The Department of Theater, Dance, and Performance Studies (TDPS) bids a fond farewell to longtime costume director Wendy Sparks, who retired from UC Berkeley at the end of June.
Sparks first studied costuming at Berkeley with Professor Warren Travis in 1991. In that one year, she designed and built costumes for five shows in TDPS’ three theater spaces. Since joining the department's staff in 1997, she has designed costumes for more than 30 theater productions and dozens of dance pieces. She took on the role of costume director in 2005, and throughout her time on staff, she has served as a cutter/draper, curator, craftsperson, and makeup designer for more than 100 productions. Many of Sparks' students have gone on to become theater/film technicians and designers, including Tony Award-winner Paloma Young (Peter and the Starcatcher, 2012). Beyond TDPS, Sparks has designed costumes for local companies including Diablo Ballet, LevyDance, and Joe Goode Performance Group, and she has been nominated for two Isadora Duncan Dance Awards for her designs.
Read the Q&A below to learn about some of the highlights of Sparks' career with TDPS.
Are there any insights you'll take away from your time working with TDPS students?
The most rewarding part of working at Berkeley is the privilege of working with such amazing students. I loved sharing my experiences as a costume designer and maker, and how that always sparked interesting discussions about history, clothing, perceptions, music, art, etc. The students are always growing and changing, and that keeps you growing and changing as well.
Which TDPS productions were the most rewarding or memorable from your perspective as a costume designer or costume director?
That's like asking who is your favorite child! Let's break it down into some kind of order:
Metamorphoses (2017) was the most memorable production in my recent history. It posed a lot of fun challenges to solve because we had actors literally submerged in water who then had to come back on stage a few minutes later as a new character. As a designer, it was super fun and we had some great costumes which I designed digitally because I broke my wrist and had to learn how to use Procreate. As a costume director, it was a great exercise in planning, training, and execution. True teamwork was needed, and I worked with a fabulous team!
The Ruling Class (2013) was a visual feast. How often do you get to design costumes for skeletons and eight-foot monsters as well as very chic aristocrats circa 1968? This show was designed with our stock in mind, and it was fun to see this vintage extravaganza on our stage.
But after designing over 30 dramatic productions and over 40 dance pieces since 1991, the two most memorable productions were Partisans, which I co-designed with my best friend Janet Nakamura in 1998, and the hysterical Cleopatra: The Musical in 2000. Both were by John Fisher, and both had over 130 costumes and casts of 38–40 students in multiple roles. I think that is why they are so memorable. The amount of student, staff and faculty participation was so intense and the execution of both was so extremely hard—we had to really lean on each other and cheer each other on. Good times!
Do you have any advice for TDPS students?
My advice to all students is to just say yes. Say yes, I can do that, and then actually do it! I learned pretty early to trust in my ability to problem solve, ask questions, research the heck out of things, and find mentors when needed. The only regrets I have are the chances I didn't take.
Do you have any plans for future creative projects?
Paint for pleasure, with oil, not just digitally. I am also into creating ritual objects and cooking and gardening. I like to think that everything I do is a creative project.
Is there anything else you'd like to share?
I am so thankful that 33 years ago I decided to take a costume design class here in my senior year. I had no idea it would become my life, but wow, what an awesome ride it has been!
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