Case of the People vs. James Ryan Haywood [excerpt of the trial script]: The Defense.
Defense: Hello Mr Haywood.
Ryan: Please, call me Ryan, Viola.
Defense: Not James?
Ryan: Nobody has called me James since my Meemaw died.
Defense: You’re from Georgia?
Ryan: Born and raised. Farm boy and all. We had turkeys that used to fly on the roof and crow at first light. I mean, I say crow, it’s a very strangled gobble!
Defense: I can imagine. What brought you to Alabama?
Ryan: Tracking down some family.
Defense: What kind of family?
Ryan: True family. My father used to say to me, “Family is all you have in this world.” I figured I’d best go looking for the scraps of family I have left.
Defense: Did you find them?
Ryan: Not as many as I would’ve hoped.
Defense: Why were you at the old mansion house?
Ryan: Apparently, it used to be owned by a family member of mine. A few centuries back, they lost everything in the civil war but still stayed in the area . Dirt poor mind. I figured I’d look around the place.
Defense: And that’s when you found Ramsey and the victim?
Defense: You picked up the gun?
Defense: Ryan, have you ever killed anything before,an animal of some kind?
Ryan: I… once. On the farm back in Georgia. I was 13 and it was the turkey for Christmas. Dad wanted me to do it. He picked Pointy. I had to but… I cried for a week straight.
Defense: Anything else?
Ryan: I used to fight the kids who burnt ants with a magnifying glass. No. Nothing else.
Defense: And what’s your occupation now?
Ryan: I’m a… I’m a consulting model.
Defense: I beg your pardon?
Ryan: Mhmm. I had a shoot a few months back with Peter Lindbergh. Nice guy, very patient, likes to get the shots just right.
Prosecution: Objection! Your Honor, there is no way, this man has had a photo such with such a famous person. There is no proof he’s even a model. We have let this… this farce of a defense go on long enough.
Judge: Ms Davis, does your defendant have any proof for his claim?
Ryan: Not with me, but if you check Vogue a few months back I’m in there. Oh, GQ too! About six months back they did a piece on me, think they called it “Farm boy to Famous” or something like that. You know how magazines are, they love to exaggerate. They probably still have my portfolios come to think of it.
Prosecution: Your Honor these claims are outrageous!
Judge: Settle down Mr Peverell. We are going to need more immediate proof, Mr Haywood.
Ryan: I can give you Meg Turney’s number. We work together a lot, I’d definitely call her my best friend in the industry. She worked for Playboy a few times too I believe, perhaps Mr Peverell is the kind of gentleman who would know her through that line of work?
Judge: Mr Peverell, if you speak up one more time on this matter I will hold you in contempt. Is that clear?
Prosecution: … Yes your Honor… my deepest apologies.
Judge: Ms Davies, I give permission for a brief respite in order to arrange contact and swearing in of Ms Turney via telephone. Provided she consents of course.
Judge: Hello Ms Turney, I trust you have been briefed on the situation?
Meg: I have, I have. Oh my goodness I can’t believe you have Ryan in custody for this?!
Judge: I understand your surprise. Now, I am simply speaking with you to confirm that you know Mr Haywood.
Meg: Oh absolutely I do! We go quite a ways back y’know? We first met in… was it Rome or Milan? Ryan would know hmm… anyway, yes I know Ryan. He is such a sweetheart. So polite! We often end up on the same shoots, sometimes even get hired together. I love those shoots. He makes sure I’m taken care of, makes sure all the ladies on set are taken care of. Real Southern gentleman, raised right y’know?
Judge: Thank you Ms-
Meg: Oh and his baking. You have never tasted anything as good as his pancakes let me tell you. I have no idea how he makes them. He’s such a meany, will probably take his secret recipe to the grave. But oh my god, when this is all sorted you have to get him to make you pancakes!
Judge: Thank you, Ms Turney.
Meg: Sorry, I ramble. It’s just, he’s so sweet, y’know?
Judge: Thank you Ms Turney. I appreciate you allowing this court’s request on such short notice.
Meg: Anything for Ryan. Bye!
Judge: Goodbye. …
Ryan: It was Milan, if you were wondering.
Judge: Thank you Mr Haywood. I think we can confirm your story. Ms Davies, please continue.
Defense: Anything you’d like to add about your occupation, Ryan?
Ryan: Just that my agent is going to be very unimpressed that you shaved my head. He may even consider suing.
Defense: I was informed that you had done that to yourself?
Ryan: Why would I shave off my most valuable asset? No, they grabbed me at the police station and did it. Shitty job too, if you’ll excuse my language.
Defense: I never would’ve considered you to have a head full of evidence.
Ryan: I never would’ve considered it legal to assault someone in your custody but here we are.
Prosecution: Your Honor!
Judge: That objection I will allow Mr Peverell. Mr Haywood, if you would like to file a case against the local county jail I will consider it. But if it is not relevant to this case I would drop that line of discussion for today.
