Sydney Dufka

Feeding Beatrice

By Kirsten Greenidge

Directed by Reva Stover

Fall 2026

Wirtz Center for Preforming Arts

“Haunting Tango Power Party.”

When approaching Feeding Beatrice I was struck by the isolated nature of our characters. They are locked in their dream home. Fighting to achieve something society has told them is necessary. The action sweeps us into a violent tango between June, Lurie, Beatrice and their separate longings for home and the American Dream.

Filled with rising tension, failed communication, and horrific surprises, each member of the household engages in a feverish battle for their desires. Costumes will provide clear silhouettes that ground the characters in their opposed cultures and backgrounds. My goal in this design is to showcase isolated characters who are all longing for something.

Miss Julie

By August Strindberg

Spring 2026

“Haunting, Intimate, Debauchery”

While reading and researching Miss Julie I was struck by the rigid setting of 1888 Sweden. This in contrast with a pagan midsummer celebration. The sun never sets and chaotic energy engulfs the characters. The dramatic style of the play (no scene or act breaks) complements the long dominance game that is played between Julie, Jean and Kristin. The Count is away and his daughter and servants play.

The costume design will embrace the energy of haunting debauchery. Each character will have a personal and clear silhouette. This will aid the story by delineating the rigid class structure of 1880s Sweden while supporting the emotional and physical range of each character. Hairstyles will be used to communicate psychological state and a dramatic color palette will complement of the chaotic energy of our players.

Cards of Creation: Sacred Feminine & Fibonacci

This set of cards is declaration of beauty and the feminine. Not as an aesthetic, but as a force. What is handmade is holy.

Beauty is a discipline, not decoration. The feminine is not delicate, it is foundational.

In these cards The Fibonacci sequence is a touch point for composition as it mirrors the feminine form.

The Feminine is represented in the seed like body. She slowly opens as we pass through the Major Arcana.

The Minor Arcana bodies are then represented by the Fibonacci swoops. The feminine has dilated and birthed the Minors.

In the Major cards their hair represents character, emotion and reaction to their enviorment. These silhouettes are echoed in Minor cards but instead communicate the suits.

The color palette is a response to images of the universe. The celestal dance of planets, stars and suns.

I encourage the viewer of explore the shapes within the hair and bodies. The expression of the figure's face and the depth of colors in the Fibonacci swoops. Each aspect of the card is intentional.

Natasha, Pierre & The Great Comet of 1812

Spring 2026

These renderings started out as fabric analog collages. Then they were put into photoshop and refined. Printed on Bristol paper and inked/gold leafed ontop.

“Chandeliers and caviar, the war can’t touch us here”

The comet’s approach heralds a seismic shift.  Unstoppable inertia re-baptizes Pierre and Natasha.  Helene and Anatole are in the throws of violent passion violent. Euphoric madness consumes all.

Glittering seducing parties evolve into something more real.  Raw and ugly.  Wolves surround our characters.  The ensemble is hungry.  The action can-not be stopped.  The comet is eternal.

Costumes communicate the period through silhouette.  Characters are explored through color and texture. The ensemble will assist in setting the tone for the changing landscapes. They are a etherial entity which can be human or sculpture.