The Macabre Threads: 5 Secrets Behind Sarah Laux's 'Dead Outlaw' Costumes That Chart A Century Of Death
Contents
Sarah Laux: Biography and Theatrical Design Profile
Sarah Laux is an Obie-winning, freelance costume designer based in New York City, where she has been a prominent figure in the theatrical design world since 1999. Known for her ability to create designs that are both deeply rooted in character and visually striking, Laux’s career encompasses a diverse range of work across theater, film, television, and dance. | Category | Detail | | :--- | :--- | | Full Name | Sarah Laux | | Profession | Costume Designer (Theater, Film, TV, Dance) | | Base | New York City, NY | | Career Start (NYC) | 1999 | | Key Awards | Obie Award Winner, Drama Desk Award Nominee (2023) | | Notable Broadway Credits | *The Band’s Visit*, *The Humans*, *Fully Committed*, *Prayer for the French Republic* | | Notable Off-Broadway Credits | *Dead Outlaw*, *Wish You Were Here*, *John Proctor is the Villain* | | Notable Film Credit | *Freakshow* (Feature Film) | | Current Project Focus (2025) | *Dead Outlaw* (Costume Design) | Laux’s established reputation for period authenticity and subtle character work made her the ideal choice for *Dead Outlaw*, a musical with a book by Itamar Moses and music and lyrics by David Yazbek and Erik Della Penna. Her previous work on critically acclaimed, character-driven shows like *The Humans* and the Tony-winning *The Band’s Visit* showcased her mastery of contemporary and nuanced period wardrobes, skills perfectly leveraged for the unique challenge of Elmer McCurdy’s story.The Design Philosophy: From Bumbling Bandit to Macabre Mummy
The core challenge of designing the *Dead Outlaw* costumes was reconciling the show’s gritty, historical setting—the early 1900s American West—with the fantastical and morbid nature of the narrative. The musical tells the true story of Elmer McCurdy, a notoriously unsuccessful outlaw whose body, preserved by embalming, became a traveling sideshow attraction for decades, only to be rediscovered in a California amusement park in 1976. The creative team opted for a "live documentary" feel, which meant Laux’s costumes had to be grounded in reality but flexible enough to serve a small ensemble cast that plays multiple roles across different time periods. Her designs are praised for being "incredibly fine" and succeeding in "individualizing each" performer, a crucial feat when a limited number of actors must portray dozens of historical figures, from fellow outlaws and sheriffs to carnival barkers and museum curators.5 Key Elements of the Dead Outlaw Costume Design
Sarah Laux’s work on *Dead Outlaw* is not just about dressing actors; it’s about using fabric and form to define the show's atmosphere and timeline. The following elements highlight the depth of her design choices:1. The "Spot-On Period" Western Attire
The initial costumes for the outlaws, including Elmer McCurdy, are classic, "spot-on period" Western attire, immediately placing the audience in the Oklahoma territory of the early 1900s. This includes rugged denim, worn leather vests, wide-brimmed hats, and bandanas, all suggesting a life of dust, travel, and hard living. The color palette likely leans heavily on earth tones—browns, grays, and deep blues—to reflect the grime and lack of resources of the era.2. Charting the Passage of Time
One of the most complex aspects of the show is the century-long journey of McCurdy’s body. Laux’s costumes "lightly touch on several eras" to help the audience "chart the passage of time." As the ensemble shifts from playing 1911 outlaws to 1920s carnival owners, 1930s sideshow patrons, or 1970s amusement park staff, the costume changes—even subtle ones—are essential visual cues. This is achieved through accessories, updated silhouettes (like flapper-era dresses or 70s leisure suits for quick changes), and different degrees of wear and tear.3. The Macabre Transformation of Elmer McCurdy
The central design challenge is the titular character’s transformation *after* death. The costume for the actor playing McCurdy’s corpse must visually represent the embalmed body that was displayed for decades. This is less a costume and more a piece of morbid historical sculpture. The garment has to look aged, desiccated, and chemically preserved, visually communicating the character's descent from a live man to a traveling curiosity. This visual distinction is crucial for the show’s darkly humorous and macabre tone.4. The Role of the Ensemble's Uniformity and Individuality
With a small cast, the ensemble must be highly adaptable. Laux’s designs are noted for "individualizing" each character, meaning that while the actors share a base of Western wear, each has distinct elements—a personalized scarf, a unique vest pattern, or a specific hat crease—that help them establish distinct personalities, whether they are a fellow outlaw, a sheriff, or a member of the public paying 25 cents to see the corpse.5. Visual Inspiration for the Creative Team
The impact of Laux's design was so significant that it served as a creative anchor for the entire production. Lighting designer Heather Gilbert mentioned being "visually inspired by Sarah Laux" in her own work, which speaks volumes about the power of the costume aesthetic. The visual language of the costumes—the textures, the colors, and the period authenticity—directly influenced how the stage was lit and how the entire show was visually framed, cementing the production's cohesive, award-winning look.Topical Authority and Legacy
Sarah Laux’s work on *Dead Outlaw* solidifies her status as one of Broadway's most versatile and insightful costume designers. The show, which enjoyed a successful run at the Longacre Theatre, is a testament to the power of design to elevate a bizarre historical footnote into a compelling theatrical narrative. By focusing on "dead-on costumes" that perfectly define the characters and their era, Laux provided the visual backbone for a musical that critics called a "thrillingly macabre" success. Her ability to blend the historical accuracy of the early 1900s with the evolving aesthetics of the 20th century, all while maintaining a consistent, gritty, and Western-flavored visual identity, is a hallmark of her design philosophy. The costumes for *Dead Outlaw* are not merely clothes; they are an essential part of the storytelling, helping the audience track the bizarre, decade-spanning afterlife of Elmer McCurdy, the most famous "Dead Outlaw" in American history. The success of this production ensures that Laux's designs will be studied as a prime example of how period costumes can serve a complex, non-linear narrative in contemporary musical theater.Detail Author:
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