{"id":189342,"date":"2026-03-12T22:52:23","date_gmt":"2026-03-12T22:52:23","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-fl\/189342\/"},"modified":"2026-03-12T22:52:23","modified_gmt":"2026-03-12T22:52:23","slug":"at-bishop-verot-high-acting-students-rehearse-the-choreography-of-quick-costume-changes-wgcu-news","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-fl\/189342\/","title":{"rendered":"At Bishop Verot High, acting students rehearse the choreography of quick costume changes | WGCU News"},"content":{"rendered":"

Watching an actor walk offstage and immediately reappear in a completely different outfit is one of the most captivating moments in theater. Quick costume changes add a layer of intrigue to any theater production. That\u2019s especially true in a show in which 35 actors change costumes dozens of times over the span of a couple of hours. That\u2019s what happens in \u201cThe Little Mermaid.\u201d Lisa Clark, the theater director at Bishop Verot High School, described the magnitude of the challenge.<\/p>\n

\u201cThe ensemble, I don’t think they wear the same costume twice,\u201d Clark pointed out. \u201cThey start as sailors and then they become sea creatures and then they become chefs and then they become lily pads or seagulls. And then the final number, they’re wearing ball gowns and all kinds of stuff. So they’re constantly changing costumes and makeup, too.\u201d<\/p>\n

\"Liam<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Liam Cole as the Pilot with Braden Heckman as Prince Eric at the helm of the Royal Ship in opening scene from ‘The Little Mermaid’ <\/p>\n

Clark took us backstage at Verot\u2019s Anderson Theater during a recent \u201cLittle Mermaid\u201d dress rehearsal to pull back the curtain on the techniques actors use to make quick costume changes look effortless.<\/p>\n

The first is layering.<\/p>\n

\u201cSometimes you’re wearing two and three outfits under the outfit that you already have on,\u201d explained Robin Dawn Ryan, who\u2019s assisting Clark in \u201cLittle Mermaid.\u201d \u201cSo, you go and you rip off one layer and you come back out. You go back and you rip off the next layer.\u201d<\/p>\n

Verot costume designer Heidi Rustic said that Katt Torres, who plays Ariel, really makes effective use of layering for a number of the costume changes she\u2019s required to make – both onstage and in the wings.<\/p>\n

\"Katt<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Katt Torres as Ariel steps out of outer garment to reveal purple gown she’s wearing underneath. <\/p>\n

\u201cSo, when she has quick changes coming up, she\u2019ll have one gown underneath another so that when the lights go down and we go to a blackout, she can have a little bit of assistance and take off that top layer,\u201d Rustic revealed.<\/p>\n

\"Ta<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Ta da! This onstage costume change took mere seconds to accomplish due to layering. <\/p>\n

In equity theaters, costumes are often built with special features to facilitate quick changes. Community and high school theaters rarely have that luxury.<\/p>\n

\u201cI would love to say that I think of their quick changes when I pick the costumes out but that’s just not necessarily true,\u201d Clark admitted. \u201cSometimes we’re working with vintage gowns from our shop because it’s just what looks best in the scene.\u201d<\/p>\n

But even vintage gowns or off-the-rack costumes can be retrofit help actors speedily get into and out of them.<\/p>\n

\u201cSometimes we’ll make alterations,\u201d Clark said. \u201cLike we’ve put snaps on something that had buttons so that it can just go instead. Almost everything has zippers, though, which makes everything a lot easier.\u201d<\/p>\n

\"Because<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Because her dress is fastened from behind by magnets, Ariel’s maids are able to remove her outer dress in a matter of seconds to complete the transformation into her satiny pink dress. <\/p>\n

Rustic even used magnets to fasten the back of one of Ariel\u2019s dresses so that it could be removed onstage with a single movement to reveal the gown Torres is wearing underneath.<\/p>\n

\"Ta<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Assisted by magnetic fasteners in the back of her tan dress, Ariel’s maids are able to dress her in seconds for her dinner date with Prince Eric. <\/p>\n

Leads, like Torres or Braden Heckman, who plays Prince Eric, have helpers \u2014 known in theater as \u201cdressers\u201d \u2014 to help them in and out of their costumes. While supporting actors and members of the ensemble help each other, each actor is ultimately responsible for their own costume changes.<\/p>\n

\u201cThey start learning how it gets to be choreography backstage for them,\u201d said Ryan. \u201cThe shirt hangs here because that’s the next shirt I put on. Make sure my shoes are here because that’s what happens in the scene.\u201d<\/p>\n

And learning the choreography of costume change takes practice, practice, and more practice.<\/p>\n

