This is the fourteenth in an ongoing series in which The Beat Magazine 2025 takes readers “Behind The Scenes” to meet the talented creative individuals who make the London area such a vibrant arts and culture community.
In this segment, Richard Young does some Q&A with theatre Costume Designer, Tannis Daoust, who is currently costuming London Community Players’ production of The Great Gatsby at the Palace Theatre, September 24 to October 4.
(Photo Credit: Ross Davidson.)
Q. Could you provide me with some basic biographical information – Where were you born? Where did you go to school? Have you always resided in London?
I was born and raised in London and have lived here for the majority of my life, with the exception of some time spent as a traveller in New Zealand. I attended RMC High School and later secured an Honours Specialist Undergraduate degree in Political Science at Western, as well as a Master’s degree and a legacy extracurricular program within the Politics department (the Leadership and Democracy Lab).
Q. How did you get involved with community theatre? How long have you been doing costume design?
I have been working in costumes for approximately fifteen years as a hobby; I am a cosplayer at heart, just a nerd with a sewing machine at first. I got my start in theatre through cosplay, amazingly. Through the years attending local and Ontario-based ComicCons, I met Mariann Sawyer – an active and wonderful participant in too many areas of the theatre to list. She approached me nearly four years ago to design a show with Mary Jane Walzak as my Maven, and I have remained active ever since. Thank you Mariann!
Q. What kind of training did you have in becoming a Costume Designer?
My training for this job includes self-taught costume making, as well as courses to improve sewing skills taught by Laura Welsh through the City of London. Basically, my training is imagining what I want to make, and making it happen on a wish and determination through trial and error. Errors are the best way to learn.
Q. What are the duties and responsibilities of being a Costume Designer for a show? Do you usually have a team working with you?
My usual duties involve getting to know the actors and their characters, getting each person’s measurements, and ensuring fits are comfortable and accurate for each person that steps on stage. This also includes gathering accessories and picking shades that complete the whole outfit and compliment the person wearing it. Sometimes I do this alone when the cast is small and manageable, but often I have co-designers wherein we can work together to achieve the same goal, as well as wardrobe assistants to help with quick-changes in shows with large casts.
Q. What must you do to be successful in this role?
In order to do this successfully, I have to search various theatre wardrobe rooms, thrift shops, or sew pieces that flatter the actors, reflect their character, and complement the set. This also involves coordinating with the Set Designer to ensure a cohesive colour palate for visual appeal. In addition, it involves getting to know the actors and their characters, finding what is most comfortable for them, and ensuring the clothes will not cause an allergic reaction.
Q. What would you say is the biggest challenge in costuming a show’s cast?
My biggest challenge in costuming onstage casts is getting actors to be open about their comfort and allergies. Fabric softener is a hidden trigger for many, and it often takes a lot of coaxing for them to be open about what bothers their skin. This also includes being uncomfortable by the fit, fabric, or style of the clothes. If an actor is not comfortable in their costume, it means I haven’t done my job well: the last thing an actor needs to worry about is feeling self-conscious, uncomfortable, or itchy in what they wear.
Q. What is your biggest reward?
My biggest reward is seeing the actors feel good in what they’re wearing and helping them feel more like their character in the costumes. There is a feeling of joy all around when you find the perfect piece for each actor in a show. The way an actor’s face lights up when they feel great is honestly the best signal in knowing I’ve done my job well.
Q. What are some of the shows you have worked on in the past?
Some of the shows I have worked on this year include Closer (directed by Dave Semple), Urinetown! The Musical (directed by Sydney Brockway), Memoir (Scooter Productions), and Prescription: Murder (DJP Productions).
Q. Tell me about doing costuming for London Community Players production of The Great Gatsby? How are you creating a 1920s vibe on stage?
For working on The Great Gatsby, my co-designer Chloe Scripnik and I have been working on the glamourous side of the Roaring 20s. While this was a period when most were suffering from the aftermath of the the First World War, Gatsby’s world is outside the norm in its excessiveness and indulgence. In order to successfully achieve this dissonance with the time period, we have pulled inspiration from many of the actresses and artists popular in 1920s France. I personally have studied the life of Gertrude Stein as a special interest, and the social circle that surrounded her. The popular stars of silent films have helped us find that sense of excess. Other references include Josephine Baker, Ginger Rogers, Vivien Leigh, John Barrymore, Salvador Dali, Marlene Dietrich, and of course F. Scott and Zelda Fitzgerald themselves.
Q. What other shows will you be working on this year?
I am working on one more show in 2026, It’s a Wonderful Life at the Palace Theatre, directed by James Noonan and produced by Anita Goodfellow. This is actually a unique and lovely experience in my career as a Costume Designer. Not only will I be doing my work in the costume department, but I will also be appearing on-stage for the first time ever as Cousin Tillie (Matilda) Bailey! The show runs from end of November to early December, which happens to be over the course of my birthday. It’s the best gift I could have gotten, as this play has always held a special place in my heart.
Q. Any words of advice for aspiring Costume Designers?
The advice I would give to anyone who wants to be in costumes or design costumes is to just go out and volunteer. We have many amazing theatre companies in the city and nearby, whether it be The Palace Theatre Art Commons, Elgin Theatre, Infuse Productions, Musical Theatre Productions, AlvegoRoot, and so many more- there is always an opportunity to volunteer. The best part is, you don’t need to have extensive experience, all you need is the passion and the dedication. It also helps to be open to learning from those more experienced in the processes, and to have a good attitude towards team work. I began my theatre career with no professional background in costume design, but through volunteering I learned the ropes and became a costume designer along the way. Community theatre is a wonderful place not just to participate in something you’ve worked to achieve, but also to learn new things and explore passions that you may not have known how to pursue.
For tickets and more information about The Great Gatsby, visit 2026-2027 Shows – Palace Theatre