Ryan: Of course sir.
Defense: I have no further questions for my client, your Honor. But I do have this to say: all evidence in this case seems circumstantial at best and forged at worst. The Vagabond, the real Vagabond, could have very easily wiped his prints from the weapon before my client picked it up. The Vagabond could have done many things my client has no background in or capability of doing. I would definitely suggest my client pursues his case against the local county jail, but I would also request an investigation into the police department as a whole. If the Los Santos Police Department and N.O.O.S.E. cannot bring in the Vagabond, then how on earth did a small town sheriff and his boys bring such an infamous criminal in without a single death or injury?
could i get a trans boy eridan wwith freckles and slightly curly hair? thank you for your time and lovvely sprites-
TG: dude making curly hair is always one of my favorite things to do i love it TG: i hope you like it my dude TG: i knitted a new scarf via ms paint just for you TG: also thanks so much for the compliment keep slayin boi
Behind the Red Door: Costuming Christine Ebersole in “War Paint,” Part I
If Patti Lupone and Helena Rubinstein get the full treatment, then you know that two-time Tony Award winner Christine Ebersole will get the same in her role as Miss Elizabeth Arden. Once again, Catherine Zuber took charge of costuming this iconic figure. Born in rural Ontario, Miss Arden worked her way up to found a chain of luxury salons noted for their famed red doors, as well as a wildly successful cosmetics company. Above all else, however, Miss Arden is known for making the color pink into a trademark, associated with her and her brand above all else. Let’s take a look at how Ms Zuber put that into practice in her costume designs and later, we’ll take a look at the much simpler Arden accessories.
(Photo credit: JustJared)
Here, we see a relatively simple outfit designed by Ms Zuber for the character of Elizabeth Arden. Unlike the designs for the Rubinstein character, Miss Arden has much more simple outfits. There’s a very good reason for this; while no less savvy and shrewd as Madame Rubinstein, Elizabeth Arden had a style that was far more plain and “sophisticated” than her competitor. The Arden look was always more sleek, at least when it comes to fashion. Ironically, Lindy Woodhead notes in the book that inspired the musical, Arden’s salons were far more decorated and ostentatious than her rival’s, but that did not carry over to her fashion sense. Have a look also at the costume in comparison to some of the chorus/ensemble costumes, this time in lighter shades of pink:
This costume is a relatively straightforward dress in Arden’s trademark pink, albeit in a darker shade than some of the other costumes in the production. Christine Ebersole is a taller woman, which means that there isn’t as much need for ornamentation to keep one’s attention on her face as she sings or recites her lines of dialogue. The relatively plain look of this dress in particular allows it to melt into the background a little bit, though the color is a sharp contrast to the much softer pink labels on the props in front of her and the projection behind her. While quite feminine in color choice, it’s also interesting that Ms Zuber has chosen to create basically a skirt-suit for this scene–it provides an interesting balance to her male counterpart (John Dossett as Tommy Lewis, Miss Arden’s long-suffering husband and assistant). While a bit early to be called a “power suit,” that is clearly the inspiration for Ms Zuber’s design. It makes sense for a character who always felt she needed to maintain her femininity while being tough and competitive in a male-dominated business world (see the number “If I’d Been A Man” for more on that!). The simple elegance of the dress exudes a quite confidence: Arden is secure in her business and has no need for showy fabrics, beadwork, or jewels. This outfit is also not really all that accessorized, though as with her rival, I’ll devote a separate post to accessorizing Ms Ebersole’s character.
Because of the character’s association with the color pink, Ms Ebersole spends much of the musical costumed in various shades of that color. But Ms Zuber does break up the potential monotony of costumes in just one color with some other stunning, but still simple, designs. Here’s an example (via JustJared) of a non-pink ensemble that is designed to catch the eye:
Once again, the design is far simpler than the ones used for Madame Rubinstein. This dress has two main components: a straight skirt and a more decorated (though still demure) top. The color is a rich blue that almost looks violet when examined in the right lighting. The fabric has a satiny finish that catches the light, but which also allows for some interesting patterns of light and shadow depending on how the dress is worn or the actress positions herself. In that sense, it provides an interesting contrast to other costumes in the show, many of which do not see such patterns.
The portion of the top that covers Ms Ebersole’s waist and hips is made from a slightly different fabric, one with a silky finish that provides a little bit of contrast to the rest of the outfit. I’m not sure (as with the light blues in one of Madame Rubinstein’s outfits) that I am such a fan of this additional fabric element; I think it detracts from the simple lines of the dress without adding much in the way of a sense of the design. The color matches perfectly, so clearly Ms Zuber knew what she was doing in inserting this element, but it still catches my eye a bit wrongly.
