Last weekend, during the load in of our production of Barefoot in the Park at Dorset Theatre Festival, the costume designer came up to the theatre and asked if she could slap some shoes down onto the stage floor to see how they sounded. The actors had been wearing their costume shoes in rehearsal, and as they sounded very load on the hardwood floor of the rehearsal room, there was some concern they'd be loud on stage as well. If they were going to be, this would probably mean a trip to the cobbler to have some rubber applied. (This was a big deal--we are in the wilds of Vermont, and the nearest cobbler is a couple of hours away.)

I was talking to A. Lee Viliesis, our costume shop manager, about this, and we got to talking about how feet--and footwear--are the place where technical directors and costumers typically intersect. Feet are where the actors' bodies most consistently meet the set; consequently, footwear, flooring, stairs, and ladders are all topics where it pays to work closely together. I thought it would be fun if we both wrote a little bit about our experiences with feet, and asked if she'd contribute a few thoughts about shoes from a costumer's perspective this week.

"Wait, they'll be barefoot?" Few realizations can fill me with as much foreboding as the moment--typically after the flooring treatment has been purchased, painted, and prepped for install--I hear someone mention offhandedly that an actor will be barefoot in a scene. In an ideal world, this wouldn't matter; we'd be finishing floors with materials and using techniques that have the same kind of smooth, splinter-less surface we are all accustomed to in our homes. Unfortunately, this is rarely the case in summer theatre--such treatments would blow the budget. Usually, we are doing some version of Masonite, Lauan, or 1/4" plywood; these materials can often splinter, leaving actors hobbling with bits of floor stuck in their feet. Knowing an actor will be barefoot in advance, however, we can make decisions about material and about how we prep that material to minimize this hazard.

In other words, it pays to ask the costumer about the footwear. And not just when it comes to flooring and bare soles. Your designer has specified 1/4" gaps in those floor boards? Those stilettos the femme fatale is wearing have 1/4" spikes; that's a recipe for a broken ankle, or at the least a broken shoe. You've only got room for a ships ladder, not a full escape stair stage left? The actor whose costume specifies flip-flops is going to have a tough time. Grated flooring, slippery linoleum tiles, stairs with not-deep treads--all sorts of choices in the set can affect and be affected by footwear choices.

Lets be honest--most of the time, when we talk about costumes at production meetings, I tend to glaze over. I have no doubt costumers do the same when we starting talking scenery. But it behoove both shops to communicate about these areas where our worlds intersect. We can help, from the get-go, ensure that the designers get what they want, the director gets what he or she wants, and the actors stay safe.

A show about feet...

Considering that the name of the current show here at DTF is Barefoot in the Park, we have spent a great amount of time talking about shoes. There is always a lot to consider about footwear when doing a period show. The style and shape of shoes and accessories act as punctuation to a beautiful costume.

Sometimes the process can become incredibly frustrating for a Costumer. What is comfortable may not be right for the look, and adding four insoles to three different pair of shoes may use your entire budget. However, there are important reasons that Actors' Equity has special regulations regarding foot ware.

From the AEA LORT rule book:

"(1) The Theatre shall provide properly fitted footwear which, if for dancing, shall be new. All other footwear shall be clean, sanitary, and in good repair."

It can feel particularly exasperating though to witness an actress complain about wearing the perfect pair of heels because they are too high or too snug, then show up to an opening night party in stilettos that are at least six inches taller and two sizes smaller.

So here are five things you should remember next time you are ready to scream, when you've purchased every option Zappos has, and discarded each in turn.

1. It's not just walking.

Actors have a lot to do when they get on stage. It's not just about walking around: fights, dancing, jumping, running and prat falls are all normal things to expect when an actor is doing their job, not to mention all the moving around backstage in the dark. The average length of a show is two hours, and it may seem like a short about of time, but all those unusual movements are physically demanding. It should also be remembered that repeated wear from a strange movement will affect a shoe differently then normal everyday wear, so reinforcement may be required.

2. Standing at attention.

If you've ever spent time on your feet, you are well aware that standing can be even more painful then walking. Jobs in the rest of the world that require long periods of standing often have shock absorbing mats, or shoes that are built for function not fashion. We all scoff at nurses shoes, but all that cushion sure is comfy. While performing, actors may have to stand still for long periods of time, and even worse they have to ACT like nothing is bothering them.

3. The flamingo dance

Ladies, have you ever switched your shoes three or four times in front of the mirror while picking out your outfit? There is a comedian out there that calls the leg to leg back and forth the "flamingo dance." Actors often play an extended version of this game as they switch shoes and clothes through the course of a show. Sometimes this is helpful, as it means they are only wearing something for a few minutes before they change again. What it means in the long run, though, is that their bodies never have a chance to adapt to one pattern of movement before they are switching to another.

4. Going out on a ledge.

At least two moments in "Barefoot" require someone to walk out on a ledge in front of a giant skylight as if on the outside of the building. The last time this happens the character has just taken off his shoes and is actually running around barefoot. We needed something for him to slip on quickly that was secure and would aid him in crossing the unfinished plywood ledge, but still give the impression of being barefoot. This illustrates one of my last points; there is always a need for just something practical. This is why character shoes even exist, they serve the purpose of being practical and versatile.

5. My body is an instrument, it's also my paycheck.

I think the most important thing to remember is that what an actor does on stage is a craft that requires their entire body. So all the safety precautions that we can take on our end, helps them do what they do for as long as possible.

So with all of this taken into consideration what can you do to make sure that your actors aren't really barefoot?

Theater's number one skill... COMMUNICATION!

What we do is collaboration to the very end. So listen to an actor's concerns, ask the right questions, and don't be afraid to have a little push and shove with the actor so that you can both get what you need out of the costume.