When a production wins the Olivier Award for Best New Comedy, the spotlight naturally falls on the stars of the stage. But behind the scenes at London’s Trafalgar Theatre, an entirely different kind of magic is keeping the West End’s Oh, Mary! moving at pace.
Parker Spear graduated from the MA Historical Costume course at Arts University Bournemouth (AUB), and has since spent the last six months working as a Wardrobe Assistant on Oh, Mary!, a riotous, multi-award-winning comedy by Cole Escola, following a miserable, alcohol-dependent Mary Todd Lincoln in the weeks before Abraham Lincoln's assassination.
No stranger to big stars or sets, before arriving in Bournemouth, Parker worked on off-Broadway productions and hit series such as The Gilded Age, after earning her BFA from the Fashion Institute of Technology, New York.
Running the "Mary track" backstage, originally with Mason Alexander Park and now British comedy icon Catherine Tate, Parker sat down to discuss the reality of West End wardrobe life, the joy of historical crinolines, and the thriving AUB creative network quietly running the show behind the scenes.
You graduated from MA Historical Costume just last year and stepped straight into an Olivier Award-winning West End production. What has that whirlwind been like?
I was looking for a job right after leaving AUB and was lucky enough to land this one and I love it! The cast and crew are absolutely wonderful backstage, we all get along really well, and the show itself is ridiculously fun. And we are all so thrilled about the Olivier win; there was a huge celebration.
And how has it been working with Catherine Tate?
It is so lovely working with her. She’s very professional. She knows exactly what she wants. And as someone in wardrobe, it makes my job a lot easier to have someone who comes in, knows what she wants, and can say it right then and there.
I think a lot of my job is anticipating the actor's needs and making sure that you are constantly giving them what they need. And if you're good at your job, then you do it before they even ask.
The show is famous for its fast pace and physical comedy. What does your day-to-day role look like?
It’s an 80-minute show with no intermission, so quite short compared to most shows, but it is a very physical role for the lead actress.
During the performance, I usually take care of the "Mary track", which means I am physically following the lead actress backstage to make sure her costume is looking perfect and her crinoline is still in the right shape.
Leading up to the curtain, it’s about getting the show ready – ironing, doing little repairs, making sure shoes are polished, all those bits and bobs.
Did your time at AUB help prepare you for this specific show?
Absolutely. I think one of the main things I took away from AUB, mostly from working with my tutor, Mandy, was learning how to conduct fittings as a designer, which wasn't something I’d experienced as much in the industry yet.
The other major thing, which ended up being a happy accident, was working so closely with Mandy to learn how to build crinolines entirely from scratch. Being able to come into a West End show with prior, expert knowledge of how a crinoline is constructed and how it functions was incredible.
We heard there are a couple of other AUB alumni backstage. How did you discover that network?
When my boss, Head of Wardrobe Shevonne Harper, first interviewed me, we realised we had both studied at AUB. Then, about halfway through my six months here, I was sitting sub-stage with our Head of Wigs, Hair and Makeup, talking about our degrees, and she said, "Wait, where did you go?" It turned out she was an AUB alumna too.
To top it off, a few weeks ago, one of the makers for the show, Robert James, came into the theatre to hand-deliver some costumes. My boss just looked at us and said, "Right, you all have something in common!" It’s amazing to have that shared connection in the industry!
For students looking to break into the industry, what are the key skills needed to be a great Wardrobe Assistant?
A strong knowledge of costume construction and sewing experience is incredibly helpful. You don’t necessarily have to build the costumes from scratch, but if a garment rips or needs an alteration right then and there during a live show, you have to be able to fix it on the spot. You have to be quick on your feet and remain calm.
One of the biggest pieces of advice someone gave me when I was young was simply: just be a good person. Be someone who is lovely and easy to work with. Most of this industry relies on networking, and if you have 10 people who can do the technical job, people will always hire the person who is nice to spend time with.
Can you give an example of a time you had to think on your feet during a wardrobe malfunction?
This show has a wonderful cadence to it, but at moments notice my job requires me to change gear and act fast. There are times I have had to sew on a button in the wings or jump under the crinoline dress to tie the shoelaces for the actress during a blackout.
Luckily, I always carry my sewing kit on me. Throughout the show, I stand there in the wings ready with a needle and the right colour thread, and in minimal light I quickly fix the costume just before they go back on stage.
What is always inside your essential backstage running kit?
The obvious ones are scissors, needles, and thread, but I also carry a tape measure and safety pins. Surprisingly, baby wipes or a microfibre towel are essential. I’ve also been asked for random things on the fly, like lip gloss or a nail file because an actor broke a nail on stage and didn't want it to catch on the fabric.
What’s your favourite era?
Right now, it's Victorian. I love working with crinolines. It's so much fun. I adored researching the history of the 18th century, both menswear and womenswear, for the project that I worked on for the Patterns of Performance competition by the Costume Society. In terms of menswear design, that's when menswear was at its peak, I think. I just find it really fascinating.
You’ve achieved so much at just 28 – an MA with Distinction, awards, working on a HBO series, and an Olivier-winning West End debut. What’s next for Parker Spear?
That’s testament to my parents. From a very young age, they were very supportive of my dream. My mum was really into theatre and film and ever since I watched Moulin Rouge! for the first time, I saw the costumes and I knew that’s what I wanted to do.
Oh, Mary! keeps extending, we’re now on a rolling basis with new cast changes every three months, which means a lot of exciting work for wardrobe. But looking forward, maybe eight or 10 years from now, my ultimate dream is to design costumes for historical films.
