Paul Taswell

So it's the same cape that we saw at the end of Wicked Part One in Defying Gravity.

the lining has come out of it, it's starting to fray, and it just adds to the texture of who she is.

The same with her coat, the sweeping coat that she's upcycled from a raincoat, but the idea that she has taken just a few things into the forest, and then she's recreating herself as this heroic image, paired with the pants that we have and also

So, you know, in setting that up, I'm making choices about what is the silhouette going to be?

How does it potentially align or become nostalgic of the 1939 film and that Wicked Witch of the West?

So that we're always threading, you know, all of these ideas of the Wizard of Oz and Oz, you know, just the Ozian sensibility all together.

and wrapping it up in a way that makes sense and says something more, as I was saying, says something more about the characters as well.

Well, it's the way that I approach any production.

You know, if I was doing a musical, I would be figuring out my characters from the beginning to the end.

Because that's how the audience is going to experience them.

And then I need to make choices that are consistent as I'm telling that story.

The same for Wicked.

It was about clothing and style and how the different characters

like the Munchkinlanders versus the Uplanders, which is where Glinda's family is from, versus the Winkies or Kiamako, which is where Fiyero is from.

Each of those very specific sensibilities, but together, they help to define each other.

I mean, they're consistent by, you know, silhouette.

It's by, you know, the shapes of sleeves and the shapes of skirts and the kinds of textures that I use.

I needed to make a world that would be plausible within itself

So that you believe in it as an audience member.

You're able to, you know, it doesn't, you know, I'm not going to throw a bunch of scenes with sneakers in it unless it's a very specific Ozian sneaker.