Tall Order: Costumer Works Hard to Keep Up With Growing Young Actors

Oscar-winning costumers have to deal with temperamental actors. Rhonda Archer faces a different challenge: growth spurts.

“I say to all of them: Promise me you’re not going to grow,” says Archer, who for 14 years has coordinated costumes for Peter Pan Junior Theater.

And while all mothers deal with kids growing out of clothes, Archer is responsible for the costumes of as many as 89 fourth- to eighth-graders whose hormones are in full swing.

On Tuesday, Spring Valley resident Archer was preparing for the current production, Li'l Abner, which runs March 28-31 at the Joan Kroc Center.

Archer, 47, began helping when her daughter and then son performed in productions directed by Mark Arapostathis, a Rolando Elementary School second-grade teacher and La Mesa city councilman, and his mother, Elaine, who handles the music.

After two years of fulfilling her volunteer obligations by helping with the costumes, Archer was a co-costumer her third year. The following year she soloed as the leader. 

Even though her children have aged out, she hasn’t stopped.

“I love being involved in the community,” she said. “I love what Dr. A does with it, and I see the benefit of the kids being involved in it, the character development and their experiencing something huge.”

And Dr. A returns the admiration.

“Mrs. Archer’s skill and professionalism increase our theater’s  level of excellence,” Arapostathis said. “In addition to being an expert costumer, Mrs. Archer promotes our theater’s central goal of character and leadership to every child she encounters.”

But by no means do Archer’s fingers churn out dozens of costumes alone.

A committee of 25 volunteers sew, alter and repair outfits for all the youthful actors and actresses, some of whom have up to four costume changes due to  multiple roles.

Archer confides: “I’m not really a seamstress. I’m not talented as a seamstress, but I understand what needs to be done, and I empower others to do the job.”

Indeed her job requires great organizing and managing skills from the time she gets the “costume plot” from Arapostathis until the final curtain drops.

It hasn’t always gone smoothly, Archer says. A few “emergencies on stage” have occurred, such as wardrobe malfunctions, sticking zippers and cast members frantically searching for costume pieces just before the curtain is raised.

She recalls a young actor who kept his torn pants up by keeping his hands in his pockets throughout a scene until the front curtain dropped. Arapostathis and Archer ran onto the stage, and Archer frantically applied safety pins to the seat of his pants in the dark as a temporary fix.

Routinely, her biggest challenges—in addition to growth spurts—are organizing outfits for a large cast and creating grown-up-style costumes for children.

“We want to make the right costume for the children that fits properly and is comfortable, so they don’t have to think about it while performing,” Archer said.

The need to make identical outfits for some groups of children of different ages, shapes and sizes also is a complicated task. Costumes range from child to adult sizes.

Archer describes the process: She and Arapostathis sit down early in the production cycle and discuss each character. Arapostathis describes what he has in mind for each costume. They look at photos and brainstorm.

“He has a vision, and I help him create that vision,” the costumer said.

Then she chooses the patterns and fabric and enlists her army of volunteers, giving them the deadline of the first dress rehearsal, Archer said. Many costumes are created in parents’ homes, but shared workdays are held when they repair and hem clothes together.

My Fair Lady in 2004 was the most difficult production because it’s a period piece and because of the sophistication of the outfits, she said.

Arapostathis has a repertoire of more than 10 shows that he rotates over the years with new casts, so the costumers don’t have to start from scratch with a pattern and a bolt of fabric for each costume, she said.

Productions in recent years has included Music Man, Annie, Peter Pan and Oliver.

After a production, costumes are cleaned and stored away until the play is chosen again.

Donations from volunteer’s closets, thrift store purchases and homemade costumes sit in the organization’s craft shop across from La Mesa Middle School, which is filled with sets, props and costumes.

The costume budget is funded by the children’s participation fee and ticket sales, she said.

“All of the productions have their own challenges,” Archer said, “It’s a huge project that you are birthing, and then you accomplish it and love it.”

Does she every feel overwhelmed with the task involving so many participants?

“Every show,” she said, but by the time the first dress rehearsal is past, “It’s not ‘Can I do this anymore’, but ‘We’re almost there’ although there still is a lot of work to do.”

Costuming begins with measuring the children’s sizes in September. Then she begins the process in November and December and goes into full production in January and February, making necessary adjustments in March.

By then, she said, “I’m not looking for any surprises. I have three weeks to fill holes and gaps.”

Caralyn Henry, a volunteer in her second year of assisting Archer, said: “I love working with Mrs. Archer. She is phenomenal.”

As Archer left for the day Tuesday, she had a handful of costumes that she planned to repair as she watched TV.

How long will she continue this role?

“As long as Dr. A lets me,” she said, but then added, “You volunteer and you find a place where you fit in and that brings you joy, so you just continue doing it.”