“ was interested in developing the show,” says Fleming.
READ: Harold Prince Reveals the Creation of The Phantom of the Opera in Exclusive Memoir Excerpt “You’re always making them for different body types, different heights.” “They always turn out slightly different,” says Fleming of Phantom’s costumes. She passed away in 2002 and Fleming, having joined the production in 1989, has been the definitive voice in the room when it comes to costumes ever since-from building new costumes for new cast members to arranging repairs for the mountains of hand-sewn beading. Now, the extravagant style of Phantom is as iconic as the production itself.ījörnson spent much of her career designing for opera and ballet, coming to musicals later in life. “If she brought these sketches in today to a producer, the show would never have ended up onstage because nobody would spend the money,” says associate costume designer Sam Fleming. Her Tony-winning designs capture the largess of the emotion in the piece and the lavishness of the world of Paris opera in the 1850s. With over 230 costumes, designer Maria Björnson (who also designed the set) created the look for the musical theatre telling of the Phantom, his obsession with opera ingénue Christine Daaé, a sweeping romance, and one of the most passionate tales told on stage. When it comes to wardrobe, The Phantom of the Opera is generally considered the most aesthetically elaborate and lush production on Broadway.
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