\u201cThat’s why we get in costumes so early because those transitions just take a while to rehearse,\u201d said Clark. \u201cIt\u2019s rehearsing the costume changes just as much as what happens on stage.\u201d<\/p>\n

But it\u2019s live theater. Despite rehearsals, things can go awry.<\/p>\n

Staying calm, breathing, being in the moment are key.<\/p>\n

Rustic said those are yet more techniques that Katt Torres has perfected.<\/p>\n

\"Katt<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Katt Torres is pure magic, said Bishop Verot costume designer Heidi Rustic. ‘She manages to do things beautifully with such grace going from one costume to the next.’ <\/p>\n

\u201cKatt\u2019s really the magic,\u201d Rustic said. \u201cShe manages to do things beautifully with such grace going from one costume to the next.\u201d<\/p>\n

And when everything goes right, the audience is completely unaware of the choreography of costume change.<\/p>\n

\u201cThe Little Mermaid\u201d is at Bishop Verot High School March 19 to 22.<\/p>\n

\"Isa<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Isa Scala as Flounder leads the mersisters in underwater dance number in ‘She’s In Love’ during Act 1 of ‘The Little Mermaid.’ <\/p>\n

MORE INFORMATION:<\/p>\n

Costumes impact if and when a theater can produce a show<\/p>\n

Producing artistic directors and theater boards consider many factors when choosing the shows they will produce each season. Costuming is always near the top of the list, especially in a production that involves multiple costumes for dozens of actors such as \u201cThe Little Mermaid.\u201d<\/p>\n

\u201cI thought that \u2018The Little Mermaid\u2019 might be a really good show for my seniors this year,\u201d said Clark, \u201cbut I wasn\u2019t sure how I could get past the costuming pickle. Then it just so happened that Robin [Dawn Ryan] was doing \u2018Mermaid\u2019 at Fort Myers Theater. She had talked to me about some of her ideas for costumes, which actually started with a TikTok that Paper Mill Playhouse [in New Jersey] posted from their production of \u2018Little Mermaid\u2019 they did earlier last year. Robin and I had seen the same video and we were on the same page about how we\u2019d want our costumes to look if we decided to do the show.\u201d<\/p>\n

\"From<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

From the opening sailor scene to the wedding scene finale, Director Lisa Clark’s Bishop Verot theater students are constantly changing costumes. <\/p>\n

When Ryan and Fort Myers Theatre\u2019s Michelle Kuntze offered to loan their \u201cMermaid\u201d costumes to Bishop Verot, that sealed the deal.<\/p>\n

\"Without<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Without help from Fort Myers Theatre, it’s unlikely Lisa Clark could have found costumes for the 22 chefs who take part in the ‘Les Poissons’ number in ‘The Little Mermaid.’ <\/p>\n

\u201cIt would have been impossible to do \u2018The Little Mermaid\u2019 without Fort Myers Theatre\u2019s collaboration,\u201d Clark conceded. \u201cSomething like the \u2018Les Poissons\u2019 number where you’ve got, I think we have like 22 chefs on stage or something ridiculous like that. I don’t have 22 chef costumes in my shop. I have maybe three. Robin had 14. That meant I only had to buy a couple to fill in the gaps.\u201d<\/p>\n

\"'Les<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

‘Les Poissons’ is a comedic musical number in ‘The Little Mermaid’ that is performed by Chef Louis (Troy Gunnels) as he prepares a fish dinner while chasing Sebastian the crab. <\/p>\n

“Les Poissons” is a comedic musical number in \u201cThe Little Mermaid\u201d that is performed by Chef Louis as he prepares a fish dinner while chasing Sebastian the crab. The song is known for its French-inspired style and lyrics about cutting and cleaning fish.
Clark also cited \u201cKiss the Girl,\u201d which is a musical number midway through act two. In it, virtually every member of the cast appears as either a lily pad, frog or some other aquatic animal.<\/p>\n

\"'Kiss<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

‘Kiss the Girl’ is another number that requires a number of matching costumes. <\/p>\n

\u201cThat number requires a lot of matching costumes, where you need X number of the same exact costume. It would cost too much and take too much time to build all those costumes from scratch.\u201d<\/p>\n

While the costumes for Ariel, Prince Eric, Sebastian, Scuttle, Flounder, Ursula, Flotsam and Jetsam are one-offs, they\u2019re incredibly elaborate.<\/p>\n

\u201cSo, it really helped to have those already in place.\u201d<\/p>\n

Borrowing costumes from Fort Myers Theatre had another important benefit. It enabled Clark, Rustic and their costume team to begin fitting their cast members from the time they were chosen for their roles.<\/p>\n

