The Wizard of Cos

"Is he not in the auditorium?" He's not. "Have you tried the workshop?" We have. "What about Wardrobe? The Tin Man needs a respray and look at these Munchkins!" A big, ambitious production of The Wizard of Oz opened last week, and we eventually tracked down costume and puppet designer, Samuel Wyer (pictured), to talk giant craniums, the role of women in Oz and those red shoes.

You're a hard man to find, Sam.
I am today — it's press night in seven hours, and let's just say, there's a still a fair bit to do.
 
The Wizard of Oz is ram-packed with iconic characters, which is your pick?
That's tricky. Every character ultimately answers a question you have about yourself, and for me as a designer, fulfils an approach. The Tin Man was interesting. I was taking his design in a really abstract direction, which changed into an energetic, body-popping character as the show developed — we've been working on it since April! We wanted to make the costume bright and youthful, and freedom of movement was critical, but we also wanted it to look rusty. Nostalgic. I found two out-of-date brands of oil: Marve's Mystery and OilZum. The logo on the latter looked weirdly similar to our Wizard, and the nod to Professor Marvel couldn't have been more perfect. The logos helped us give a rusty old visual identity to a costume where the audience could still see our actor move freely. I'm fond of the Cowardly Lion, too — a character that belongs in the world of circus and soft toys and Victoriana — which I've captured with tailoring and pom-poms and an over the top bow. 

But your favourite, Sam? If we put a gun against your head.
I could talk about every character to answer your question, or more accurately, not answer it. I haven't even talked about Dorothy yet.

Let's do Dorothy. Were those red sequined army boots we saw in Wardrobe hers, by any chance?
Absolutely — a much grungier, industrial Dorothy [pictured, left] than you're used to. We wanted somebody who is capable, maybe a bit difficult, and really confident. And by giving her this practical farm worker look, with dungarees and boots — that don't start off red, of course — we have a woman ready for an adventure. 

That sounds really vital to you. Is the role of women generally an important part of the show?
Through the script and the costume and the direction, the strength of women is critical. Liam [Steel, the director] wants all the girls and at least half the boys to look at the Good Witch Glinda [right] and think, I want to be like that. So then stylistically you have to think about who a good role model is. For Glinda's costume, I borrowed from Katherine Hepburn, aviation pioneer Amelia Earhart, and the bold, brilliant incredible trouser suits of Marlene Dietrich. Rather than the fairy-like traditional interpretation in a huge hooped skirt, we have a super glamorous but incredibly powerful and practical Good Witch.

The Wizard of Oz is at The Rep until Jan 13. Tickets are from £15.