isley

Wilmore played by Jack Zubieta Elliot, photo taken by Allison Lee Isley

Twelfth Night- Viola's Jacket

Designer: Reagan Whitely

Draper: Audrey Pugh

Stitcher: Cesbastian Syrus Gomez

I cut out the mock-up and sewed it together. I helped with finishing on the inside of the jacket and prick-stitching on the pockets.

Mock up front

Mock up back

Viola played by Grace Woosley, photo taken by Luke Jamroz

Twelfth Night-Viola and Sir Andrew Aguecheek Alterations

Designer: Reagan Whitely

Draper: Audrey Pugh

Stitcher: Cesbastian Syrus Gomez

I took in Viola’s pants and brought up the hem. I also brought up the coat sleeves. On Andrew, I redid the cuffs to make the hem of the pants higher and lengthened the jacket sleeves. I also took the pants in and raised the hem on the other pants as well.

Viola played by Grace Woosley, Andrew Aguecheek played by Daniel Rosales, photo taken by Luke Jamroz

Viola played by Grace Woosley, photo taken by Luke Jamroz

Andrew Aguecheek played by Daniel Rosales, photo taken by Luke Jamroz

Stock, Bolero Jacket Reconstruction

Draper: Audrey Pugh

Before the alterations, the lining was caught with folds in the collar, and interfacing was showing on the yoke and sleeve flaps. For the alterations for this jacket, we had to take out the lining, make a new collar, reset the sleeves, and make new control sleeves.

Inside before alterations

The petal on the sleeve was sewn separately from armscye and raw edge was exposed

during reconstuction

Stitcher Experience, UNC School of the Arts

Dangerous Corner, Freda Caplan's Dress

Designer: Sarah McElcheran

Draper: Molly Klem

First Hand: Logan Benson

I worked as a stitcher on both the mockup for the dress and the final. I enjoyed working on this dress a lot and did a lot of the hand stitching on it, like the hem of the skirt.

Freda Caplan played by Sofia Berg, photo taken by Wayne Reich

If Pretty Hurts then Ugly must be a Muhfucka, Chorus Jacket

Designer: Marquita Horton

Draper: Quincy D’Allessio

First Hand: Eliana Askren

My role as a stitcher for the coat came in when most of it had been constructed, but there was a lot of finishing to do. I worked on the ease pleats at the bottom of the coat and worked on preparing and sewing the sequins. I learned a lot on how to work with sequins when working on this coat.

Chorus played by Maya Mays, photo taken byWayne Reich

Mother Courage and Her Children, Various Character Alterations

Designer: Zoe Gilreath

Draper: Molly Klem

First Hand: Logan Benson

I worked on the fitting notes for a lot of the men in the show. I had to take in a lot of the pants and replace zippers, buttons then add suspender buttons.

1st Soilder played by Jack Eld, photo taken by Wayne Reich

The Chaplain played by Jack Zubieta Elliot, photo taken by Wayne Reich

The Cook played by Ben Millspaugh, photo taken by Wayne Reich

AJ Fletcher Opera, Orlando Paladino, Various characters

Designer: Logan Benson

Draper: Ella Moffly

I worked on sewing the patches on the suits and sewed the pleated belt. I also worked with cutting out and sewing on the chiffon strips of fabric for the river souls. Some of the strips were cut on the bias while others were cut on the straight of grain.

Rodomonte played by Kevin Spooner, photo taken by Allison Lee Isley

Caronte played by Ethan Wood, photo taken by Allison Lee Isley

Orlando played by Kameron Alston photo taken by Allison Lee Isley

Dance Costume Shop, Fire Bird, Various characters

Director of Shop: Marissa McCullough

Designer: Geoffrey Holder

I worked on serging the petals on the skirts and putting on the waistbands and shoulder straps.

In front Princess of Unreal Beauty played by Jayla ThackerPhoto taken by Luke Jamroz

Stitcher Experience, Ohio Lights Opera

Guys and Dolls, Various Character Alterations

Designer: Jen Gillette

Draper: Sarah Green

First Hand: McKenzie Vaughan

For the tie-dye top, I hemmed it and added the bow to it. For the two dresses in the top middle, I added the flounces, hemmed added panels in the back. For the robe, I added the marrow.

I quick-rigged the button-up shirt, vest, and blazer together with the use of magnets and snaps. I also sewed sequined fabric onto the collar of the Nathan Detroit. I did all the alterations for the bridesmaids and wedding dresses in Guys and Dolls, which entailed taking the dresses apart to take in the bodices, raising the waistline, and resetting the zippers.

Sarah Brown played by Madeline Coffey, photos taken by Matt Dilyard

Ensemble (Left to right) Rachel Weinfeld, Laura McKenna Laura McKennaphotos taken by Matt Dilyard

Adelaide played by Maggie Langhorne photos taken by Matt Dilyard

Nathan Detroit played by James Mitchell photos taken by Matt Dilyard

Adelaide played by Maggie Langhorne, Nathan Detroit played by James Mitchell, photos taken by Matt Dilyard

Bridesmaids (left to right) Sadiyah Babatunde, Jordan Knapick, Rachel Weinfeld, Laura McKenna, photos taken by Matt Dilyard

Sound of Music, Von Trapp Children Alterations

Designer: Bill Brewer

Draper: Sarah Green

First Hand: McKenzie Vaughan

The children's outfits for the Sound of Music were rented, and they were all too small. The dress skirt had to be reset higher to make the waist larger on the curtain dress for Maria and a new waistband was cut. The bow was added, and the zipper in the back was reset. The lederhosen both had to have the waistbands removed to let out the pants and had their zippers reset. The sailor skirts and festival dresses also had to be let out. Some of the pleats needed to be replete, and on the older girls has panels were added to the sides of the dresses.

photos taken by Matt Dillard

Gondoliers, Marco and Giuseppe Palmier Coat Build

Designer: Brooke Kelser

Draper: Sarah Green

First Hand: Mckenzie Vaughan

I flatlined and sewed the fashion and lining of the coat together, as well as worked on the finishing details. This coat had to be sewn together quite quickly due to the tight turnaround of the shows, the coat was sewn in about 3 days.