.png){kind=spacer}
Theater costume designers work intimately with actors. They create ensembles for a variety of bodies that these actors wear night after night—sometimes for months! When it comes to diversity, equity, and inclusion in the arts, they’re on the front lines.
Raquel Adorno’s theater career began as an on-stage performer but ultimately led her behind-the-scenes to costuming. Her unique perspective allows her to be a safe space for actors, work collaboratively with everyone involved in a production, and share specific, actionable advice for other costume designers! Raquel is yet another theater professional and mother—with happy news for parents in theater. You’re not going to want to miss a moment of this conversation!
In this episode, we cover:
How Raquel’s experience as a performer gives her a unique perspective in designing costumes
What the early years of Raquel’s costume designing career was like
The importance of making actors comfortable both on and off stage with costume design
What’s working and not working with mentoring and teaching Gen Z
Raquel’s process of researching and designing costumes once she’s hired for a show
Why it’s so critical to get feedback from the performers about their costumes, hair, and makeup
What it’s like for Raquel to be a mom doing this type of work in the theater
Advice for other costume designers or folks interested in costuming
Whether you’re a budding costume designer or simply a theater-lover, we hope you enjoyed this conversation! As you discovered, there is so much thought, research, and care that should go into consideration for ensembles actors will wear for many shows. We’d love to hear your ahas and takeaways—DM us on Instagram!
More About Raquel Adorno
Raquel is a costume designer and educator based in Chicago. Selected credits: CHICAGO: The Thanksgiving Play, POTUS, Describe the Night (Steppenwolf Theater); Rosencrantz and Guildenstern Are Dead, Antigone, Gospel at Colonus, The Island, The Tragedy Of Othello, The Moor of Venice (Court Theatre); Measure for Measure, I, Banquo (Chicago Shakespeare Theatre); Dial M for Murder, Georgiana and Kitty, Intimate Apparel* (Northlight Theatre); The Band’s Visit, Wife of a Salesman (Writers Theatre); REGIONAL: McCarter Theatre Center, Utah Shakespeare Festival, American Players Theatre.
Links & Mentioned Resources
Connect with Raquel Adorno:
Connect with Kira:
Thanks for joining me on this episode of Inclusive Stages! If you enjoyed this episode, please leave a review on Apple or Spotify to help me reach even more theater makers, theater artists, and theater lovers who want to make our industry a better place for everyone.
Thanks to our music composer, Zachary McConnell, and our producer, Leah Bryant.
More about the Inclusive Stages Podcast
Welcome to 'Inclusive Stages' -- the go-to weekly podcast for theater makers, theater artists, and theater lovers who want to make our industry a better place for everyone. We'll chat with actors, directors, designers, scholars, and more about the current landscape of the theater scene and get their thoughts on how we can do better.
Host Kira Troilo will also give you a sneak peek into live EDI coaching sessions and offer actionable tips for creating more equitable, inclusive, and empathetic theater spaces that support and value the diversity of artists and audiences. Join the conversation, and let's collectively shape the future of human-first theater, one stage at a time.
This post may contain affiliate links, so I may earn a small commission when you make a purchase through links on my site at no additional cost to you.
The unedited podcast transcript for this episode of the Inclusive Stages podcast follows:
Kira Troilo (00:02.659)
Hey Raquel. Good, how are you doing? Good, it's good to see you. I can't spend like a year since I've actually saw you in person. Yeah, when we were accidental roommates. Yes. Yay, so yeah, I'll just dive right in. I would love to know what your theater origin story is.
Raquel Adorno (00:03.941)
Hey, how are you? I'm well, thank you.
Raquel Adorno (00:18.092)
Yes, exactly.
Raquel Adorno (00:29.396)
Yeah, so I've been a theater professional my whole adult life, but I came at it, I first started as a performer. So I was a classical singer. I also did contemporary music and cabaret. Yeah.
So that's where I started. And I did that until I was 30. I got my master's. I did competitions. I was costumed a lot. I was on the audition circuit. And so I had the opportunity to interact with people who were telling visual stories with me, collaborating with me early on, but as a performer. And then when I was 30, I had to take a break because I was having some neck problems. I had been in a car accident as a teen. And it resulted in a
a problem with, I forget which one exactly, vertebrae discs.
And it was resulting in chronic pain when I was singing anything into my passaggio and above. I had a larger voice, have a larger voice, I was a full lyric. And so as my voice was growing and my repertoire was growing, resulting in this chronic pain that was pretty excruciating. And so I was referred to physical therapy. And my therapist very gently told me maybe I should consider doing something else because the chronic pain was not, no matter what,
Kira Troilo (01:25.144)
Mmm.
Raquel Adorno (01:54.342)
I did, because of course I was like, can fix this, I'll meditate, I'll do like every yoga, I'll Feldenkrais, everything, right, whatever it takes.
Kira Troilo (01:57.272)
Yeah.
All the things.
Raquel Adorno (02:01.864)
All the things and luckily that very compassionate therapist was just like, maybe you should think about doing something else. And there had always been this little seed inside of me that was very interested in production and I had studied theater production in Germany and it was fascinating to me but I was just like, don't even know how to make this jump. But then the universe stepped in and I used to hang out at a coffee shop with this director and like a month into deciding to be open to something else, he asked me to costume a show.
And I was floored because I was like, I don't know how to do this. I think it's going to be really bad. And he was really desperate because their designer had just walked out right before first rehearsal. he was like, because my day job was I was a wardrobe stylist at Ann Taylor Loft.