\u201cSo, none of them have had to stress about whether something fits them because we fit them in November when they got cast into the costumes that Robin had given me and made them work,\u201d Clark said. \u201cSure, we’ve had to make a couple of little tweaks here and there, but honestly, it’s been so awesome to have that baseline.”<\/p>\n

\"Flounder<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Lisa Clark’s Bishop Verot High School theater students are being challenged by the sheer volume of quick costume changes required by ‘The Little Mermaid.’<\/p>\n

\u2018Little Mermaid\u2019 requires lots of quick costume changes<\/p>\n

Although Michelle Kuntze and Robin Dawn Ryan helped her solve the problem of sourcing the hundreds of costumes needed for \u201cThe Little Mermaid,\u201d Clark knew the production would challenge her high school actors by dint of the sheer volume of quick costume changes required by the show.<\/p>\n

Costume quick changes require teamwork, forethought, communication, and practice.<\/p>\n

The team consists of the director, costume designer, fabricators, actors and dressers. Like any team, success depends on attention to detail and practice.<\/p>\n

When costumes are layered smartly, actors are already halfway into their next look. When garments are quick-rigged, transitions happen (literally) in a flash. When multiple hands pitch in, the workload becomes manageable. And when everything is rehearsed and set up for success, the quick-change transforms from a daunting task to a choreographed routine.<\/p>\n

\"Kat<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Katt Torres and Noah Rodriguez perform as Ariel and her crabby chaperone Sebastian. <\/p>\n

Layering<\/p>\n

Layering is one of the most effective and common quick-change techniques. By stacking different costume pieces over one another, actors can remove or reveal new outfits easily. The average theater viewer would be shocked to discover just how many different costumes a single actor might be wearing at once.<\/p>\n

Some of the most iconic quick-changes rely on layering. Elle Woods\u2019 transformation in the opening number of \u201cLegally Blonde\u201d is a prime example. In that scene, the actor playing Elle removes a white outfit to reveal a \u201cnewly bought\u201d pink dress underneath in under three seconds. It would be physically impossible to pull off a costume change like that without layering.<\/p>\n

Of course, wearing multiple layers of clothing under bright stage lights can be hot. Veteran Fort Myers Theatre costume designer Fran Grogan has a simple solution to that vexing problem.<\/p>\n

\u201cIn some costumes, I put a little pocket so that the actor can put a cool pack in it,\u201d she said.<\/p>\n

\"Kat<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Katt Torres and Noah Rodriguez perform as Ariel and her crabby chaperone, Sebastian. <\/p>\n

Quick-Rigging Costumes<\/p>\n

If money were no object, every outfit subject to change would be constructed with that change in mind. In theater, that\u2019s referred to a \u201cquick rigging.\u201d The term refers to designing, altering or changing costumes specifically for speed. These solutions can range from simple fixes to complex construction techniques, depending on time, budget, and production needs.<\/p>\n

Where costumes are intended to be layered, they can be crafted with thin, lightweight material to reduce bulk and facilitate quick changes. A costume that needs to be removed quickly can be carefully engineered to redesign closures.<\/p>\n

Buttons are the nemesis for actors making a quick costume change, as are lace-up bodices, dresses and boots. Not only does it take time to unbutton and button a shirt or blouse, there always the chance that one side of the shirt will be longer than the other.
\u201cThat happened to me when I was in \u2018Footloose,\u201d Clark confessed.<\/p>\n

Simple quick rigging methods are usually applied after a garment has been constructed and includes measures like swapping buttons for Velcro, adding zippers, or replacing shoe buckles and laces with elastic. While these solutions cover the majority of changes, more advanced features may be needed for vintage dresses and suits \u2013 such as sewn-in petticoats or pull-away pieces that instantly alter the piece\u2019s appearance.<\/p>\n

\"Katt<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Katt Torres, Noah Rodriguez and Isa Scala ‘Under the Sea’ with the rest of the Bishop Verot cast for ‘The Little Mermaid.’ <\/p>\n

On Broadway, \u201cFrozen\u201d and \u201cCinderella\u201d are renowned for magical onstage transformations in front of audiences. Both rely on quick-rigged pieces that were designed specifically to create an impressive costume change moment.<\/p>\n

Quick-rigging works best when there is collaboration across the board. Directors, designers, actors, and crew must all be on the same page to pull off these transformations successfully.<\/p>\n

However, in community and high school theater, budgetary limitations may preclude creating original quick-rigged costumes. There may not even be enough money to source and design the costumes needed for a show.<\/p>\n

