Wardrobe Supervisor, Nanette Golia-Broadway’s Hadestown

Manhattan Wardrobe Supply sat down with Wardrobe Supervisor, Nanette Golia to discuss working on The Great White Way and what makes her job so great (and harrowing!)

What does a Broadway wardrobe supervisor do? What specifically does the job entail?

Generally, I think a wardrobe supervisor should be able to keep the designer’s and director’s ideas for how the show looks and the story they want to tell intact while practically dragging the costumes through 8 performances a week on actual bodies. Hiring a good crew really helps with this.

How did you get your start in the industry?

My first real wardrobe job was at “An Evening” dinner theater in Elmsford, New York. I had put in a general Backstage resume and was offered the assistant wardrobe job. I knew nothing and made a lot of mistakes. A couple of years later, when I was working a retail job, my roommate, (who I had met at the dinner theater and was now dressing on Broadway) threw my name in as a laundry person when there was an opening at Dreamgirls. I loved it. I began swinging as well and then went out on the bus and truck. I was very lucky that I was offered the opportunity. At that time, it took 3 years to get into the union.

How big is the team that you oversee for Hadestown? How do you keep everything/everyone organized?

Hadestown is a relatively small show. There are only 13 people on stage and only about half of the actors have a second costume. There aren’t a lot of logistics to worry about. I have 4 dressers and a full-time laundry person.  It was pretty easy to get a routine going with laundry and repairs. I think because this is a smallish cast and crew, though, everything (mic pac placement, foundation garments, sock thickness, etc) is much more individualized than on a bigger show. The sock thing alone drives Ruth, who does the laundry, and me insane.

Costume-wise, what is the most difficult show you worked on?

Probably Cinderella was the most difficult because there were so many ‘magic’ costumes and they required a lot of training and maintenance. The Cinderella dresser not only had two, essentially spring loaded costumes, she had to do one change from behind a tree and another on her back on a pallet behind a wall. The Fairy Godmother had a couple of equally difficult changes. It is very satisfying, though, when you have pulled a change off, and these were showy enough that the audience applauded.

What is your favorite part about your job?

I think I enjoy pre-production the best, though I am sure if you asked me during it I would tell you that it is terrible. Day to day, I like the routine of hour before and seeing everything come together for a performance. That’s when this job feels like the thing people envy, when I feel a part of something big.

What skills are the most useful to cultivate in order to be a successful wardrobe supervisor?

I think it’s important to be able to see the whole show, and not just the costumes and their care.  Patience and a sense of humor are very important. An appreciation for the skills your crew brings to the table is too. On a very practical side, having a good kit with enough stuff on-hand to do a repair or make something up is vital.  Also, don’t be afraid to make a mistake.

What do you do if an understudy suddenly has to go on?

The worst time for this to happen is at the beginning of a new production because there probably aren’t costumes for the understudy and probably no plan. Here is a story: 

Terri Purcell and I began Aida in Chicago. Sheri Rene Scott was Amneris. She had many beautiful gowns. wigs and tall Nefertiti-style hats. Just before the show one evening, Sheri became very sick with food poisoning. Her understudy, Kelli, had never been fit in anything but shoes. We now needed to shoehorn her into Sheri’s costumes. Miraculously, she fit even if they were a little short. Kelli’s head, though, was bigger. The hair department managed something, but the Nefertiti hats didn’t fit at all until we cut them up the back – essentially destroying them. We made cozies to go on top which didn’t look terrible and off she went.

Once a show is open if not before, a plan needs to be made that involves the designer. Hopefully, the plan doesn’t involve a lot of alterations, but sometimes it does. If you need to throw someone on, it becomes an all-hands thing. If the understudy hasn’t had a put-in, they will be with stage management and other actors until the last minute. The dresser is invaluable at this time because they will know the working details, timing, traffic, etc.

What is in your kit at all times?

Sewing machine, threads, elastics of different widths, velcro, fastenings (#3 snaps), other sewing things and notions, jewelry findings, spandex in black, brown, beige for mic pacs, and various things. crochet needles, tools- hammer, many pliers,  screwdrivers. etc., leather punch, shoe paint, brushes, sandpaper, moleskin, horsehair, shoe stretchers, shoe stretch, sew on magnets, and fabric paper for labels. shoe maintenance stuff- barge, polish brushes etc. other glues 527, E-6000, Sobo etc.

Tell us about your most harrowing moment on a show! What moment brought you the most joy?

The most terrifying moment I can think of also happened during Aida in Chicago. In the final scene, Adam Pascal and Heather Headly are in a tomb. It was raised on a scissor lift. One night the lift failed and dumped both actors out onto the stage from about 10 feet. It was shocking. They were fine, ultimately, though they were out for a couple of shows. In Cinderella, the Fairy Godmother swing dresser was new. There was a very difficult change that she was struggling with and I took over. If it didn’t happen, the show would have needed to stop. I got her out on time, but I couldn’t stop shaking for minutes afterward.

This past spring, Hadestown was going through a covid wave. I went to Macy’s and bought 2 off the rack dresses and, with a little help, transformed them into Fate dresses for 2 male actors. Complete with all accessories! I had so much fun. I don’t generally get a chance to be creative and keep the curtain up.

Tell us a little bit about your history with Manhattan Wardrobe Supply.

I guess I have been using Manhattan Wardrobe Supply for as long as they have been around. I like scrolling through the website to see what is there that I may not have thought I needed until then.