Kira Troilo (02:42.478)
Mm.
Raquel Adorno (02:50.872)
And so he was like, no, you have good style. It'll be fine. And it was OK, but it was also a hot mess. But I was like, this is amazing. I love this. And so I worked in storefront costume freelancing for about four years when I decided to get my MFA at Northwestern. So I went to Northwestern, and I finished in 2019.
Kira Troilo (02:51.094)
Okay.
Kira Troilo (02:54.72)
Yeah.
Thanks
Raquel Adorno (03:16.376)
And I defended in November of 2020 during the pandemic while also eight months pregnant. It was quite the time. So, and I've just been, I've been designing then for about 13 years and it's what I love. very passionate about it. And I'm so grateful I had that experience as a performer because I think it gives me a unique perspective.
Kira Troilo (03:22.801)
I'm sure that was a time.
Kira Troilo (03:40.258)
Yeah, absolutely, I was gonna ask you about that. I feel like so many of us who are in different roles in the theater start as performers. So yeah, what do you think that brought to designing costumes, when you came directly from performing?
Raquel Adorno (03:57.048)
Yeah.
I think the most successful costumes truly are a collaboration with the actor, right? Because I consider myself a visual storyteller and when I'm in a really successful conversation with the actor and their physical presentation and the production team and the piece that we're working on, that's when really successful costuming can happen. I think that it's because of my experience as a performer.
Kira Troilo (04:02.808)
Hmm.
Raquel Adorno (04:27.598)
the people had the best of intentions I was putting some things that were really difficult for me and that felt really uncomfortable and that you know rubbed against my identity and it was hard and I know so I know that so I try my absolute best I'm sure I mess it up all the time but I try my absolute best to respect people respect their bodies respect their identities and create an environment where if something does feel bad they can be like hey I don't I don't like I don't love this can we talk about it and I'm always
Kira Troilo (04:32.949)
yeah.
Raquel Adorno (04:57.498)
like yes, absolutely.
Kira Troilo (04:59.267)
Yeah, no, that's amazing. Do you have any stories you'd be willing to share from your time being a performer when you were like, no, this is not, this is not working with costumes?
Raquel Adorno (05:11.352)
You know, it's funny, I tended to, I was put in a box pretty quickly, right? So I'm Puerto Rican, I had a big voice, and so I sang a lot of like...
roles depicting Roma people, I sang a lot of roles that where I was the, like the, how do you say it? I'm thinking of like archetypes, right? I was either the virgin or the whore over and over again. Yes, like I was, like I did quite a few suorangelicas and I did quite a few carmans and then anytime there was a Spanish opera they were like, woo.
Kira Troilo (05:37.41)
I'm like stereotypical. was gonna... That's what I was gonna say.
Raquel Adorno (05:49.002)
someone and it was always like the same role back and forth. I almost got to do a Desdemona which was also kind of the same thing but it was back and forth over and over yeah and so the thing is people oftentimes struggled with my hair.
Kira Troilo (05:52.984)
That's right.
Kira Troilo (05:58.381)
Maybe a little different.
Raquel Adorno (06:05.206)
They, because I have waist -length hair, it's a combination of textures because I'm of mixed race origin. And they didn't know what to do with it. They're like, when we wig you, your head looks really big. And they would objectify me and they would talk about me that way, right? And they would also be like, it's so wild. We don't know what to do with you. Because in opera, they oftentimes double cast. then they'd be like, you're not, you know, the person who's double cast with you, they're not going to look the same unless we wig you. But then your head looks really big. And so they would oftentimes
Kira Troilo (06:05.461)
Mm -hmm.
Raquel Adorno (06:35.49)
and making a wig that looked like my hair. And so it would be like my very long hair then under a wig that kind of looked like my hair with strange bangs. So it was... So, yeah.
Kira Troilo (06:50.028)
Right, and what did you have to do to prep that? Wait, like all the extra work?
Raquel Adorno (06:54.09)
It was a lot of extra work and for a while I had short hair because of it. And it was, you know, which is not my preference, but it made other people's lives much easier. And being a performer who was trained in the early 2000s, that was still very much alive, right? Like you do whatever you need to do in order to be marketable and easy to hire. So that's what I did for a long time. then,
Kira Troilo (06:58.178)
Right.
Raquel Adorno (07:21.962)
It just wasn't working for me. It rubbed against my grain. And over time, it actually resulted in a lot of anxiety. And so I started to get a lot of stage fright. I started to get really anxious. I started to forget. Like I would get brain fog. I was forgetting things. And it was because I was just so anxious from people scrutinizing me, critiquing me, and then having to go out there and like tear my soul open all the time. So I did not have the temperament for it. I didn't have the...
Kira Troilo (07:47.276)
God.
Raquel Adorno (07:51.914)
it just the emotional fortitude in that way it was it just didn't work so
Kira Troilo (07:58.242)
Yeah, well no one should have to have the emotional fortitude to be torn apart like that. It's awful. Yeah, yeah.
Raquel Adorno (08:03.082)
I know, and some people do, and it's incredible, but I was just not built that way. I'd had too many experiences that didn't... Wait, but you asked me about a costume, right? So, Like, a time I was costumed, right? But that was... Yes.
