To read more about KCAT and Intimate Apparel, visit: https://www.kcactors.org/shows/intimate-apparel/
Intimate Apparel
By Lynn Nottage
KANSAS CITY ACTORS THEATRE
Teresa Leggard – Director
Ta’ja Snipes – Scenic Designer
Whitney Manney – Costume Designer
Selena Gonzalez-Lopez – Lighting Designer
Mary L. Robinson – Sound Designer
Taylor Jene Sullivan – Properties Designer
Yetunde Felix-Ukwu – Dialect Coach
Jenise Cook – Intimacy Director
Tinna Rivera* – Stage Manager
Mackenzie Reppy – Assistant Stage Manager
Elizabeth Hilvert – Wardrobe Supervisor/Production Assistant
Ari Hernandez* – Production Manager
Tyler Lindquist* – Technical Director
Cast:
Chioma Anyanwu* – Esther
Lynn King – Mrs. Dickson
Teonna Wesley – Mayme
Allison F. Rich – Mrs. Van Buren
Joe Serrano – Mr. Marks
David Sadzin – George
Jayden Bryan, Jordan Fox, McKenzie Greenwood, and Amber Redmond – Understudies
*KCAT Ensemble Member
As Production Assistant I was responsible for:
Supporting the Assistant Stage Manager with presetting and resetting props and set for top of show, during intermission, and post-show.
Maintaining and executing a performance track while collaborating with the Assistant Stage Manager to develop and update accurate run sheets.
Performing assigned scene shifts and called backstage cues as called by the Stage Manager
Helping maintain a clean, organized, and safe environment on stage, backstage, in the dressing rooms, and green room.
Professional Growth & Lessons Learned:
Developed a stronger understanding of the distinction between rehearsal responsibilities and performance responsibilities.
During rehearsals, I often assisted with tasks outside my designated performance track. This led me to assume those responsibilities would continue into performances, resulting in a brief misunderstanding regarding role expectations and division of duties.
Learned the importance of checking in before stepping in.
When my assigned pre-show work was complete, I occasionally took the initiative to help with tasks assigned to the ASM. While well-intentioned, doing so sometimes disrupted her established workflows and reinforced the importance of clear communication and respecting individual tracks.
As Wardrobe Supervisor I was responsible for:
Presetting, checking, and restoring all costume pieces before the show, during intermission, and after each performance.
Assisting performers with scheduled costume changes, including executing quick changes.
Completing nightly laundry, routine garment care, and basic maintenance to ensure all costumes remained performance-ready. I also tracked any costume pieces that left the theatre and ensured they were returned in good condition.
Finalizing costume alterations and maintaining costume paperwork, including costume sheets and costume plots.
Completing minor repairs during performances and larger repairs between performances, documenting all maintenance work and communicating major repair needs to the Stage Manager.
Professional Growth & Lessons Learned:
This experience strengthened my understanding of the costume process as a whole and highlighted the value of clear organization and documentation.
I learned the importance of being involved in the earlier stages of costume production whenever possible. While I joined the process primarily in a supervisory capacity, participating in measurements, fittings, stock pulls, and related discussions would have provided valuable context when unexpected challenges arose later in the production. Having that broader understanding of costume decisions and performer needs would have helped me navigate unfinished paperwork and last-minute questions more confidently.
I also gained a greater appreciation for the role that physical organization plays in a successful wardrobe operation. Although our costume plots and paperwork were maintained digitally, establishing clearly labeled hangers, shoes, costume pieces, and dressing room locations would have reduced the movement of items between spaces and streamlined the overall workflow.