\u201cWith community theaters, there’s a limited amount of money for each production,\u201d observed Lauren Barnhardt Perry, an area costume designer, choreographer and actor. \u201cYou also have a challenge in being able to get the source material for costumes. The irony is the bigger the production, the more expensive it is for the rights. So you have that tension where if it’s a huge production that needs lots of costumes and pieces, you may have even less money because the theater paid so much money upfront to be able to produce it.\u201d<\/p>\n

\"Katt<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Katt Torres as Ariel laments the fact that her father, King Triton, does not understand her. <\/p>\n

Foundation Garments<\/p>\n

Foundation garments can make or break a quick change that might otherwise feel too intimate and uncomfortable.<\/p>\n

Every female actor is wise to invest in Spanx and a comfortable, flesh-colored bra or tank top. For men, briefs or boxer briefs are preferable to loose-fitting boxers, especially for period pieces.<\/p>\n

Clark has her own recommendations for each actor\u2019s base outfit.<\/p>\n

\u201cWhen I’m in a show, I’m wearing shorts, tights, and a tank top so that I can change wherever and whenever and not be worried about it,\u201d Clark said. \u201cSometimes actors are changing really quickly. Sometimes they can’t make it back to the dressing room. So everybody has to have a base outfit so that they don’t have to worry about someone seeing something they shouldn’t.”<\/p>\n

Then she added, thoughtfully, “And here, well, we\u2019re a Catholic school and my students are all underage. Teachers are walking around in the hallways so that base outfit is really important. They all have to have little shorts, the tank top and tights under all of their costumes and actually kind of helps with costume changes because you dance a lot, maybe you get a little sweaty, and it can be hard to pull things over your head.\u201d<\/p>\n

\"Bishop<\/p>\n

WGCU Arts Reporter Tom Hall<\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Bishop Verot borrowed Ursula’s tentacled costume from Fort Myers Theatre. <\/p>\n

Dressers<\/p>\n

In professional settings, theaters often employ dressers or designate a crew member who is specifically responsible for helping actors change in and out of complex costumes. Some dressers are assigned to a single performer, while others assist with multiple cast members throughout the show. It all depends on the individual production\u2019s needs. For example, it is impossible for many of the actors in \u201cThe Lion King\u201d to take off or put on their costumes without help.<\/p>\n

\u201cAriel has so many quick changes,\u201d Clark noted. \u201cShe has a span at the end of the show where she goes from her pink dress to her tail then to the purple gown and then to her wedding dress and that’s how she finishes the show. All four of those costume changes happen in about 11 minutes, so she has someone helping her specifically with her costume changes for this show.\u201d<\/p>\n

\"Even<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Even Samantha Careccia has to change out of her Ursula costume because she is also in the tap ensemble for ‘Positoovity.’ <\/p>\n

In some theaters, it\u2019s not a lack of funding that precludes hiring dressers. There\u2019s simply not enough room backstage for any additional bodies, especially if there\u2019s already a large number of actors in the cast. This is often the case for Fort Myers Theatre and The Laboratory Theater of Florida, where there is little more than a narrow hallway behind the stage that must also accommodate props and scenery for the next scene or two.<\/p>\n

In those instances, actors must rely on themselves or each other to speedily get in and out of costumes and change their makeup as well.<\/p>\n

\"The<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

The mermaid’s ‘Got Legs’ with Sebastian (Noah Rodriguez), Flounder (Isa Scala) , Scuttle (Alexa Careccia) and the Gulls on the beach. <\/p>\n

Dedicated dressing rooms and designated changing areas<\/p>\n

To complicate matters, many community and school theaters don\u2019t have the space for dedicated dressing rooms or changing areas or as is the case at Bishop Verot, these areas are too far removed from the stage to enable actors to make timely entrances.<\/p>\n

In these instances, a portable garment rack may be used to organize costumes and props. The rack may have upper and lower shelves and storage baskets that can hold props and accessories, making it a versatile solution. The rack can also provide a modicum of privacy. Whether or not racks are available, making sure that costumes and props are properly organized and accessible expedites the changing process.<\/p>\n

Another key component of a quick-change station is a place to quickly touch-up hair and makeup. This frequently includes both mirrors and lights that don\u2019t cast shadows.<\/p>\n

\"Alexa<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Alexa Careccia as Scuttle in a Lauren Barnhartd Perry creation loaned to Bishop Verot by Fort Myers Theatre<\/p>\n

Choreography
Perhaps the most important part of creating a successful quick change is preparation. Much like a director and choreographer would never put a dance number onstage without hours of rehearsal, quick costume changes must likewise be well planned and rehearsed. At most theaters, each costume change is mapped out ahead of time to promote speed and to create a level of comfort with the actor. Long before opening night, everyone involved in the change knows where to stand, in what order pieces are removed or added, and how each individual costume functions.<\/p>\n