Kira Troilo (08:16.087)
No, this is amazing. just wrote an ebook about hair and just how we need to widen our vocabulary about what is hair and natural hair and black hair and textured hair. no, it's just so important. And I also want to ask you, because I know hair people and or costume people end up dealing with hair and makeup as well. So no, this is all great. Yes.
Raquel Adorno (08:21.613)
Yeah.
Raquel Adorno (08:39.83)
Yeah, we collaborate a lot. Okay, great. Because I was like, I just went on a tangent, but yeah, it's wigs. Wigs are really hard. And so I work with wonderful wig artists, and I'm very cautious about working with new wig artists only because of that. Like, I know that the people I work with, I've seen work sensitively with all different kinds of heads and hair without commenting. Because the last thing you need when you're in front of a mirror and you're trusting somebody to change your appearance,
Kira Troilo (08:44.375)
I love a tangent. Yeah.
Kira Troilo (08:54.198)
Hmm. Yeah.
Raquel Adorno (09:08.66)
is to be told your head is really big or you've got a lot of hair or does it always look like this? Like those are not the questions you need to hear.
Kira Troilo (09:11.415)
Right.
Kira Troilo (09:16.277)
No, of course not. Oof. Yeah. Do you, are those the ones that stick out to you when you're thinking back on your performer experience? I'm also thinking about your pain. Like that can't have been easy to be dealing with your chronic pain too.
Raquel Adorno (09:27.65)
Yeah.
Raquel Adorno (09:31.572)
It was hard. It was hard. But yeah, whenever I think back, I remember wearing a lot of strange wigs and then also people commenting. So I have scoliosis and people would often comment on the fact that I have one hip higher than the other and they would make a big deal out of it. Like I was making their life miserable and it's like, well, if you know how to use a tape measure, this shouldn't be a problem. so the other thing was I wore a lot of shawls. You know, they were always putting shawls on me because it's that was the trope that they were.
Kira Troilo (09:42.956)
Mm.
Kira Troilo (09:52.365)
Right.
Kira Troilo (09:58.198)
gosh.
Kira Troilo (10:01.974)
Mmm.
Raquel Adorno (10:02.06)
they were leaning into for a lot of these roles. Yeah.
Kira Troilo (10:04.877)
Wow. Yeah, so what did it look like after that first time that you costumed and you were like exhilarated? What did it look like in the early kind of years of you starting to get into it?
Raquel Adorno (10:12.855)
Yeah.
Raquel Adorno (10:18.126)
my gosh, just making so many mistakes. And just learning as I go and meeting a lot of really generous actors who would help me fill in the gaps when I didn't know, because I was very transparent about it, that it was new. especially a lot of the older actors in Chicago, they were the best. They would tell me, I need this thing exactly, or can you do this for me? And so then I would kind of file that away in my bank of...
Kira Troilo (10:20.77)
Mm -hmm.
Raquel Adorno (10:44.576)
like how to make my craft better, but also how to support the actors doing the work, right? And so I just learned to do that. And my work as a wardrobe stylist, actually, funny enough, gave me lot of experience dressing all kinds of bodies and all kinds of people. So like when I was meeting people, you know, if someone was a size that isn't what at that time, because this was like, when would that have been like the 2010s where we were still not really having
Kira Troilo (10:48.557)
Yeah.
Kira Troilo (11:00.675)
That's right.
Raquel Adorno (11:14.552)
fruitful conversations about health at every size and different kinds of bodies. It was very much like we have one body type in this world that we consider beautiful, right? And that was not my perspective. I costume all kinds of bodies and many actors felt comfortable with me who never had before.
Kira Troilo (11:24.813)
Right.
Kira Troilo (11:31.693)
Yes. Yeah. And I just think of that. I have had experiences too as an actor, but like people who are like the costume designer told me I need to lose five pounds. Like they can't take the costume out or yeah. I'm sure you've heard more stories just being a kind and compassionate costume designer from artists.
Raquel Adorno (11:46.359)
Yeah.
Raquel Adorno (11:54.364)
Yes, I hear many disturbing stories and you know people have been told things like, your body is this or your body is lacking structure or your body and it's like I'm a firm believer in we don't talk about people's bodies they're not objects we talk about the costumes those are the objects right so but I've heard all kinds of terrible things that people have been told and yeah it's it's mind -boggling to me.
But I'm sure I've made those, I'm sure I have said awkward things too sometimes, right? So I try to have so much grace and listen to those stories and then try to move forward in a way that's sensitive and collaborative with the actors so that we can rebuild that trust and that ultimately they feel really good in what they're wearing on stage.
Kira Troilo (12:39.981)
Yeah, yeah, that's great. What is, well, I'd love to hear too about from those early days to now, because when we met, it was just I was so impressed by how many places you've worked and how much work you've done. So, yeah, where how did you get to where you are now and where are you now?
Raquel Adorno (12:47.052)
Yeah.
Raquel Adorno (12:57.782)
Yeah, so I started out doing tons of storefront. Basically, I would do a show, and if there someone I connected with, like another designer or another director, the work just kind of snowballed. And then it happened pretty quickly for me, I think, because of the fact that I had a lot of availability at that time. And I was just game for anything. was like, whatever you want me to do, I'll do. So I designed all kinds of crazy things.
Kira Troilo (13:17.688)
Hmm. Yes.
You
Raquel Adorno (13:25.846)
Then I went to get my MFA at Northwestern, there I met some really wonderful mentors and champions who then helped me get to that next level. And I think part of it was to that availability, like I really am game for anything. I'm interested in telling any kind of a story that resonates with me and also telling those stories in ways that don't harm.
