I grew up in Washington Heights a New York city kid. I currently live in Brooklyn after some other moments of living in Chicago, Queens, LA and Crown Heights.
My childhood interests were dance and books. I love John Waters and Dante— I came to costumes through my love of theater generally. My practice was initially very hands on, untrained and experimental. I explored directing, props and puppets. I started making theater downtown in theaters that are now gone: the Ontological-Hysteric, The Ohio. At CalArts I got a masters in design and stretched myself as an artist. But I returned to New York because I love theater.
I’m proud to have designed the clothes for many new plays. Creating the world premiere of a work with actors, writers and directors is a gift. Usual Girls (Roundabout Underground), Dance Nation (Playwrights Horizon), Bobbie Clearly (Roundabout Underground), The Lucky Ones (Ars Nova). Porto (WP Theater), Wolves (Lincoln Center), and Men on Boats (Playwrights Horizons) You Got Older (P73). I especially value the work I have designed with the collaborative ensemble The Mad Ones : Mrs. Murray’s Menagerie (Ars Nova) Miles for Mary (Bushwick Starr, Playwrights Horizon),
Recently I stretched myself toward directing: Marie It’s Time, my company minor theater’s tangle with Woyzeck, was accolladed a NY TImes Critic Pick. I am so proud of that work and my collaborators Julia Jarcho, Jenny Seastone and Kedian Keohan. It was also a gift to work with my partner Jeff Aaron Bryant who wrote the music and music directed. read more about the show here.
I also have a real appetite for Shakespeare, classics and opera. The traditions of ensemble and clowning are especially fun to participate in. Recent projects include Taming of the Shrew (Old Globe) with Shana Cooper and Dom Juan (Bard Summerscape) adapted by Ashley Tata.
I am grateful to the pandemic theater shutdown as a moment to reflect on our industry. It provided me space to center my intentions and reflect on my work. I entered this industry as an ambitious careerist artist. I am now reforming my practice to be more sustainable and reflective.
I strongly believe in asking all institutions to endeavor to pay people fair wages in their theater– pay Equity and transparency are important missions in the theater to me, and I thank CPFWE and Else Hiltner for their advocacy on this.
I strongly believe costume designers can and should resist colonialism, the gender binary, racism and patriarchy embedded within the ways theater is produced. There are mindful ways we can each work toward better practices in our industry. I am committed to curiosity about my own practices and openness to feedback.
Education includes:
AB University of Chicago.
MFA Theater Design at CalArts.
2016 Obie Award for Design Collaboration for John.
Nom: Lortel Award, Mrs. Murray’s Menagerie
Nom: for Henry Hewes Design Award: Gnit (2022, with Avery Reed!) Dance Nation (2018) , The Wolves, Miles for Mary, Picnic/Come Back, Little Sheba (2017), Essential Straight and Narrow (2014)
Member of Minor Theater, Target Margin Theater, The Mad Ones.
Representation:
Ben Izzo
ben@michaelmooreagency.com
Email: asta.bennie@gmail.com
IG: @astabennie
Educational resources I value include
Nicole Brewer Anti Racist Training
“Supporting Trans Actors & Creatives” Trans Transgender Training Institute, facilitator Maybe Burke