An interview with Juliann Kroboth

I’m Becka Noel, the resident cosplay specialist, and social media unicorn at Manhattan Wardrobe Supply. Recently I had the absolute privilege of interviewing one of my favorite creative people, Juliann  Kroboth who is a theatrical artisan and dyer extraordinaire. Julz, as she is more commonly known, was kind enough to sit down with me (virtually of course) and talk about her experiences in the theatrical industry and her amazing career.

You’ve been in the entertainment industry for a long time and have worked on so many amazing projects. What were some of your favorite ones?

“I’ve been working in the costume industry for (yikes) 37 years.. so ..yes, I’ve done a lot of things. Highlights? All the Andrew Lloyd Weber shows of the early 80s. In particular “Cats”, I got to live in Amsterdam for almost a year with that one. Anything for SNL, there’s usually at most a three-day turnover and a 50/50 chance it will be cut… total rush. Music: Madonna, Beyonce, a lot of stuff for Rhianna, Lady GaGa’s first tour, and a totally cool jacket for Roger Daltry of the Who for a 1989 production of Tommy. And of course Papermill Playhouse, my home, and workcation.”

Juliann Kroboth: The Early years

Can you tell us a little bit about what drew you to costumes and how you got your start?

“In some ways I’ve always done costumes, school, the high holy day of Halloween, walking around in my 20s. But in ‘82 I was studying painting at Cooper Union and working for an art restorer. I was not a fan of the abstract expressionism being pushed at school. And wary of committing to eight or more years of school for restoration, I’d at least want to be on my way to being a brain surgeon for that. All my friends were in the theater and I thought it was cool. I answered an ad in the village voice after a color matching test (thanks art restoration!) I got a job as the dyer at Parsons-Meares costume shop.”

I’m so glad you answered that ad! Can you give us an example of an early lesson you learned?

“An early and eternal lesson I learned (other than how to dye things) was to lurk around people who know stuff you don’t. When I started at Parsons I was really young. I could paint and match colors, that was it. It was a paradise of knowledge, sooo many master craftspeople. You just had to keep your ears and eyes open. There was no way to leave there without having an artistic upgrade. I am still obsessed with people with skills (looking at you Becka).”

Juliann Kroboth: Her Work and Challenges

Wow! You’re too kind and I feel exactly the same way about you. I’ve learned so many cool things from you.  You’ve done quite a range of fabricating, from dyeing to casting. What’s your favorite material to work with?

“I spent many years primarily being a dyer, but I want to and will work with anything. I have a new material every month that I get completely obsessed with. Sometimes it takes a whole year before I figure out how to work it into a job. In the 80’s, companies would come to the shops and demo new things like thermoplastic. Golden acrylic came in with interference colors. I used them to do one of my fave things; a vintage NYPD motorcycle jacket that I painted a scene from Bosch’s Garden of Earthly Delights on. I got a lot of work from that… it got stolen from a movie set in the ’90s. Currently, I’m re loving wax sculpture, but I’d kill for a 3d printer.”

What a bummer to have such a prized possession lost from your life! Other than that, have there been shows you worked on that had truly unique challenges?

“Every show has its unique challenges. Usually involving time and money. When that’s not a problem it can be physics. Such as it was with the Victoria’s Secret Fashion Show wings. Although I’m not a fan of the show, the work was fun. The wings had to weigh nothing and look good in HD. I ended up making giant orchids with organza coated in lacquer.”

What kind of team (if any) do you work with?

“For about 27 of the years I’ve spent in costumes, I worked in big shops. First, Parsons-Meares, then Barbara Matera Ltd. I was always surrounded by designers, drapers, stitchers, and shoppers. I was pretty much my own dept but part of a very large team.”

