Something sew right: Costumers bring ‘Brigadoon’ to vivid life
The “minions with opinions” are responsible for dressing much of the world of “Brigadoon” from the inside out.
At the 51 Walden Performing Arts Center, down a flight of stairs and through a crowded warren of old stage props, is a room brimming with organized chaos.
Costumes in various stages of completion hang from racks. In the center, volunteers sit in a circle of couches, leaning in to pin hems and stitch seams. On the walls, printed reference images map inspiration.
The faint sound of bagpipes warming up in an adjacent room mingles with rehearsal calls drifting from above. It’s pre-opening-night noise that suggests a production coming together in real time — one stitch, one fitting, and one quick adjustment at a time.
This was the space beneath the stage one week before opening night of The Acton Players’ “Brigadoon,” directed by Caroline Fonseca and with music direction by Martha Warren.
The group, which jokingly calls itself “minions with opinions,” is responsible for dressing much of the world of “Brigadoon” from the inside out. For this production, that has meant more work than usual.
“It’s a mixture of stuff that we have from our own collection, things that you buy, and things that we make to order for a specific show,” said costume volunteer Tina Zanieri of Acton. “For this show, it was about 80% that we built from scratch.”
A timeless tale
Set in an idealized 18th-century Scottish village, “Brigadoon” follows two American hunters who stumble upon a town that does not appear on any map — a place seemingly untouched by time.
For Tommy Albright, one of the outsiders, the discovery becomes a question of belonging.
“You can tell he doesn’t fit in there,” said Bryan Smith, who plays Tommy. “It’s a different pace, a different vibe.”
In the village, Tommy meets Fiona, a local woman whose life is tied to family and tradition.
“It takes place in one day, which is also my sister’s wedding day,” said Dana Sullivan, who plays Fiona. “So it’s her day, really.”
Despite the compressed timeline, Sullivan said the emotional arc feels complete.
“You see meet-cute, you see falling in love, you see realizing not everything is perfect,” she said. “You can love someone, and it doesn’t mean you can be with them.”
The setting also shapes what happens behind the scenes. Because “Brigadoon” is rooted in an 18th-century aesthetic, it does not lend itself to modern shortcuts.
“You can’t go to Goodwill or Savers and necessarily buy it,” said costume volunteer Kathy Booth.
So the work begins long before opening night, often with fabric selection and construction planning.
“Costumes made for the stage are different than reenactment costumes,” Booth said. “We’re largely going for correct colors, time period, and silhouette.”
What looks detailed up close can disappear under stage lights. A small print becomes invisible. A plaid must read clearly from a distance.
Even construction is adapted for performance. Quick changes can turn rows of buttons into something faster and less visible.
“Magnets,” Zanieri said, pulling apart what appeared to be a traditional buttoned coat. “This way you can get this the heck off really quick.”
Built by many hands
The work rarely belongs to one person from start to finish.
“No one necessarily makes one entire costume,” Zanieri said. “Many costumes will have multiple people working on parts of it.”
A single garment might be cut by one volunteer, sewn by another, fitted by a third, and finished by someone else entirely.
Actors say the artistry and craftsmanship are visible on stage.
“They are incredible,” Sullivan said. “They’re gorgeous — the fabric, the patterns, the cuts.”
“Brigadoon” will be presented at 51 Walden Street Performing Arts Center May 1, 2, 8, and 9 at 8 p.m. and May 3 at 2 p.m. For tickets and information, visit concordplayers.org or call (978) 369-2990.
