Louise Edmunds from Milford Haven is Costume Supervisor for The Turn of the Screw, the fast-paced, heart pounding thriller at the Torch Theatre this autumn. Anwen from the Marketing Team caught up with Louise to find out what her role entails and what audiences can expect …

For the people who don't know, tell us what you role as a Costume Supervisor entails.

In a nutshell, it is my job to take the designer’s vision from paper to reality. I start by taking measurements of the cast, then either source or make the costumes. This can include things like wigs, artificial facial hair, make-up and prosthetics. Considering any quick changes that may be necessary and adapting the costumes appropriately. It is sometimes required to guide on historical accuracy. On larger scale productions, it would be my job to lead a team of costume makers and dressers. I spend most of my time hunting for the right fabric, shoes, accessories, making sure that everything is completed on time and within a set budget.

You previously worked on The Turn of the Screw when it was staged here at the Torch in 2013. How is this different?

The biggest difference that I am aware of at this point is the number of people on stage. When it was performed at the Torch in 2013, there were at least five actors, appropriately cast based on their playing ages. I’m excited to see how Seren and Samuel will take on the roles depicting different characters without making any physical changes to their appearance.

Can you describe the costumes that will be used in The Turn of the Screw? 

There may be a corset, a detachable collar, and maybe a pocket watch but anything else will be a surprise. But you can expect late Victorian gentry and beautiful silhouettes.

What are the biggest challenges for you? 

Having to stop myself from playing dress up in beautiful Victorian costumes and keeping any spoilers from friends and family about the show.

How much research did you do for the play?

Having worked in costume for a number of years I already had a good knowledge of historical costume, but it’s always prudent to brush up on it once in a while. I like to look at historical fashion books, of which I have many - with photographs or prints with brilliant descriptions of garments and telling you the reason for changes in fashion, and others that are studies of historical garments, with sketches of how they have been made and patterns on how to recreate them accurately. I think it’s important when working on a period production to get as close to accurate as possible. Research is key.

Where do you get your inspiration from?

The Designer is the person who sets the tone, sometimes with what is called a mood-board, where you’ll see a collection of images that give a loose idea of what things they would like to see in the final costume. You may have a colour palette to work with and then other times a designer may be very specific and design a costume down to the last button and lacing detail. So as a Costume Supervisor, my inspiration is already on paper. It then becomes my job to help bring the vision for that character to life, to help the actor to feel as much like the character they are playing as possible by giving them all the tools a costume can give. In this case, Victorian clothing feels completely different to modern day clothing - for women, the corsets and petticoats, for men, the stiff collars and the cut of the clothes, all contribute to how you walk, how you stand, even the way you would sit down would be affected. 

What other Torch Theatre productions have you been involved with?

My first production at the Torch Theatre was Noises Off, back in 2006, I then worked on every in house production the Torch Produced until 2016, highlights including The Hired Man, Brief Encounter. I then returned to the Torch in 2023 and am delighted with the new style of work they are producing, it’s ambitious and constantly pushing the boundaries of what is possible to show the audience.

Are you critical of your work?

There is no one more critical of my work but myself. I am a perfectionist, I believe that I owe it to the audiences, director, designer and cast to do my utmost to give everything I have. I think this is true for most people who work in theatre. It's a passion and a curse in equal measure.

Are period costumes difficult to source?

They can be, it can be expensive and for certain periods. The choices out there are limited, so it’s hard to give audiences something new, that they won’t have seen used elsewhere. A lot of the time making from scratch is the preferred option.

If someone wanted to get into Costume Supervising work, how would they go about it?

There are many routes in, but my personal journey started with A-level textiles, at which point I already knew I wanted to work in costume for film, a foundation Art Course and then a BA Hons degree at The Royal Welsh College of Music and Drama, where I specialised in costume. It’s much easier to get into the industry through college as a lot of prospective employers are invited to exhibitions that the courses host where you get the chance to speak with directors and designers face to face – a luxury that can be difficult to come by under normal circumstances. I was offered my first job working with the BBC at my end of year exhibition. It then becomes an art of reputation from there, who you know, how good you are and how proactive you are to pursue the career of your dreams.

The Turn of the Screw will appear on the Torch Theatre stage for a three week stint from Wednesday 8 October to Saturday 25 October. Tickets: £18-£28. To book tickets via the website visit torchtheatre.co.uk / phone the Box Office on 01646 695267 or click here.