“After Materas closed, I did projects at different shops and theaters. Eventually, I became the artist in residence at the Papermill Playhouse costume shop where I worked on their shows and did my own freelance work. For the most part, I had one assistant and a rotating crew of people I enjoy. Depending on the job, at one point there were six people at one table making Rihanna’s Halloween costume for 2 weeks. She wore it for three hours but it was very well documented.”

I’m always amazed at the length of time costumers spend working on different projects. From lightning-fast turnaround to spending two weeks on something that will only be worn for a few hours! What are the advantages and challenges of working a really long-running show? And what’s the longest you’ve worked on a show?

“For the most part, long-running shows are great, it’s a chance to perfect whatever you make for it, and usually, you get faster at it and time is money. I’m never really working on one show exclusively so the repetition never gets boring. I think the longest I worked on a show was “Cats”, the original Broadway production (now and forever) maybe seven years? Also, Lion King and Wicked.”

What makes for a particularly great or particularly difficult job on a show?

“Whether a show is great or difficult almost always has to do with the people you work with. The lamest show ever can be the best time with an awesome crew and the same is true in reverse. The most interesting work can be horrific if people are terrible. Those shows usually don’t run very long. This pandemic situation is awful for a myriad of reasons, but a lot of great shows with wonderful people got gutted by it.”

Juliann Kroboth: Advice

Do you have any advice for someone who is just starting out in the industry?

“The best advice I can give somebody starting out is work with as many people as you can. Talk to everyone. Every shop, theater, and craftsperson is going to have their own way of doing things. Learn them all. No job is too small. Don’t work for free.”

Great advice!  We’ve all been home for the last couple of months, how have you been staying creative, if at all? What kinds of advice would you give someone who is at home and has lost motivation?

“As for this whole lockdown thing, in between worrying, I make stuff. Anything. Even if it’s temporary, carve something with a bar of soap (save the scraps!). Using the problem-solving part of your brain for something that’s not life or death is relaxing. I can’t believe I’m saying this but, use the internet.  Learn a new skill. Instagram is great but it’s not a competition. Don’t get sucked into that, this may be the only time (hopefully) that we will ever have this much downtime. Try new stuff and experiment. Failure IS an option and a great learning tool. “

“Despite spending weeks on hold with unemployment and trying to get any one of the three sewing machines I have to work, I managed to finish a kick-ass jacket for a 4-year-old friend of mine that I started months ago! I hope it still fits and I dabbled in some real indigo dyeing (washable school glue makes a great resist).  There are entirely too many possible projects.”

How did your relationship with Manhattan Wardrobe Supply begin and how has it developed over the years?

“I think my relationship with MWS started around seven or eight years ago after Materas closed and I started working freelance more. I found I had to do my own shopping (gasp!) and first it was dye and dye related items. Then came the shoe paint. Every time something piqued my interest, it would be at MWS. Often, that was the ONLY source in the city (i.e. Worbla when it came out). One-stop shopping for the very weird and specific things I NEED. It’s a lovely walk from the shop I’m at so I’m in there, a lot. Aaaaannd the people..THE BEST PEOPLE!! EVERYONE really knows what they’re doing (everybody makes things from what I can tell) and is amazingly kind and thoughtful to every customer. From people ordering thousands of dollars worth of supplies to set up a film to a 15-year-old who wants to paint sneakers. I had to order some things for delivery during this shutdown. It’s the first time I didn’t go to pick up things (usually I even hate sending someone else). I hope everyone is ok.”

And lastly, a very important question, what’s your favorite cereal?

My current favorite cereal is farina, steel-cut oats, instant polenta, and unsweetened shredded coconut in equal parts with almond butter and a berry situation. Or a little chunk of cheddar cheese and some apple.

That sounds delicious and I’m going to have to try that for breakfast tomorrow!

We appreciate you and our other customers like you so much. When you come into the store, we all get excited (especially me!) because that means we get to hear all about whatever exciting project you’re currently working on. We’re all doing okay and finding new daily routines during all of this!

You can follow Juliann’s work on Instagram at @jlzzzy