Biography

Theoni V. Aldredge

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Theoni V. Aldredge was born on August 22, 1922 in Thessaloniki, Greece. She was a costume designer, known for The Great Gatsby (1974), Addams Family Values (1993) and Ghostbusters (1984). She was married to Tom Aldredge. She died on January 21, 2011 in Stamford, Connecticut, USA.

Known for the large budgets she needed to realize her beautiful designs.
Her first job on Broadway was in "Sweet Bird of Youth" in 1959, starring Geraldine Page.
She studied at the Goodman School of Drama in Chicago, Illinois.
Aldredge's father was Surgeon-General of the Greek Army, and, later, a member of the Greek Parliament.
Won three Tony Awards as Best Costume Designer. First in 1977 for "Annie," tied with Santo Loquasto for "The Cherry Orchard," in 1980 for "Barnum," and in 1984 for "La Cage Aux Folles." She has also been Tony-nominated 12 other times, as Best Costume Designer (Dramatic), in 1961 for "The Devil's Advocate," and as Best Costume Designer, in 1972 for "Two Gentlemen of Verona," in 1973 for "Much Ado About Nothing," in 1974 for "The Au Pair Man," in 1976 for "A Chorus Line;" in 1977 for "Threepenny Opera," in 1979 for "Ballroom," in 1981 for "42nd Street," in 1982 for "Dreamgirls," in 1990 for "Gypsy," in 1991 for "The Secret Garden," and in 2001 for "Follies.".

On being a costume designer: A strange happened. I was overwhelmed by the beauty of the flowing garments worn by Vivien Leigh. People can look so beautiful in clothes. 'I said to myself.' 'There is a mystery to costume.' And that's when it started.'
On being a costume designer for Geraldine Page: I made three outfits for Gerry-a negligee, a robe and a beaded navy blue evening dress with a lighter front because a bird's stomach is always lighter than it's back. So there you had Tennessee Williams writing, Geraldine Page and Paul Newman acting, and I thought 'Where do I go from here?'
On being a Broadway costume designer: You don't take over a show. What you do is enhance it, because the costumes are there to serve a producer's vision, director's viewpoint and, most importantly, an actor's comfort. To me, good design is design you're not aware of.
On "A Chorus Line:" I just borrowed from what they brought. I took it as a compliment if people thought, 'Well, they're wearing their own clothes.'
Once an actress went overboard with notes to me about how she doesn't wear pink. I told her, Well don't wear it home then, sweetie. This is the theater.' You kind of have to humor them. If you can't love actors, you shouldn't be a costume designer.

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