Of course, costume changes can and do go awry. So the cast even rehearses how to ad lib or improv onstage to give an actor more time to complete a costume change that may require more than the allotted time.<\/p>\n

\"Flounder<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Flounder (Isa Scala), Ariel (Katt Torres), Scuttle (Alexa Careccia) and the Gulls on the beach. <\/p>\n

Costume changes don\u2019t happen in isolation<\/p>\n

It is important to note that costume changes don\u2019t happen in isolation. They are almost always accompanied by changes in makeup, accessories and props. Sometimes an actor may change hair style or remove or put on a wig. And set changes almost always happen at the same time as costume changes.<\/p>\n

\u201cWe have some beautiful, large pieces of scenery that the cast and crew have to move on and off the stage,\u201d noted Rustic. \u201cThey’re doing all these things in tandem, so it’s pretty amazing.\u201d<\/p>\n

\"Les<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Along with the script, costumes combine with set, lighting and music to tell the playwright\u2019s story. <\/p>\n

Costumes help tell the story<\/p>\n

Along with the script, costumes combine with set, lighting and music to tell the playwright\u2019s story.<\/p>\n

\u201cWhen the actors put on their costumes, they become that character and they tell me how special they feel in it,\u201d said Grogan. \u201cThat\u2019s true whether the actor wears the same costume throughout the show or changes costumes and characters several times. When the costumes help them get into character, it’s all worth it.\u201d<\/p>\n

\"Katt<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Katt Torres as Ariel sports her shimmering pink dinner dress in ‘The Little Mermaid.’<\/p>\n

The Cast<\/p>\n

Ariel – Katt Torres
Prince Eric – Braden Heckman
King Triton – Bobby Nolan
Sebastian – Noah Rodriguez
Scuttle – Alexa Careccia
Flounder – Isa Scala
Ursula – Samantha Careccia
Flotsam – Gianna Velez
Jetsam – Bella Eggers
Grimsby – Jacob Kurian
Chef Louis – Troy Gunnels
Aquata – Emma Giordano
Andrina – Sephora Esperance
Arista – Madilynn Pease
Atina – Brooklynn Varnell
Adella – Kareena Kurian
Allana – Giovanna Muro
Pilot – Liam Coyle
Windward – Sabrina Kosmala
Leeward – Nora Drake
Maid 1 – Sabrina Kosmala
Maid 2 – Nora Drake
Maid 3 – Addyson Greenwell
Maid 4 – Elee Durko<\/p>\n

\"Braden<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Braden Heckman and Katt Torres practice lift during dance number between Prince Eric and Ariel at his palace. <\/p>\n

Ensemble: Liam Coyle, Teagan Clark, Nora Drake, Elee Durko, Analeise Grant, Addyson Greenwell, Taylor Hoffman, Sabrina Kosmala, Mia Rieman, Sophia Sill, Giana Geary, Leydi Manahan, Ainsley Judd, Hailee Specht, Leilani Reddy, Sadie Greene and Bella Vest.<\/p>\n

\"Braden<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

Braden Heckman and Katt Torres during ‘If I Only’ quartet in ‘The Little Mermaid.’ <\/p>\n

Positoovity Tap Ensemble: Isa Scala (as Flounder), Alexa Careccia (as Scuttle), Sephora Esperance, Leydi Manahan, Teagan Clark, Kareena Kurian, Nora Drake, Gianna Velez, Samantha Careccia and Emma Giordano.<\/p>\n

\"The<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

\/<\/p>\n

WGCU Arts Reporter Tom Hall <\/p>\n

The wedding scene from ‘The Little Mermaid’ shows a range of additional costumes required for the production. <\/p>\n

Support for WGCU\u2019s arts & culture reporting comes from the Estate of Myra Janco Daniels, the Charles M. and Joan R. Taylor Foundation, and Naomi Bloom in loving memory of her husband, Ron Wallace.<\/p>\n","protected":false},"excerpt":{"rendered":"Watching an actor walk offstage and immediately reappear in a completely different outfit is one of the most…\n","protected":false},"author":2,"featured_media":189343,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[209,211,210],"class_list":["post-189342","post","type-post","status-publish","format-standard","has-post-thumbnail","category-cape-coral","tag-cape-coral","tag-cape-coral-headlines","tag-cape-coral-news"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/posts\/189342","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/comments?post=189342"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/posts\/189342\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/media\/189343"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/media?parent=189342"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/categories?post=189342"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-fl\/wp-json\/wp\/v2\/tags?post=189342"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}