E. b. brooks

E.B. Brooks, Costume Designer


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 Novelist Charles Condomine and his wife Ruth get more than they bargained for when during a "just for the fun of it" after-dinner seance led by local spiritualist and resident eccentric Madame Arcati, an uninvited guest from the great beyond crashes the party. So begins a delightfully cosmic clash of personalities both worldly and otherwise in English wit-master Noel Coward's glittering comedy of the soul.



“...touched by the visual whimsy of director Damaso Rodriguez and featuring charmingly atmospheric design elements from Kurt Boetcher (whose richly appointed set performs some smashing tricks of its own), spectral lighting by James P. Taylor, and incredible period costuming by E.B. Brooks, this resurrection of Sir Noel’s silly old warhorse couldn’t be more entertaining.”

- Travis Michael Holder, Entertainment Today 12/2/2010


“The characters are all stylishly attired by E.B. Brooks and the lovely scenic design by Kurt Boetcher gives this haunted house high style and packs a few surprises at the end. This is a fun romp and the ensemble is pitch perfect. "Blithe Spirit" is a witty ghost story, just in time for Halloween.”

- Jana Monji, Examiner 10/10/2010


“Abby Craden delivers a deliciously corporeal Elvira, who suggests a Bloomsbury Group pinup in costumer E.B. Brooks' satin chemise and crocheted shroud.”

- David C. Nichols, LA Times 10/14/2010


“Damaso Rodriguez is tremendously helped by the fine scenic design by Kurt Boetcher and E. B. Brooks’ costumes”

- Leigh Kennicott, Stage Happenings 10/24/2010


“Directed by Dámaso Rodriguez the show features Coward’s signature witty and acerbic dialogue responsible for many funny moments, a set by Kurt Boetcher that helps set the supernatural tone, marvelous 1940s period costumes by E.B. Brooks and rich evocative original music and sound design by Doug Newell.”

- Candyce Columbus, Examiner 11/9/2010


“Our design team (Kurt Boetcher-Set, James Taylor-Lighting, E.B. Brooks- Costumes, and Douglas Newell-Sound/Original Music) is really world class, typical of A Noise Within. We wanted to keep the play in the 1930s period while somehow making it feel modern. In doing so, we created some "rules" for the design: No tuxedos, no smoking jackets, no wigs, no blackouts and no music by Coward himself. We may have broken some of the traditional Coward conventions, but our irreverence for past productions was a way of respecting the play. We wanted to look at the text with fresh perspective, as if it was new.”

- Damaso Rodriguez with Candyce Columbus, Examiner 10/13/2010


“A Noise Within's production sets the play in 1936 and imagines Elvira as a 1920s flapper with deep red lipstick and smoky eyes. “We wanted her to be sexy,” says costume designer E.B. Brooks, who cites Tim Burton’s “Beetlejuice” as another influence. “It was all about finding the balance between looking dead but still being attractive. Elvira laughed herself to death listening to a BBC radio program at home, so we put the actress in a little silk romper. She's basically running around in her underwear for the whole play."

-Charlotte Stoudt Los Angeles Times 12/1/2010



"Best Costume Design"

Travis Michael Holder, Entertainment Today 1/25/2011




A Noise Within Theatre


20th Annual Entertainment Today Ticket

holder award


Writer: Noel Coward

Directeor: Damaso Rodriguez

Scenic Design: Kurt Boetcher

Costume Design: E.B. Brooks

Lighting Design: James P. Taylor





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