Glitz, Glam, and Guillotines

When thinking back to what the reception of the Department of Theatre’s production of Marie Antoinette would be like on its opening night, costume designer Rex Tans ’25 posed a question: “Who can resist the combined allure of grandeur, visual frivolity, and drama?”

Not the Smith community, as it turns out. Faculty, staff, students, alums, and local residents came out in droves, ensuring a quick sell out of the show’s four-night run from October 23 to October 26 in the Hallie Flanagan Studio Theatre. “When we heard that all the nights were sold out, there was a big sigh of relief that all our hard work was paying off,” says set designer Alina Tschumakow ’26. “In addition to the work on the show, we put extra effort into publicity this time around, and it was a testament to the amount of love poured into this production.”

Drawn in by said marketing, which teased elaborate costume design, immersive period aesthetics, and the talents of their friends, partners, and peers, audience members lined up well before doors opened each night, excited to see what the performance had in store. They weren’t the only ones looking forward to seeing how things would turn out—the show’s cast and crew, one of the largest in recent memory, were right there with them.

“There were so many moving parts and a lot of things that, going into opening night, had me thinking, ‘Oh, I really hope this works,’” says Max Lerin ’25, who co-directed the show with Assistant Professor of Theatre Monica Lopez Orozco. “Getting to see it all come together was such a magical experience.”

Written by playwright David Adjmi, Marie Antoinette uses a contemporary spin to tell the story of the infamous last queen of France before the French Revolution and the French First Republic. Nearly 100 Smithies channeled their respective expertise—from acting and costume design to stage management, set decorating, and lighting and sound design—to bring the show to life.

“I like to say it’s an everything-heavy show,” says Lerin. “Costume-heavy, set-heavy, light-heavy, sound-heavy. I was so, so proud of everyone when we saw it all pay off.”

Marie Antoinette was chosen as the fall production after a search process involving both student and faculty input. Tans, whose experience in Kiki Smith’s Intro to Costume Design class showed them how they could combine their love for theater, historical research, and studio art, knew from the beginning that the show had the potential to be something special. “I was a very vocal advocate for Marie as an opportunity for actors and designers to work with historical materials and aesthetics, as well as an exciting chance to produce a true spectacle of a show,” they say.

Lerin agrees, adding, “We ended up going with Marie for a couple of reasons, but the two things that stuck out the most for me were the opportunities it provided for students, both acting-wise and design-wise, and I felt like it was a more relevant play in terms of themes, plot, and messages.”

From there, students worked tirelessly to create an enjoyable, immersive show, down to the tiniest detail.

Sound designer Emily Wilson ’17, for example, crafted an intermission playlist that included songs ranging from “Heads Will Roll” by the Yeah Yeah Yeahs to “Bad Girls” by M.I.A.

Lopez Orozco decided to line the stage with audience members through galley-style seating, underscoring the fact that Marie’s life isn’t just a runway, but one that’s being watched from all sides.

Meanwhile, Lerin proposed that members of the crew run and scream behind the audience’s seats during mob scenes, creating particularly memorable, if disconcerting, moments.

But one of the most eye-catching parts of the play came in the form of Tans’ work as costume designer.

“I was particularly interested in the evolution of Marie Antoinette’s fashion through the ebbs and flows of public perception, and how I could convey her psychological journey in the play through changes in the color, texture, and form of her costumes,” they explain.

While Tans pulled many design details directly from or inspired by history, they also drew from present-day pop culture moments and fashion trends, everything from Juicy Couture to ill-chosen slogans worn by political figures to the animated children’s series Fancy Nancy. “I think my favorite part of designing Marie was putting together an opening that delivered a satisfying rendering of what people picture when they think of Marie Antoinette, and then using the rest of the show to tear apart that image and reconstruct an alternative one in partnership with the other designers and cast,” they say. “I had such fun getting to know Marie through her clothing.”

Speaking of getting to know Marie, Mayte Sarmiento ’26 had her work cut out for her in portraying the infamous queen onstage, a challenge she embraced wholeheartedly. “Her arc in this show is remarkable, and there’s a lot of emotional, analytical, and physical work to do,” she says. “One of the most valuable lessons I learned was how to truly ‘defend’ my character, approaching her story with an open mind and heart. There was no room for judgment—history has already taken care of that.”

The department is already hard at work on its next show, but it’s clear that Marie Antoinette is one that will stick with students, not only as theater enthusiasts, but as friends. “I loved the community we created and how excited we were to work together,” says Sarmiento. “I had the privilege of acting on the stage Alina designed, wearing the costumes created by Rex, sharing the stage once again with my friend Hannah [Hafner ’26, who played Louis XVI], and being directed by Monica, who first taught me in Acting I, and Max, with whom I’ve had the pleasure of sharing multiple scenes before. The cast and crew have become dear friends, making this entire process magical and unforgettable.”