Reenactment of the Battle of Barnet 1471
in Portraits, Documentary
selected works
The Cotswolds
Annette in Brooklyn Heights
in Portraits
Jenny in Bushwick
in Portraits
Ruthie in Prospect Park
in Portraits
2018 Lilly Awards photo booth
Monday, May 21st, 2018
the Minetta Lane Theatre
New York City
Springtime Courtney
in Portraits
Heather in Prospect Park
in Portraits
2017 Lilly Awards photo booth
Monday, May 22nd, 2017
Playwrights Horizons
New York City.
Mimi Lein at the Imperial Theatre
Michelle Tse: And I also imagine for this show, you maybe collaborated with the other designers more than any other production. Was there one designer you worked with more closely than another? We sat down with Paloma [Young, costume designer] recently, who said your set informed her designs a lot.
Mimi Lein: Really?!
MT: Yes! And I noticed when I was at the show that when the actors are spinning around on the constructed aisles that the circumference of their dresses were literally the exact width of your aisles.
[Everybody laughs]
ML: I know! I don’t know whether it’s possible that Paloma went and calculated that, but I noticed that, too! Everytime I watch the hem of their skirts I worry that it was going to knock over something. [laughs] I mean, if Paloma has calculated that, she hasn’t told me, but I worship her. I feel like for me, a lot of the bunker is actually in response to the punk flavor of some of the ensemble costumes. We certainly talked about it in the beginning, about this being an anachronistic vision of Russia. We’re not being period specific. This is not what 19th-century Russia looks like, you know? This is maybe if you went to a nightclub in Moscow in the late ‘90s and their theme was Imperial Russia. Maybe that’s it. So that has a lot to do with the techno music that Dave [Malloy, creator and composer] composed. So it’s kind of a mashup of things.
The Women’s March on Washington
November 9, 2016
Ruthie under the Manhattan Bridge
in Portraits
Ava, 2016
in Portraits, New England
the cast of “Hadestown” at the Bowery Hotel
Nabiyah: I also think there’s something unique about retelling myths and tales, which is the aspect of dissecting archetypes. Because you can dissect an archetype as it is outside of yourself and in the external world, but you can also use it to dissect aspects of your psyche and learn so much about yourself, and therefore learn about other people and be more compassionate and be a little more understanding. So I think there’s something special about the classics.
Visiting Long Island
2016 Lilly Award photo booth
2016 Lilly Awards
Monday, May 23rd, 2016
Irene Diamond Stage at Signature Theatre
New York City.
Renée Elise Goldsberry at Sardi’s
in The Interval
“I think the strongest people are really okay with not feeling anything. If I come out, and I don’t feel anything, it’s okay. The words are enough, what’s happening here is enough … That’s one thing you learn when you’re in a Hamilton. That’s the beauty of being supported by such a strong structure. You have nights where you feel like you’re brilliant and nights where you feel like you were a fraud, and people you respect will be equally as moved because the piece is that strong.”
Renée Elise Goldsberry at Sardi’s
for The Interval
Ruthie Ann Miles before a performance of "The King and I"
in The Interval
Betsy Wolfe after a performance at Carnegie Hall
in The Interval