Kira Troilo (13:45.819)
Mmm. Yeah, that's amazing. And you're working at Northwestern now.
Raquel Adorno (13:50.796)
Yeah, I'm now an assistant professor. I've just joined the full -time faculty. I finished my postdoc, and it's exciting. Thank you. The students are amazing, and they're so full of ideas, and they're so knowledgeable. feel like sitting in a room with them, I learn. It's an even exchange. There's so much I want to share with them, but I learn so much from them too and from their work.
Kira Troilo (13:58.198)
Wow, congratulations.
Kira Troilo (14:12.856)
Mm
Kira Troilo (14:17.571)
Yeah, and yeah, I was lucky enough to get to talk to your class over Zoom and I felt that like they're just, yeah, there's just so much energy and knowledge in the room. Yeah, it just felt like you were having a conversation.
Raquel Adorno (14:32.066)
They loved meeting you and they were ecstatic. It was one of the things I got the best feedback about. They are so passionate about the work that you're doing and they're trying to make those kinds of changes in student theater and also as they leave in the professional world. So that was super exciting for them. Thank you.
Kira Troilo (14:49.847)
Yeah, thank you. That was exciting for me too. What advice would you have for other people who are teaching? Because you're teaching that generation, like Gen Z. They are, well, they are, yeah, mean, this is a generalization, but yeah, they are so excited and active in this work. Yeah, but I know a lot of teachers as well. So yeah, I mean.
Raquel Adorno (15:02.614)
I know, I'm so new.
Raquel Adorno (15:09.517)
Yeah.
Kira Troilo (15:17.912)
doesn't have to be even advice, just your experience, like what's working, what's not working, and connecting.
Raquel Adorno (15:24.856)
Yeah, I feel like they are so self -motivated. They are so curious. They are so passionate. And these are the students at Northwestern. Also, I had the opportunity to briefly teach at DePaul. And I found they were very similar, that they are just on fire to learn and make new theater and to make theater that's kind and that's still probing.
difficult topics, but in a way that is without shame, without judgment. And I just try to foster that as much as I can. I just try to give them the tools to do that. That's why it was so great that I had you speak to the class. I had Jeri -Lynn Lenier -Duckworth come speak to the class. She does wonderful classes on black hair and black makeup and black costuming.
costuming for black bodies and I just am that's what and that's what they're interested in they want to tell stories respectfully and I try to foster that whenever I can.
Kira Troilo (16:27.949)
Yeah, that's beautiful. I'm sure they are hungry for it too. So with your costume, like if you're going in to do costumes for a show, I know there are other people who are always looking for guidance here. Where do you start? When you find out you're doing a show, you're costuming a show.
Raquel Adorno (16:47.99)
Yeah. I read the, I know this is gonna sound so obvious, but I read the script really carefully. And if there are words I don't know, if there are cultural references I don't know, if there are, if there's anything that I have no knowledge and experience on, I research it heavily. And not just, like, and I'll do an array of research. So books, films, television, poetry, stories, news articles.
Kira Troilo (16:55.318)
Yeah, that's the thing.
Kira Troilo (17:06.222)
Mm -hmm.
Raquel Adorno (17:14.668)
Whatever I get, photography, whatever I can get my hands on to better understand a culture, I will do that. And then after that, it's more research. Just research on what did the clothes look like in this community, this time, this place? What were the different movements in clothing and culture and fashion? What was happening in different socioeconomic strata, if that's a part of it, which is always usually part of the story, right? Like what was happening politically?
Kira Troilo (17:42.848)
Mm -hmm.
Raquel Adorno (17:45.217)
What were people eating? What were people like anything like whatever? Informed them and their bodies I researched and learned more about
Kira Troilo (17:55.075)
Yeah, wow, that's awesome. yeah, don't think it's, yeah, so many times I'll go to production meetings and like, yeah, I haven't gotten to the script yet. Like, we gotta read the script, we gotta dig for that context, right?
Raquel Adorno (18:06.146)
Wow, yeah, absolutely, right? Especially as a costume designer because you are representing people, right? And people are gonna come see the show. So I feel as though I have to, I am charged with a very serious responsibility to do my best to represent the people who are going to be on that stage to the best of my ability. And then,
I also look at casting as soon as it's available because people are cast for a reason. They are always going to inform the story. And then if the actor, sometimes the director will be like, hey, I'm working on a project right now, and the director's like, 90 % of this cast is actually from the community that we're going to be exploring. And so I'm like, that's incredible, right? And so then partnering with production and artistic producers are...
Kira Troilo (18:41.645)
Mm -hmm.
Raquel Adorno (19:01.302)
not company manager, it be the artistic producer, to find out a way where we can give them information early on so they can give me input. I'm very open to that. It's all about getting it in early enough in the process. That's why I love first fittings. It's when we're in mock -ups. It's when we're still exploring options. And I encourage the actors I'm collaborating with to tell me if something doesn't work. And I mean it. I'm like, if this doesn't work, if you don't like this color, if you think this color is bad on you or you have a bad association with it, or if this is a silhouette that doesn't work for you.
Kira Troilo (19:07.914)
Mm -hmm.
Raquel Adorno (19:30.816)
If you know of a silhouette that works better for you, if this is itchy, please tell me now because this is the moment where we can change it.
