Theoni V. Aldredge


Costume Designer

About

Also Known As
Theoni Athanasiou Vachliotis
Birth Place
Thessaloniki, GR
Born
August 22, 1932
Died
January 21, 2011

Biography

With over 150 stage productions, numerous ballets and several films to her credit, Theoni V. Aldredge ranked as one of the most prolific and successful costume designers of the late 20th Century. Born and raised in Greece, Aldredge was inspired to become a costumer after seeing the film version of "Caesar and Cleopatra" in 1946. Moving to America, she trained at the Goodman Theatre Schoo...

Family & Companions

Tom Aldredge
Husband
Actor. Married on December 10, 1953.

Notes

"Lavender is a color I have to use in every production. I was born in Greece; when the sun sets, there's a lavender hue everywhere. Since I have been in this country, I have to use lavender. It's a good mixer of a color; you can put it next to any color and it won't be offensive." --Theoni V Aldredge to David Barber in a 1997 interview

Biography

With over 150 stage productions, numerous ballets and several films to her credit, Theoni V. Aldredge ranked as one of the most prolific and successful costume designers of the late 20th Century. Born and raised in Greece, Aldredge was inspired to become a costumer after seeing the film version of "Caesar and Cleopatra" in 1946. Moving to America, she trained at the Goodman Theatre School where she made her debut with 1950's "The Distaff Side." In 1953, she married actor Tom Aldredge and the couple settled in New York City. After debuting in films with "Girl of the Night" (1960), Aldredge began her long association as a resident designer at Joseph Papp's New York Shakespeare Festival with a 1961 production of "Much Ado About Nothing." Over the next three decades at the NYSF, she crafted the appropriate clothing for many Shakespearean productions (the acclaimed Edwardian-set "Much Ado About Nothing" in 1973), revivals ("Threepenny Opera," 1977), and landmark musicals ("Hair," 1967 and "A Chorus Line," 1975).

In 1974, producer David Merrick tapped Aldredge to create the lavishly beautiful 1920s-era wardrobe for the film version of "The Great Gatsby." While the film itself was dramatically inert, no one faulted the look of the film. Douglas Slocombe's pristine cinematography captured Aldredge's ravishing designs and the Academy took note by bestowing her with that year's Best Costume Design Oscar. Three years later, Broadway finally honored Aldredge for her stage work, presenting her with the 1977 Tony Award for her witty 1930s wardrobe featured in the musical "Annie." She continued to craft extraordinary designs for several of Broadway's most popular shows, including "Barnum" (1980), "42nd Street" (1981), "Dreamgirls" (1982), "La Cage aux Folles" (1984) and "The Secret Garden" (1991). Onscreen, Aldredge dressed Faye Dunaway and her co-stars in such films as "Network" (1976), "Eyes of Laura Mars" (1978) and "The Champ" (1979). John Huston tapped her to revisit her award-winning designs for the disappointing film version of "Annie" (1982), although her work was stellar. Cher wore clothing designed by Aldredge in her Oscar-winning turn in "Moonstruck" (1987) as did Jessica Lange in "Night and the City" (1992) and the 1995 CBS remake of "A Streetcar Named Desire." As the new millennium approached, Aldredge remained active, still dividing her time between films like "The Rage: Carrie 2" (1999) and stage productions such as the revival of "Gore Vidal's The Best Man" (2000). After a lifetime of creating stunning costumes for all manner of medium and genre, Aldredge passed away on January 21, 2011.

Filmography

 

Costume-Wardrobe (Feature Film)

Rage: Carrie 2 (1999)
Costume Designer
Mrs. Winterbourne (1996)
Costume Designer
The First Wives Club (1996)
Costume Designer
The Mirror Has Two Faces (1996)
Costume Designer
A Streetcar Named Desire (1995)
Costume Designer
Milk Money (1994)
Costume Designer
Addams Family Values (1993)
Costume Designer
Night And The City (1992)
Wardrobe
Other People's Money (1991)
Costume Designer
Stanley And Iris (1990)
Costume Designer
We're No Angels (1989)
Costume Designer
Moonstruck (1987)
Costume Designer
Ghostbusters (1984)
Costume Designer
Monsignor (1982)
Costume Designer
Annie (1982)
Costume Designer
Rich and Famous (1981)
Costume Designer
Circle of Two (1981)
Costume Designer
Loving Couples (1980)
Costumes
Can't Stop The Music (1980)
Costumes
Middle Age Crazy (1980)
Costumes
A Change of Seasons (1980)
Costume Designer
The Champ (1979)
Costume Designer
The Rose (1979)
Costume Designer
Eyes Of Laura Mars (1978)
Costume Designer
The Cheap Detective (1978)
Wardrobe
The Fury (1978)
Costumes
The Cheap Detective (1978)
Costume Designer
Semi-Tough (1977)
Costumes
Semi-Tough (1977)
Wardrobe
Network (1976)
Costume Designer
Harry And Walter Go To New York (1976)
Costume Designer
Three Days of the Condor (1975)
Miss Dunaway's clothes
The Great Gatsby (1974)
Costume Designer
Promise at Dawn (1970)
Costumes
I Never Sang for My Father (1970)
Costumes
Last Summer (1969)
Costumes
No Way To Treat a Lady (1968)
Wardrobe Supervisor
No Way To Treat a Lady (1968)
Miss Remick's & Miss Heckart's clothes
Uptight (1968)
Costumes
You're a Big Boy Now (1966)
Costumes
Girl of the Night (1960)
Costume Design

