We spoke with Fancy Dancer costume designer Mary Kelsay (MEKA) about how she got into theatrical costuming, her inspiration and approach for the garments designed for the show, and much more.

^{Mary Kelsay (MEKA)}

Seattle Rep: Seattleites may know you best as a prolific local fashion designer. What was your journey to stepping into the role of costume designer for Fancy Dancer?

Mary Kelsay (MEKA): A few years back, I got to costume [Fancy Dancer playwright Larissa FastHorse's] The Thanksgiving Play for a small theater in Tacoma. This really warmed me up to the idea of pursuing costuming. But it’s quite competitive in theater, even with my extensive experience as a garment maker. I suppose I can say I manifested working with Larissa one day.

Late fall 2024, I connected with some cast members of Larissa’s [new adaptation of] Peter Pan. I got to enjoy the show and take a tour of the set. I got to spend some time with one of her colleagues, sharing a bit of who I am as a designer. I really became a fan of theater after watching this amazing, reimagined story. Earlier this year, I was asked to costume Fancy Dancer. This was a big "pinch me," full-circle moment.

SR: What research went into or informed your costume design? Do you have any specific references that stood out to you as primary inspiration?

MK: Since this is a play with a lot of movement, I wanted to select fabrics that allowed for this. Athleisure has really exploded in the past several years, so finding pieces that didn’t look too casual was important. Also, our actors are two different bodies, so I needed to select a look that would work well on both bodies without looking different.

The fancy shawl is inspired by Lara’s role as the Sugar Plum Fairy, which was a tipping point on her path of dance. The red feather honors Lara's mentor and friend Greg, who uplifted and encouraged her to not give up.

^{Lara's fancy shawl, designed by Mary Kelsay.}

SR: As you mentioned, you designed a gorgeous fancy shawl for the character of Lara in Fancy Dancer. When building pieces like this, how do you balance honoring authentic Lakota heritage with creating costumes that serve the needs of a theater production?

MK: I was nervous about designing the fancy shawl since I am not from a tribe that has fancy shawl culture. I don’t have any experience with making fancy shawls. However, I was inspired and supported by several friends who are fancy dancers. Together with the amazing team at Seattle Rep, we took the time to really make this shawl the right way without appropriating Lakota culture. It was something that truly needed to look authentic.

When you are creating regalia, it is important to create with intention and purpose. This is something I actually do in all the pieces that I make. Lara’s story was so inspiring, and this led me to the colors and design you'll see in the final shawl on stage. All materials and a very helpful “how to” fancy shawl book were purchased from a Native-owned business.

SR: How do you approach costume design for a show that so heavily features dance and movement?

MK: We had several fittings with different styles and types of fabrics. Our actors would jump and dance and bend so that we could see how each garment would hang. If they had to keep adjusting their top, it wasn’t for the show. I think we probably tried 20 different tops and pants before we found the right look. It’s important for the designer to also have extensive fabric and textile knowledge when costuming.

^{Tailor/Draper Christina Hobbs carefully melts the ends of the polyester ribbons of the fancy shawl to seal them, ensuring the seamless movement we see on stage.} 

SR: When you were a kid, what did you want to be when you grew up? Were you always drawn to fashion?

MK: When I was a kid I wanted to be a teacher, then for a long time, I wanted to be a lawyer. Then when I was an adult I actually considered medical school, but went to design school instead. I have always been drawn to design. I hand-sewed purses when I was a kid. As I got older, I really loved the idea of going to design school, so I did. I will always live my life in fashion.

SR: What advice would you give to a young person looking to get into costume or fashion design?

MK: Getting into fashion or costuming is not easy. It takes years of dedication and hard work, and you are rarely successful overnight. I have been in fashion for 25 years now and have experienced all aspects of fashion. I am still continuously learning and pushing myself to learn more. Theater has been an amazing experience to add to my resume and I hope to continue to work in theater and film.

SR: What do you hope audiences take away from Fancy Dancer? Is there anything else you want audiences to know?

MK: Fancy Dancer is a very personal story, but it’s also very relatable. At its heart, it’s about identity, resilience, and the courage it takes to be seen; truly seen for who you are. I hope audiences walk away feeling more connected to themselves and others, and perhaps more open to stories that reflect experiences outside their own.

If it resonates with even one person, if someone feels understood, empowered, or inspired—then it’s done its job. I just want people to know that stories like this matter and deserve to be told.

^{A close-up of the fabric strands that border the edge of Lara's fancy shawl.}

See Mary's work on stage in Larissa FastHorse's Fancy Dancer, on stage Sept. 18–Nov. 2, 2025 at Seattle Rep.

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Want to go behind the scenes and learn more about how Mary's fancy shawl design came to life? Hear from Tailor/Draper Christina Hobbs in this video on Seattle Rep's YouTube channel.

_{Fancy shawl creation photos by Sayed Alamy.}