Kira Troilo (19:36.494)
That's right, yeah. So is that usually the typical time where you'd meet or communicate with artists? Like at the first, it would be during first fitting? Mm -hmm.
Raquel Adorno (19:46.688)
Unfortunately, Unless, sometimes the actors do request to speak with me and I'll set up a Zoom with them. Like that's the best. When I'm able to do that months in advance, that is ideal. And that's when you can tell me, right? Like, hey, you know, I have these needs or I have these thoughts or this is what I'm thinking about this for this character. These are the conversations I'm having. That's the dream.
Kira Troilo (19:53.804)
Yes.
Kira Troilo (20:09.112)
Mm -hmm.
Raquel Adorno (20:09.932)
But not everybody's available or interested in doing that because there's a lot of trauma, right? There's a lot of trauma and so they're like, I don't want to talk to that woman until I have to see her in the fitting. And I totally understand. So.
Kira Troilo (20:13.674)
Of course.
Kira Troilo (20:21.039)
because they don't know anything, right? They don't know anything about you until they meet you, but then it's like, well, if they met you earlier, then maybe we could solve some issues down the road.
Raquel Adorno (20:26.648)
Yeah.
Raquel Adorno (20:31.69)
Exactly.
Kira Troilo (20:32.303)
Yeah, that's something I've been trying to do is partner with costumes and hair people to try to just like make the offer of, know, let's, I know you're not getting paid, so can we take, you know, 15 minutes and just check in on needs and thoughts and concerns. And for the shows we've been able to do that with, it's just, it makes such a big difference coming in, because they're like, okay, you know, I've communicated what I need. I know the person who's going to be touching my body.
Raquel Adorno (20:47.512)
Mm -hmm.
Kira Troilo (21:01.303)
It's amazing.
Raquel Adorno (21:02.549)
It makes all the difference. Even in email, I've gotten wonderful emails that are like, I don't wear these silhouettes, these silhouettes look best on me, these are my favorite shopping brands. And if it's period, they'll be like, these are the silhouettes that look best. These are the actors who have done this many, many times. If you put things on this place as my waist, it will look better. And I always take that into consideration. And then I continue to protect that. Because sometimes then, once you bring in, as a costume designer, I get to work.
with a shop and sometimes that shop is one, but I've worked with as many as 40 people on a different project, right? So continuing to protect that, be like, well, that is a viable idea for this period or for this design, but that is not something the actor is comfortable with. Like they specifically said, I don't wear that length or I don't like this cut. And so just, I remember that stuff so that I can continue to keep that at the forefront because ultimately it's the actor who's gonna be wearing this for months. We all leave.
Kira Troilo (21:45.89)
Mmm.
Kira Troilo (21:57.583)
That's right, that's right. And they, yep, and they do it night after night after night. Yeah, like one example comes to mind of a show that we were involved with together where an actor was playing a very feminine role and they are not feminine in their, you know, identity.
Raquel Adorno (21:59.242)
and they were.
Raquel Adorno (22:13.197)
Mm
Kira Troilo (22:19.745)
outside and I just remember, yeah, you were being a very fierce advocate to make sure that they were comfortable with what they could wear and still feel, know, do the performance but then also feel safe in their own body.
Raquel Adorno (22:20.651)
Mm -hmm.
Raquel Adorno (22:34.348)
Yeah, well, this performer we're talking about is an incredible performer. The last thing I wanted to do is hamper or traumatize them, right? Because there was no quicker way than preventing someone from doing their job than doing that. And this actor in particular had had that experience many times. And so I was determined that that was not going to happen on this production.
Kira Troilo (22:39.668)
Mm -hmm.
Right?
Kira Troilo (22:49.206)
Yes.
Raquel Adorno (22:59.916)
for so many reasons, but also too, we are all entitled to a safe working environment. that's not having to put something on that just makes you feel horrible over and over and over over over again. I firmly believe that that's trauma. And I hope that people trust me enough to tell me if that's the case, because we can always do something to make it better.
Kira Troilo (23:05.8)
Mm -hmm. Yes.
Kira Troilo (23:20.685)
Yep.
Kira Troilo (23:27.971)
Yeah, yep, absolutely. And what are some things that you, like once you get into the fittings and tech and all of that, is there anything in your process that you've done that's been really successful for you?
Raquel Adorno (23:43.512)
Yeah, I ask a lot of questions. And I'm sure probably at first some of the actors are like, my god. I ask them, how does it feel? Is this in line with what you're discovering in the room? Is there anything that you might need to do physically that is going to be hampered by this costume? I just ask a lot of questions and I wait. Like if there's not an immediate response, I don't jump in and go, OK, moving on. I'll just wait. Like my son is nor divergent. I've learned to count to 30.
Kira Troilo (23:48.78)
Ha
Kira Troilo (24:00.515)
Mm.
Raquel Adorno (24:11.256)
And so I do that a lot. just count to 30. I'm like, because sometimes it takes you a hot minute to process. And so trying to slow down and just wait and give people the space to ask for what they need. Also, too, being like, if anything else comes up, please feel free to email me or reach out through stage management. I always make that offer. Because sometimes they don't want to say it in front of the four other people who are in the fitting who've built the thing, right? But then,
Kira Troilo (24:11.66)
Yes.
Kira Troilo (24:18.211)
Yep.
