Isaac Mizrahi's Collaboration with John Heginbotham Brings Timeless Charm to "Peter & the Wolf"
For years, families have gathered at the Peter B. Lewis Theater at the Upper East Side museum to experience Sergei Prokofiev's beloved musical fable for children, narrated by Isaac Mizrahi. In 2013, Mizrahi took over as director and designer, joining forces with former Mark Morris dancer John Heginbotham to create a unique dance-theater production.
The key to this enduring collaboration lies in the innovative use of character-specific instruments and dance vocabularies, allowing each performer to embody their assigned animal. The bird is balletic, moving to the flute, while the cat is jazzy, swaying to the clarinet. This clever approach not only enhances the storytelling but also showcases the versatility of Mizrahi's design.
Mizrahi's costume designs have remained largely unchanged over the years, with slight alterations to accommodate different body types in various casts. However, one notable change is the decision to cast the bird as a woman, dropping the original concept of having a male dancer in pointe shoes. Instead, the performer has opted for a demi-pointe approach, allowing for greater mobility and humor.
The core inspiration behind Mizrahi's design lies in his love of "poor theatre," which emphasizes the use of found objects and minimalist aesthetics. This aesthetic extends beyond costumes to the set design, with cleverly executed simple mechanics that add to the show's sense of intimacy and wonder. The capturing of the wolf, for instance, features a charmingly crafted noose that brings a smile to both children and adults.
Mizrahi has spoken fondly of his collaborations with other artists, including George Balanchine and Mark Morris, whose work he finds inspiring due to its emphasis on design and storytelling. His relationship with John Heginbotham is particularly noteworthy, as they share a similar approach to "poor theatre" that results in an incredibly cohesive and engaging production.
One of the most striking aspects of Mizrahi's narration is his ability to captivate young audiences while also thrilling them just a little bit. He has cited the original Leonard Bernstein version as a favorite, but David Bowie's interpretation remains a standout, with its unique accent and dramatic flair. The upcoming season promises new cast members, but what remains constant is the enduring charm of "Peter & the Wolf," thanks in large part to Mizrahi's masterful narration and design.
Works & Process at Guggenheim New York presents "Peter & the Wolf" through December 14th. Don't miss this timeless holiday tradition that continues to enchant audiences of all ages.
For years, families have gathered at the Peter B. Lewis Theater at the Upper East Side museum to experience Sergei Prokofiev's beloved musical fable for children, narrated by Isaac Mizrahi. In 2013, Mizrahi took over as director and designer, joining forces with former Mark Morris dancer John Heginbotham to create a unique dance-theater production.
The key to this enduring collaboration lies in the innovative use of character-specific instruments and dance vocabularies, allowing each performer to embody their assigned animal. The bird is balletic, moving to the flute, while the cat is jazzy, swaying to the clarinet. This clever approach not only enhances the storytelling but also showcases the versatility of Mizrahi's design.
Mizrahi's costume designs have remained largely unchanged over the years, with slight alterations to accommodate different body types in various casts. However, one notable change is the decision to cast the bird as a woman, dropping the original concept of having a male dancer in pointe shoes. Instead, the performer has opted for a demi-pointe approach, allowing for greater mobility and humor.
The core inspiration behind Mizrahi's design lies in his love of "poor theatre," which emphasizes the use of found objects and minimalist aesthetics. This aesthetic extends beyond costumes to the set design, with cleverly executed simple mechanics that add to the show's sense of intimacy and wonder. The capturing of the wolf, for instance, features a charmingly crafted noose that brings a smile to both children and adults.
Mizrahi has spoken fondly of his collaborations with other artists, including George Balanchine and Mark Morris, whose work he finds inspiring due to its emphasis on design and storytelling. His relationship with John Heginbotham is particularly noteworthy, as they share a similar approach to "poor theatre" that results in an incredibly cohesive and engaging production.
One of the most striking aspects of Mizrahi's narration is his ability to captivate young audiences while also thrilling them just a little bit. He has cited the original Leonard Bernstein version as a favorite, but David Bowie's interpretation remains a standout, with its unique accent and dramatic flair. The upcoming season promises new cast members, but what remains constant is the enduring charm of "Peter & the Wolf," thanks in large part to Mizrahi's masterful narration and design.
Works & Process at Guggenheim New York presents "Peter & the Wolf" through December 14th. Don't miss this timeless holiday tradition that continues to enchant audiences of all ages.
! The way they bring out the characters' personalities through instruments and dance vocabularies is pure magic 
. I love how Mizrahi's costume designs have evolved over the years, especially the decision to make the bird a woman – it adds such a fun twist to the show 
. And can we talk about the set design? The noose for the wolf is literally too cute 
! What I admire most about this production is how it balances storytelling with whimsy and wonder, making it a holiday tradition that's still fresh and exciting. If you get a chance to see "Peter & the Wolf" at Works & Process, grab tickets ASAP – it's going to be a real treat for kids and adults alike! 
. I mean, who wouldn't want to watch a bird in ballet or a cat in jazzy moves? But, at the same time, I'm all about trying to figure out why Mizrahi stuck with those costumes for so long... like, doesn't he ever get bored with that same old look? 
And don't even get me started on whether it's a good thing or not that they switched up the bird character to be female – it just depends on how you look at it, right? 
I mean, who wouldn't want to see a bird doing ballet and a cat swaying to jazz music? 
The costumes are already so iconic and timeless. And I'm loving that Mizrahi has stuck with his design even as new cast members come on board. It's like the show is its own character, you know? 
What do you guys think about re-making Peter & the Wolf for a modern animated series?
and it was literally SO COOL!!! i love how they did the costumes they're like so minimalist but still super creative and fun 
i also loved how they did the set design it's like a mini world in there 
it adds such a nice touch to the whole story. i'm so glad they're doing it again this season 
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i mean, who else could make a character like the bird look so elegant in pointe shoes? 
and can we talk about how he's been able to cast the bird as a woman without it feeling like some kind of big deal? 
it's just so beautifully done.
, every time I watch "Peter & the Wolf", I'm transported to a world of whimsy and wonder... his ability to weave storytelling with movement is unparalleled 
. The set design is so simple yet cleverly executed, it's like a masterclass in subtlety 
. But what really gets me is how Mizrahi incorporates elements of "poor theatre" to create an intimate and whimsical atmosphere – it's like stepping into a magical world 
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. And can we talk about how awesome it is to see a female bird on stage? 
It's all about empowering young girls to be confident and expressive, right? 
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. And can we talk about the set design? It's like they took a page out of Mizrahi's "poor theatre" playbook 
. The fact that he's maintained his costume designs over the years while making thoughtful adjustments to accommodate different body types shows a remarkable commitment to inclusivity 
. It's no wonder this production has become a beloved holiday tradition 
. and the use of character-specific instruments and dance vocabularies is pure genius - who knew being a bird could be so... avian? 
! Isaac Mizrahi's masterful direction and design are what make this show truly unforgettable. I love how he incorporates character-specific instruments and dance vocabularies - it's like a whole new world comes alive on stage 
. And can we talk about his costume designs? They're still iconic after all these years, and the fact that he's always pushing for inclusivity is truly inspiring 
. And can we talk about the costumes? They've changed so little over the years, but in a good way - they're still iconic and fabulous! 
I love how Mizrahi incorporates his "poor theatre" aesthetic into every aspect of the production, from set design to narration. It's just so clever and whimsical. And let's be real, who doesn't love a good wolf noose? 