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Welcome to Episode #58 and our wonderful chat with Scenic & Costume Designer Clint Ramos! Clint is just weeks away from opening his third Broadway show, ‘Eclipsed,’ and he shares with us the journey of that piece from The Public Theatre to Uptown. He tells us how doing political street theatre in the Philippines planted the seeds of his future profession, how feeling like an “outsider” has drawn him to specific kinds of projects, why he works hard to not let his work fall into any kind of specific style, and how designing the clothing for ‘Here Lies Love’ became a full circle moment. There’s also great biz talk in this episode from budgets to assistants, to the awkwardness of having to back out of projects, to the push for higher wages and the things he still feels like he needs to fight for on so many projects . And, hear how he tackles making Hollywood stars like Lupita Nyong’o and Bradley Cooper disappear into the less than glamorous worlds of their onstage personas.
Clint Ramos is the recipient of an OBIE Award for Sustained Excellence in Design, 3 Lucille Lortel Awards, 2 American Theater Wing Henry Hewes Awards and 7 nominations, TDF Irene Sharaff Young Master Award, Helen Hayes Award, Craig Noel Award, and 2 Drama Desk nominations, among other awards.
He has designed sets and/or costumes for over a hundred theater, opera and dance productions. Selected credits include the Broadway productions of Eclipsed, Violet and The Elephant Man (also West End). Highlights also include Here Lies Love (NY and National, London), Barbecue, The Good Person of Szechuan, Appropriate, Angels in America, Wild With Happy, and Bootycandy. He is the principal costume designer for City Center Encores! Off-Center, having designed Wild Party with Sutton Foster, Little Shop Of Horrors, A New Brain, Cradle WIll Rock, I’m Getting My Act Together…, Randy Newman’s Faust, tick, tick…Boom!, and Pump Boys and Dinettes.
In New York, his designs have been seen on Broadway, as well as at the Public Theater, New York Theater Workshop, Roundabout Theatre Company, Lincoln Center Theater, Playwrights Horizons, Second Stage, Signature Theater, Classic Stage Company, Ma-Yi, NAATCO, Clubbed Thumb, New Georges, Women’s Project, Soho Playhouse, Mint Theater, Red Bull Theater, and The Asia Society.
Regional and opera credits include designs for Alliance Theater, Asolo Repertory Company, Arena Stage, Alley Theater, American Repertory Theater, Baltimore Centerstage, Barrington Stage, Berkeley Rep., California Shakespeare Theater, Chautauqua Theater Co., Cleveland Playhouse, Cincinnati Playhouse, Commonwealth Shakespeare Co., Dallas Theater Center, Denver Center Theater, Folger Theater, Geva Theater, Guthrie Theater, Huntington Theater Company, Kansas Repertory Theater, La Jolla Playhouse, Long Wharf Theater, Oregon Shakespeare Festival, Roundhouse Theater, Shakespeare Theater, Shakespeare Theater of New Jersey, Steppenwolf, Signature, Williamstown Theater Festival, Opera Theatre of St. Louis, Opera Boston, Prince Opera Theater and many others. International credits include designs for The National Theatre, West End and the Barbican (London), O’Reilly (Dublin), Kanon (St. Petersburg), Rijksteatern (Stockholm), Thalia (Bucharest), and Tanghalang Pilipino (Manila).
He holds a Master of Fine Arts from New York University where he attended on the Gary Kalkin Memorial Scholarship.