Raquel Adorno (24:39.422)
Oftentimes the director will reach out to me or I'll get that email or I'll get a text and I'm like, yes, thank you. I can take care of this while still protecting them from all the other people who are also working on the thing.
Kira Troilo (24:52.46)
Right, right, but if they've established trust with you and then they know that you're even just hearing you ask a question, it might take them a few days, right, then they might reach out and that's amazing.
Raquel Adorno (25:05.207)
Mm
Kira Troilo (25:07.278)
You brought up your son and you brought up being eight months pregnant back earlier in our conversation. What's it like being a mom for you in this work?
Raquel Adorno (25:09.644)
Yes.
Raquel Adorno (25:13.825)
Yes.
Raquel Adorno (25:19.528)
That's awesome, honestly. Being pregnant, I learned, it's funny, my mentor, she told me, okay, you're gonna be a mom, you're gonna have to learn how to work in two hour blocks. And I was like, that's odd, because I used to be like, I'm gonna sit at my table and draw for eight hours, and I won't stand up until I'm finished, right? And that was.
Kira Troilo (25:32.857)
Mm.
Kira Troilo (25:43.116)
Not anymore.
Raquel Adorno (25:43.874)
just how I did it, but not anymore. And so I learned how to work into our blocks because that's nap time when they're teeny tiny, right? And that's how often they sleep and then you have to feed them. And it was the best piece of advice I got because then it taught me how to condense my process and it's not perfect. Like I'm still like, I was like, I'm maybe this, I'm cutting this corner incorrectly. I got to figure it out. But it was very, very helpful. And also,
Kira Troilo (25:50.541)
Mm -hmm.
Raquel Adorno (26:11.776)
I think becoming a parent made me more confident in just kind of owning things, right? Like, if I don't like something, I'll just be like, I don't think that works. Or, you know, I'm not as worried about what people think. And I don't know, maybe at first it was the lack of sleep. It took my filter that it happened enough that I was just like, this is me, and this is what I think.
Kira Troilo (26:20.604)
Mm -hmm.
Yep.
Kira Troilo (26:29.903)
Yeah
It happened. Yeah.
That's right, that happened to me too and I'm like, what is that? Is it like, is it not having any space? You know, cause I feel like I have less space in my life because you know, my son and now my other kid coming up, it's like, yeah, they take up so much space as they should that I can't really, you know, I'm a lot firmer than I used to be.
Raquel Adorno (26:42.156)
Yeah.
Raquel Adorno (26:56.332)
Yeah.
Raquel Adorno (27:01.624)
Same, same, and I don't feel bad about it because at the end of the day my priorities shifted and I'm actually really grateful for it.
Kira Troilo (27:10.06)
Yeah, that's amazing. And that's what we bonded when we were in the house about like, hey, know, here we are, both moms away from our kiddos. Can you talk a little bit about some of the boundaries you have in place when it comes to going away for jobs now that you're a mom?
Raquel Adorno (27:27.564)
Yeah, so I did my first gig after Jasper was born. He was four months. And my husband could come with me, Andy. And so I told company management, was like, so I have a four -month -old and a husband and a dog. And they have to come with me. I was so nervous. Yeah, I'm like, I'm a package deal. And they're like, great, no problem.
Kira Troilo (27:47.148)
Hmm.
Yep. Package deal.
Raquel Adorno (27:56.736)
And it was so empowering that I had that experience because not everybody says that. Not everybody says that, but I know it's possible. And so I always, now I have a, you know, I have representation now and they know that wherever I go, if they don't stay with me the whole time, they're at least gonna visit for a week or two. And two weeks is kind of my limit. Like I go back and forth, but being gone for two consecutive weeks is as long as I do. If it's longer than that, then they have to come with me.
Kira Troilo (27:59.596)
Yes. No. Yes.
Kira Troilo (28:13.048)
Mm -hmm.
Kira Troilo (28:16.65)
Mm
Raquel Adorno (28:25.962)
and my dog. Yeah.
Kira Troilo (28:27.661)
I love that. And I love that you have someone to say that for you so you don't have to be like constantly advocating for yourself. Wow. And then do you meet when you're away? Do you meet a lot of other parents or you do? Okay, yeah.
Raquel Adorno (28:30.871)
Yeah.
Mm
Raquel Adorno (28:42.165)
my god, yes, there are so many designers with children my child's age and or people that I didn't know were parents until I became a parent and then it's like, yeah, I have two kids. And it's like, I feel like so many of my collaborators are
Kira Troilo (28:52.334)
Mmm.
Kira Troilo (28:59.181)
that's really nice to hear. Because, yeah.
Raquel Adorno (29:00.31)
Yeah, it surprised me because I never felt that way on the other side because people were very quiet. But once I became a parent, it was suddenly like, yeah.
Kira Troilo (29:07.883)
Right, right, because right a lot of times we're going into a job. It's not like, you know, I do bring my son to the theater to run around sometimes, but yeah, you wouldn't know, I guess, because it's not like we're bringing our kids everywhere. Yeah, no, that's great to hear, because with I feel like with actors, it's totally the opposite. You know, like it's just how can you have how can you do that work and have kids and not have
Raquel Adorno (29:11.906)
Mm
Raquel Adorno (29:16.353)
Yeah.
Raquel Adorno (29:21.548)
Mm -hmm.
Raquel Adorno (29:29.986)
Yeah.
Kira Troilo (29:34.489)
you know, like a supportive partner with flexible hours at home or yeah, it's hard. But I wonder, like that's also an agency thing, I think, of being a designer and or a consultant like me and, you know, being able to come and go, I guess.