Production Designer (Feature Film)

The Champ (1979)
Production Designer

Costume-Wardrobe (Special)

Broadway Sings: The Music of Jule Styne (1987)
Costume Designer
The 59th Annual Academy Awards Presentation (1987)
Costume Designer
Baryshnikov on Broadway (1980)
Costume Designer

Costume-Wardrobe (TV Mini-Series)

Nutcracker: Money, Madness and Murder (1987)
Costume Designer

Life Events

1950

First credit as costume designer, "The Distaff Side" at the Goodman Theatre in Chicago

1959

First major Broadway credit, designed Geraldine Page's costumes for "Sweet Bird of Youth"

1960

Film debut as costume designer, "Girl of the Night"

1961

First association with Joseph Papp's New York Shakespeare Festival, designed clothing for "Much Ado About Nothing"

1961

Earned first Tony Award nomination for "The Devil's Advocate"

1962

Created the costumes for the musical "I Can Get It for You Wholesale"

1965

Designed the contemporary clothes for the stage comedy "Cactus Flower"

1966

Did the costumes for the Broadway production of Edward Albee's "A Delicate Balance"

1967

Crafted the contemporary clothing for the stage musical "Hair"

1968

Designed the costumes for the feature "No Way to Treat a Lady"

1972

Garnered second Tony nomination for the musical version of "Two Gentleman of Verona"

1973

Created the Edwardian period costumes for an acclaimed production of "Much Ado About Nothing"; production originated at the NYSF but later transferred to Broadway; received a Tony nomination

1974

Won an Academy Award for the lavish, exquisitely detailed 1920s clothing of "The Great Gatsby"

1974

Earned fourth Tony nomination for the stage play "The Au Pair Man"

1975

Created the costumes for the landmark American musical "A Chorus Line"; received fifth Tony Award nomination

1977

Designed the costumes for the feature "Network"

1977

Received two Tony nominations for costumes for the musicals "The Threepenny Opera" and "Annie"; won first Tony for the latter in a tie with Santo Loquasto ("The Cherry Orchard")

1978

Designed the costumes for the musical "Ballroom"; earned another Tony nomination

1978

Crafted the witty costumes for the feature comedy spoof "The Cheap Detective"

1978

Clothed Faye Dunaway in "Eyes of Laura Mars"

1979

Designed the period garb for the remake of "The Champ," featuring Dunaway and Jon Voight

1979

Was the costume designer for the contemporary musical feature "The Rose"

1980

Won second Tony Award for costumes for the musical "Barnum"

1980

Was costume designer for the ABC variety special "Baryshnikov on Broadway"

1980

Designed the costumes for the loopy disco-themed film "Can't Stop the Music"

1981

Created the 1940s clothes for the stage musical "42nd Street"; garnered 10th Tony nomination

1982

Designed the costumes for the musical "Dreamgirls"; received a Tony nomination

1982

Revised and redesigned her award-winning stage clothing for the John Huston-directed film version of "Annie"

1984

Picked up third Tony Award for the lavish clothing in the musical "La Cage aux Folles"

1984

Did the period clothes for the romance "Racing With the Moon" and the contemporary comedy "Ghostbusters"

1987

Created the period clothes for a revival of "Blithe Spirit," which marked the last stage appearance of Geraldine Page

1987

Clothed Cher and the rest of the cast of the award-winning comedy "Moonstruck"

1987

Did the costumes for the NBC miniseries "Nutcracker: Money, Madness and Murder"

1990

Designed the costumes for the revival of "Gypsy"; received a Tony nomination

1991

Created the period look for the musical version of "The Secret Garden; received 14th Tony nomination

1992

Was designer for Jessica Lange's wardrobe in "Night and the City"

1993

Created the costumes for the Off-Broadway musical revue "Putting It Together," which marked Julie Andrews' return to the NYC stage

1993

Did the witty costumes for "Addams Family Values"

1995

Crafted the period designs for the CBS remake of "A Streetcar Named Desire," starring Jessica Lange

1996

Created the clothing for "The First Wives Club" and designed the costumes for the Barbra Streisand-directed "The Mirror Has Two Faces"

1997

Created the period costumes for the Broadway revival of "Three Sisters"

1999

Designed the clothing for "The Rage: Carrie 2"

1999

Did the costumes for the revival of "The Time of the Cuckoo"

2000

Created the clothing for "Hotel Suite"

2000

Created the costumes for the Broadway revival of "Gore Vidal's The Best Man"

2001

Designed the costumes for the revival of "Follies"; netted a Tony nomination

Family

Athanasios Vachiotis
Father
Politician, general. Served as surgeon general of Greece and as a member of the Greek parliament.
Merope Vachiotis
Mother

Companions

Tom Aldredge
Husband
Actor. Married on December 10, 1953.

Bibliography

Notes

"Lavender is a color I have to use in every production. I was born in Greece; when the sun sets, there's a lavender hue everywhere. Since I have been in this country, I have to use lavender. It's a good mixer of a color; you can put it next to any color and it won't be offensive." --Theoni V Aldredge to David Barber in a 1997 interview