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source: nytimes.com
Part 1
Part 1
January 29, 2006
William Ivey Long Keeps His Clothes On
By ALEX WITCHEL
On the night that the movie "The Producers" had its premiere at the Ziegfeld in New York, William Ivey Long, costume designer for both it and the hit Broadway show, sidestepped the red carpet and went quickly inside. Not that he could hide. A showgirl in a sleeveless gold lamé dress immediately embraced him.
"The smallest waist in three counties!" he cried, turning her side to side from her hips. "You're not wearing any underwear."
"You're telling me," she said, laughing, arms covered with goose pimples. It must have been 20 degrees outside. Turning to greet someone else, Long accidentally knocked the cap off the actor Ernie Sabella's head. "It's only apparel," Sabella said graciously, picking it up.
Only? Apparel has been at the center of Long's universe since he made his first costume at age 6 - an Elizabethan ruff that he sewed around his dog's neck. That was followed by a bonnet he whipped up from a pattern he traced around his hand. You would expect no less from a designer whose wit and inventiveness have consistently bolstered the standards of musical-theater glitz. In the recent Lincoln Center production of Stephen Sondheim's "Frogs," for instance, Long gave the chorus girls in Hell headdresses that flamed up like cigarette lighters.
Long has been nominated for 10 Tony Awards and won 4 ("The Producers," "Hairspray," "Crazy for You," "Nine"), and this week he will be inducted into the Theater Hall of Fame. To be eligible for that honor, a theater artist must have at least five significant Broadway credits in 25 years of work. At 58, Long has done 50 Broadway shows, a milestone he celebrated last spring with a party for 400 at the Boathouse in Central Park, given by Susan Stroman, the director of "The Producers," Wendy Wasserstein, the Pulitzer Prize-winning playwright ("The Heidi Chronicles") and a friend from Long's days at the Yale School of Drama, and Paul Rudnick, the playwright and screenwriter ("In and Out"), who once worked as Long's assistant. The invitation bore a quote from the critic John Simon's review of "The Lady and the Clarinet," an Off Broadway play from 1983. "William Ivey Long's costumes hover between taste and travesty," he wrote. So of course, Long invited him. And he came.
At the Ziegfeld, Long was stopped continually on the way to his seat, and he spent a good 20 minutes kissing everyone - gay women, straight men - smack on the lips. When people saw Long, it was if they were seeing dessert - eyes widened, mouths opened, then they grabbed. He reciprocated in kind. "Oh, goddess!" was a frequent greeting, and not only to the women.
But when he finally sat down, his tension was palpable. He hadn't yet seen the movie, which required 7,000 costumes (the show has 497 by comparison), and he didn't know what to expect. Though "The Producers" is only his fourth film, he has often ventured beyond Broadway. Until the tiger intervened, he costumed Siegfried and Roy at the Mirage in Las Vegas, where "Hairspray" will open at the Luxor next month; he has designed operas for Leonard Bernstein and ballets for Peter Martins, Paul Taylor and Twyla Tharp at New York City Ballet. He dressed Mick Jagger for the Rolling Stones' Steel Wheels U.S. tour in 1989 and made the paper dresses in Bruce Weber's video of the Pet Shop Boys' "I Get Along." Although the fashion line he tried to establish in 2003 failed, he continues to design for private clients, including Halle Berry, who wore one of his gowns to the 2002 Screen Actors Guild awards.
Throughout the movie, Long sat at ramrod attention with his hands on his knees, and as soon as the lights came up, he bounded over three rows of seats to get to Stroman. They hugged as he congratulated her before leaving separately for the party at the Metropolitan Club. So? What did he think? He looked worried. "I always want to redo something," he said. "I saw every bra strap in captivity, or not in captivity, more to the point."
At the party, Long ignored the sumptuous buffet tables. "I'm not here to eat; I'm here to say hello to people," he said. "Let's go look in that fancy room." He first greeted Stroman's extended family, then Neil Simon, whose last four plays Long has designed costumes for, then producers of the show and of the movie "The Producers." His campy exuberance was muted here. When it came to the grown-ups - the people who could hire him - Long dispensed a more burnished version of his Southern charm. That was, until he ran into Nathan Lane, holding court in a circle of admirers.
"Run!" Lane shouted to Long when he saw me standing beside him, notebook in hand. "When she wrote about me, I was the clown who cried, and you'll be the costumer who cried. 'Oh, poor William! Fourteen houses and no boyfriend!"'+
No one laughed louder than Long, though the joke had its sting. When I asked him about it later, he shrugged. "Nathan's talking about what he wants, not me," he said. It is indeed true that Long has never had a partner. The 14 houses are 12 houses; Long restores houses the way other people knit. There are two houses in the Berkshires, a brownstone in Chelsea, a farm in Pennsylvania and the rest in North Carolina: five houses in Seaboard, the tiny town where the Long family settled in 1676 and where Long is undertaking an elaborate program of what Rudnick calls "rural renewal"; a historic house in coastal Rose Bay and another two in Manteo, on the Outer Banks, where Long is the production designer for "The Lost Colony," an annual summer pageant about the first American settlers.
So, if not a boyfriend, what does he want? For starters, his appetite for work is insatiable. He converted an abandoned school in the Berkshires into a research archive for his own costumes as well as the historical clothing he collects (he lends these clothes to Off Broadway shows that could never afford to make them); he founded the nonprofit Eastern Seaboard Trust to encourage economic development there and has just completed a feasibility study with a grant from the state of North Carolina on how to create jobs. And most of his shows either preview out of town, sprout touring companies or both. "Chicago" alone has kept Long busy on Broadway and on the road for the last 10 years.
Highly caffeinated and in constant motion, he is rarely by himself. To enter the floating treehouse of Long's life, the tight camaraderie of his five-person staff, one of whom always travels with him, is a curious exercise. His flow of ideas is continuous - when he speaks, someone always takes notes - and his attention to detail is both meticulous and obsessive, whether it is finding the right trim for a dress or insisting that Seaboard fund-raising thank-you notes be postmarked only in Seaboard. Despite a certain amount of eye-rolling, the staff clearly adores him; most of them have been with him for years.
Long is also actively enamored of his family's exquisite 18th- and 19th-century furniture, much of which he has spent years restoring, and it fills his houses. (That's family the Southern way; every June, Long gives a Long family party, and 600 people attend.) Whenever a cousin doesn't want something, Long drives a truck down to rescue it. So no matter what city they are in, his houses feel vaguely the same.
That's all on the inside. To see Long race through a day on the outside, with his very big brain and even bigger personality, is to see someone for whom the world has clearly not been an easy place. No matter the activity - whether professional or one of his endless good deeds - he is there, then he's gone, like a comet, barely establishing a welcome he could possibly overstay. He seems mindful, always, to administer himself like a very strong spice, in dashes and sprinkles, only. The race ends back home, any home, surrounded by his books, his projects, his things, safe!
He has a line that gets him laughs, though it is also apparently a lesson he learned early. "Beauty is skin-deep," he likes to say. "But ugly is to the bone."