Raquel Adorno (29:45.324)
Mm -hmm.
Raquel Adorno (29:51.498)
Absolutely, but I didn't realize how recent that is. So that first job when I had my four -month -old, another designer came up to me and she was of the generation ahead of me. And she was like, you are so lucky. She's like, I used to have to breastfeed in bathroom stalls, like in hiding.
Kira Troilo (30:03.299)
Mm -hmm.
Kira Troilo (30:09.344)
Mmm. Yeah.
Raquel Adorno (30:11.708)
And she told me, she's like, my husband would come sneak my babies in so that I could feed them. And then I'd like scurry back. She's like, but it was a secret nobody knew. And that just, it still kind of gives me chills to think about that. But that's how she raised her two babies. And she's like, this is incredible. And like, it was the opposite. Like, people were like, bring Jasper, we want to meet Jasper. like,
Kira Troilo (30:21.091)
Yeah.
Kira Troilo (30:30.616)
Wow.
Raquel Adorno (30:38.796)
that was not always the case. So I'm really grateful that people like that designer changed that. They changed that culture, you know, little by little by being courageous to pursue the things that they really wanted.
Kira Troilo (30:50.614)
Right. Yeah, wow. Yeah, I, right. I mean, even I, I I breastfed in a closet, you know, at a theater, not in a public bathroom, so that's good. But yeah, I know in some places it's better, some it's not as, you know, as better, but you bringing Jasper, right? And like, see, I think I've heard that a lot from other moms in theater, is like seeing me bring my son kind of gives them the, okay, maybe I can be out about this too, you know?
Raquel Adorno (31:01.698)
Mm -hmm.
Raquel Adorno (31:10.509)
Yeah.
Raquel Adorno (31:20.45)
Yeah.
Kira Troilo (31:22.063)
yeah. What would you say, do you have an example of your favorite job that you've done for like human reasons?
Raquel Adorno (31:35.384)
This is hard, because I feel like I fall in love with every show while I'm in it. You know? My favorite.
Kira Troilo (31:36.353)
Yeah.
Which is amazing, yes. huh.
Raquel Adorno (31:46.136)
And I get to work with awesome people all the time. And I always have. Even when it was like a teeny tiny show and my budget was $100, I was still like so excited about it. I was like, but this actor is such an incredible performer, or this scenic design is so inspiring. So yeah, it's hard. I feel like everyone is just kind of, it's its own special perfect child.
Kira Troilo (31:53.91)
You're still having fun?
Kira Troilo (32:08.192)
Yeah, but that's why we do it. It's like, you can fall in love with every process.
What advice would you have for other costume designers who I know they're out there who are like I am trying to do my best You know There's there's a lot of change in the world right now and people are advocating more and I think it's causing a lot of fear especially with people who are touching other bodies and You know, so yeah, do you have any advice?
Raquel Adorno (32:39.584)
I always ask the actors for consent before I touch them. And some theaters are actually starting to have this wonderful document that is a cost like of fitting room expectations. So they'll go through that and it's amazing because then I don't have to do that in an informal way. It's like a super formalized where they'll read a document and they're like, know, these are the expectations, this is what you can expect from us and this is what we would like to expect from you. And I feel like that sets up a really
Kira Troilo (32:42.06)
Mm.
Raquel Adorno (33:09.508)
nice room and if that's not the case at the theater because every theater is like its own its own special ecosystem I will oftentimes tell the actors you know I introduced myself and even though we've usually already met in first rehearsal sometimes you have fittings before rehearsal start if it's a really complex build
Kira Troilo (33:29.162)
Mm -hmm.
Raquel Adorno (33:29.334)
So I'll introduce myself and I ask somebody, do you mind if I touch you? Can I start to, are you ready for me to like, to touch this garment or to adjust this? I always ask. Even if I've already touched them, I ask again because just in case they're distracted or you know, their mind has wandered, I don't want to startle somebody by just getting all up in there. And then I always talk about the rendering with them. Like I'll post the rendering.
Kira Troilo (33:41.823)
Mm.
Raquel Adorno (33:57.209)
or the research if that's what I have, but usually it's a rendering and we talk about it. I'm like, this is what I have planned, this is for this moment, this moment, what are your thoughts? And oftentimes they're like, cool. But oftentimes they're also like, hey, actually, I don't want to be a blonde or I like, you I don't want to do this. And I'm like, great, let's talk about it.
Kira Troilo (34:01.646)
Mm
Kira Troilo (34:08.856)
Yeah.
Kira Troilo (34:16.417)
Mm -hmm, yeah.
Kira Troilo (34:20.889)
Great, yep. On the flip side, do you have any boundaries or I guess any helpful decision -making things you have in your head to decide where you'll work or where might not be a great place to work?
Raquel Adorno (34:36.864)
Yeah, I do. Actually, I don't work where there's no support anymore. So early in my career, I was an army of one and I had no problem with that.
Kira Troilo (34:42.094)
Mmm.
Raquel Adorno (34:47.446)
because I was learning and I was doing small shows. but now I do much larger shows. I have a child and I have a job at a university. So it's not, that's not feasible for me anymore and I don't, so I'm not able to do that. And you know, unfortunately it did affect some of the relationships I had, but it's just not feasible for me anymore and so I don't do that.
Kira Troilo (35:10.968)
Hmm.
