Behind the Costumes of “Urinetown:” Interview with Costume Designer Faith Marsala

The toilets are closed. The revolution is open. “Urinetown, The Musical” is a Tony-winning satire that flushes the rules of capitalism, politics, and musical theatre itself. Think Brecht meets Broadway—with plumbing problems.

🎟️ Tickets are just $10–$25 and we’re already two-thirds sold out! Grab yours now: https://www.ticketmaster.com/search?q=urinetown+ub+center+for+the+arts+black+box

Meet Faith Marsala, junior Theatre Design/Technology major and the creative force behind the show's unforgettable costumes—crafted with help from UB’s talented faculty, staff, and students.

What year are you studying at UB and what is your major and intended degree(s)? How did you choose this major and field, and do you wish to pursue a career in the arts upon graduation?

I am in the last semester of my junior year, since I took a gap semester, and I am a BFA Theatre Design/Technology major. I chose this field because I’ve been involved with theatres since I was a kid. I did everything from dance to acting to managing, and I realized that design tech and management is where my passion is. I definitely plan on continuing on this path as a career once I graduate.

What are the main responsibilities of a costume designer for a show like "Urinetown?"

The main responsibility no one talks about is just how much you have to juggle at once. Costume design is a job that takes up all of your time, and this program has managed to jam it into smaller intervals of time here and there to accommodate a student schedule. You have to focus on the whole vision of the show and not just bits and pieces. Because this show has a larger cast with extravagant dancing in such a small space (as the show is staged in the Center for the Arts Black Box Theatre), I had to think about how the clothes will move with the actors and if they will look as presentable up close.

How many costumes will the audience see in the show? Are you responsible for every design? 

The audience will see over 20 costumes in total since there are several actors that play more than one character in the show. I am mostly responsible for every design in the show and all of the renderings that were made are mine. Of course, certain things had to be changed and altered here and there, and those changes deserve the credit of everyone who helped work in the costume shop this semester.

What aspects of costume design and creation do you most enjoy, and why?

I mostly enjoy the rendering process since I get to create something big and exciting that doesn’t always obey the laws of physics in the real world, but then it becomes just as interesting to solve how the rendering will look on an actor.

What roles do faculty and/or students have in assisting you or collaborating to achieve success in these roles? Is there a whole team which constructs the costumes? 

If I didn’t have a whole team of people making this stuff, the show would look a lot different. This show required a lot of costumes to be made since I was inspired by high fashion for quite a few characters. Max Levitt (THD Costume Shop Manager and Assistant Teaching Professor), Cindy Darling (Assistant Costume Shop Manager), and Judy Curtis (Costume Shop Assistant) were the mentors and faculty in the shop that made some of the most elaborate pieces that audiences will see in the show. The student drapers, Angel Frias Fuertes and Sophia Larish, made some substantial pieces that are absolutely eye catching. I wanted to thank all of them as well as the rest of the costume shop assistants for making my designs come to life. 

How long does it take to design a costume? And how long does it take to physically create it? 

I feel like it truly depends on the character and the show itself. There were costumes I took over a week to design, and there were costumes that I took about five minutes to design. As for creating the costume, it depends if it needs to be made from scratch. Do we have to pattern it? Do we have the right fabric? Do we have any of these pieces in stock? Not to mention it can take weeks to make one very elaborate piece just for one character.

How would you describe the overall aesthetic of the show?

I would describe it as kaleidoscopic and messy versus elegant and clean. This show is a protest to its core. It discusses heavy topics of classism which has become ever so relevant today, so I wanted to play off of that topic. I was mostly inspired by ‘80s Vivienne Westwood for the Rebel characters. They are more vibrant and challenge the societal standards of clothing.

For the oligarchical figures, I took styles and silhouettes from past Met Galas. These outfits teeter on the edge of outrageously expensive and give a visual representation of just how out of touch the upper class is. Also, the colors. The rebels are neon, grunge, and clash with their color pallets. The rich are shades and tones of blue and green, colors we normally associate as ‘good.’ They are a false sense of security, a true telling of societal standing. I hope for the audience to perceive this divide as they watch the show.

What is the most challenging aspect of your role? And the most rewarding or fun?

The most challenging aspect was having to step back so I could focus on the whole of the show itself. Growing up with the mentality of ‘If I do it myself, it’ll be done the way I want it’ definitely made stepping back a struggle. However, it allowed me to make sure that what I designed altogether worked cohesively. The most fun part was seeing the costumes on the actors and watching as they make the characters come to life on stage!

What else might potential patrons like to know about the show and/or what goes on behind the scenes?

This show is as funny as it is a harsh reality of society. It is meant to be taken lightheartedly as a musical, but the message is meant to resonate with the viewer. Any potential patrons will definitely enjoy the depth and absurdity that is “Urinetown!”