One thing I really do like about this outfit is the cutout patterns on Ms Ebersole’s shoulders. The Arden character is neither showy nor ostentatious in terms of her appearance, to this small amount of ornamentation allows her outfit to be unique while still being a bit understated. While my preference tends to be for showy costumes, I like what Ms Zuber has done here. The flowing but geometric pattern matches nicely with the straightforward but very slightly whimsical way in which Ms Ebersole plays her character, and I think it is a very subtle accomplishment on the part of the costumer.
The understated elegance of Ms Zuber’s designs for Ms Ebersole to wear is on display from the very start of the musical. In the first big number that Arden appears in (”Behind the Red Door,” the title for this review), Ms Ebersole is costumed nicely in a simple but timeless red dress that offers just the slightest hint of what is to come:
(via Playbill, Ms Ebersole’s costume is on the left)
An almost crimson shade, the dress fits in perfectly with the era of the musical, and really could have been worn in any year of Arden’s career after about 1920. The cowl around the neckline is a nice touch that adds a hint of conservatism to the already very classic look of the dress, as well as some elegance to an otherwise relatively plain outfit. But plain does not have to mean boring, and the satiny finish of the dress coupled with the color are enough to make it interesting. The only real ornamentation here is in the belt that will cover Ms Ebersole’s waist; it’s done in the same fabric as the dress, but with a clasp that matches the marquisate necklace that will be discussed in the accessories post later on this week. There’s not much else to say about this dress in particular, but I include it because it is striking in its own understated way. I like the traditional cut and I like that it is another hat-tip to one of Miss Arden’s trademarks: her Red Door salons that, yes, really did have red doors.
No examination of the costumes in which Ms Ebersole is adorned to transform her into Miss Arden would be complete without looking at the Pink Dress that appeared in so many of the promotional stills. While less over-the-top than many of the Helena Rubinstein outfits, I still think that this dress is one of Ms Zuber’s best creations of the season. Playbill provides some wonderful images of the dress of which I’m speaking:
Finally, at long last, we see a dress in War Paint that displays some of Ms Zuber’s amazing talent for beadwork! This showstopping dress is simple in its lines, but offers a lot for the audience and the viewer to take in. The color is pretty close to the trademark Arden Pink of the labels which adorned Elizabeth Arden cosmetics for many decades, and has a vibe that positively screams 1960s. The color is soft and muted, though under the stage lighting, it does take on a slightly more neon look:
The outer layer of the dress is almost tulle-like in that it has a sheer quality to it, which has the effect of lightening the dress by a shade or two. As we can see from the first image, however, the pink is quite rosy underneath the tulle layer, perhaps as a subtle nod to the earlier pink power suit which started off this review. Placed in comparison to the much more heavily-adorned Helena Rubinstein, this dress gives us another sense of the Elizabeth Arden character’s relative simplicity and eschewing of ornamentation. Next to Patti Lupone, Christine Ebersole looks a little plain–but again, I think that is intentional on the part of Ms Zuber in her designs. While the eye is drawn to Rubinstein’s costume, Arden’s is the more elegant and the more “sophisticated” for lack of a better word. One is clearly meant for a character who is herself a bit of an actress, and the other for someone who retreats to conservative outfits to express her sense of style.
But it would be a crime to suggest that the Pink Dress is any less beautiful than the outfits worn by Ms Lupone throughout the musical. I mentioned earlier that one of the things I absolutely adore bout Catherine Zuber is how she uses beadwork to elevate her designs; while that has been lacking in many of the outfits in War Paint, she in many ways saves her best for last. It took me ages, but I finally found a Playbill still of just how detailed the beadwork is:
Look at that! Every single clamshell opening in the top, shoulder portion of this gown is filled with a tiny floral pattern composed entirely out of beadwork. Replicated over and over again, there is a real beauty to each element. The silver and pink beads balance each other perfectly and add a kind of “oomph” to the overall effect that the dress has. Along the edges of the beaded portion is a beaded border which uses the same silver and pink beads which cover the embroidery on the shoulders. From a distance, the top simply looks stylish, but up close it’s clear the love and care that was poured into this design by Ms Zuber. I’m not sure if this is my favorite costume from War Paint, but it absolutely ranks up there in the top handful.
Overall, I think I like the costumes chosen for the Helena Rubinstein character just a little bit more than those given to Ms Ebersole in her role as Elizabeth Arden. But it’s a close contest, because I think the styles are so wildly different that each needs to be considered on its own long before any comparison is drawn. Ms Ebersole’s costuming is classic and simple, with traditional lines and design elements, generally in a single solid color. Like Arden herself, the costumes are conservative and stoic without being forgettable or boring. The lack of ostentation or ornamentation except on the Pink Dress is one of the reasons, though, that I think the lead has to go to Ms Zuber’s designs for Madame Rubinstein. That being said…I really am a sucker for impeccable beadwork, so the Arden designs will always be right in there for me.
Next up, I’ll be posting a (possibly shorter) review of the accessories given to Ms Ebersole to complete her look as Miss Arden. There are fewer for her than for Ms Lupone, but that doesn’t make them any less interesting to examine. Stay tuned!