Kira Troilo (35:15.213)
Yeah, that's great. mean, yeah, anytime we set a boundary, it's going to affect some relationships. But it means you can sustain your career. yeah. Before I ask the last question, is there anything I didn't ask you that you think is important to share with people who are interested in costuming?
Raquel Adorno (35:21.272)
quickly.
Raquel Adorno (35:37.184)
You know, the only other thing I could think of is the shop is your partner and your collaborator. so many of the shops, I know that historically costume shops have had some really, there have been some toxic behaviors, but that is really changing. And I am just floored by the compassion and excitement and eagerness to learn that I'm seeing in costume shops and start those conversations as early
Kira Troilo (35:55.618)
Hmm.
Raquel Adorno (36:07.08)
as possible. Like if you know that there's a need for a design that you're doing or for an actor or if you want to check in about something, you know, ask as soon as the thought occurs to you, ask. Because these, shops, even though...
there like sometimes harm does happen in the shop and with the costume designer that is changing and the spaces now really desperately want to make things better and help the help the actor feel comfortable. So as a costume designer I like the shop is it's my happy place. It's my home even when it's not even when things are happening that are like that makes me feel really icky. don't I need to figure out who to email now. It's still like right.
Kira Troilo (36:28.504)
Hmm.
Kira Troilo (36:36.312)
Mmm.
Kira Troilo (36:49.614)
You
Raquel Adorno (36:52.668)
It's like, how do I make this better because something horrible just happened? It's still a space full of incredible artists who really, really want to do right by the actor and create a beautiful piece. so I always try to assume the best of intention. But your gut tells you when it's not. When something's gross, you know, right? But in general, people have the best of intentions to just lean into that and help us heal those spaces.
Kira Troilo (36:55.574)
Yeah. Yep.
Kira Troilo (37:13.059)
Yes.
Kira Troilo (37:18.168)
Yeah.
Yes, yes. And that sounds like collaboration with them as well as collaboration with the actors. Just like collaboration.
I know this is a big question, but what does inclusion look like to you going forward from where you are? And that can be big or small.
Raquel Adorno (37:34.617)
I know.
Raquel Adorno (37:40.823)
Yeah.
you know, at the beginning when we were chatting, this reminded me of a story about my mom, actually. So my mom was like, notoriously did not love theater. And she was like, and she would never come see my shows and it hurt me so much. And finally, I asked her, like, mommy, why won't you ever come see my shows? And she said, Raquel, because they don't make shows for people like me. And so I think...
Kira Troilo (37:50.253)
Mmm.
Kira Troilo (37:57.203)
no.
Kira Troilo (38:09.42)
Raquel Adorno (38:13.25)
That is what I hope inclusive theater looks like, we are making shows for everybody, including people like my mom and my family who still think what I do is so interesting but so foreign. But just continuing to, because theater is of the people, and just continuing to make stories for the people.
Kira Troilo (38:19.733)
Hmm, yes.
Kira Troilo (38:26.786)
Mmm.
Kira Troilo (38:33.912)
Yeah.
Raquel Adorno (38:33.964)
however that looks and I think that means taking chances on new artists. think that means people who have gotten to the place where they are in the door, opening the door, keeping the door open and mentoring. I think that's a huge part of it.
Kira Troilo (38:48.672)
Yeah, I know I said that was the last question, but I have to ask another follow -up. Have you been able to work on any shows that... Let me start that question over. Have you been able to feel represented in any shows that you've costumed? And what did that mean to you?
Raquel Adorno (38:53.259)
Yeah.
Raquel Adorno (39:09.61)
Yeah, you know, it's interesting. feel like part of the reason I love being a costume designer is because I find little pieces of myself in every story. And I think that that's what keeps it so alive and fresh for me. So even though I haven't costumed a show about a Puerto Rican woman in her 40s who was raised in Chicago, you know, not yet, I still get to costume like different facets of myself every day.
Kira Troilo (39:27.276)
Not yet, not yet.
Raquel Adorno (39:35.594)
And that's super satisfying to me. And then I get to partner with these incredible artists, whether they be technicians in the shop, directors, other members of the production team, and then the incredible performers I work with. I get to see them wearing, because let's be honest, the costumes are bits and pieces of me, right? Like little tiny bits and pieces of me are all over them. So I get to see my thoughts and feelings and emotions played out in grand scale almost every day. So that's really cool.
Kira Troilo (39:53.784)
Mm -hmm.
Kira Troilo (40:05.902)
That's beautiful. Well thank you so much. So great to talk to you and I know...
We'll do that one again.
Raquel Adorno (40:19.168)
No, that was me with this. Like, I totally bumped it. I was like, I was like burp. Yeah, totally. My hand got stuck in it and everything. was like, whoop.
Kira Troilo (40:22.062)
Did you? my god. It's the like, yeah, 37 weeks pregnant. I'll start that over. Thank you so much for coming. It's just a pleasure to talk to you always, and I know that there are going to be so many people, even people who don't do costumes, who are just fascinated by the world, who get something from this. So thank you so much.
Raquel Adorno (40:30.816)
Yes.
Raquel Adorno (40:48.77)
Thank you, Kira. I just am so inspired by your work and your company and what you do. And so glad you were my accidental roommate. That was the best. That was the best surprise of that gig. Thank you.
Kira Troilo (40:57.217)
Me too.
Truly was, truly was. Yay, thank you.