For the past 38 years, Barbara Tucker Parker’s costumes have lit up the stage for performances produced by the American University Department of Performing Arts (DPA). After designing and creating costumes for thousands of performances with her signature energy and enthusiasm, she retired this spring. “It’s been a lot of hard work, and a lot of fun,” she says.  

Tucker Parker graduated from Cedar Crest College with a BA in drama and from George Washington University with an MFA in set and costume design. “When I started designing costumes, I was just looking to stay involved in theater and needed a full-time job," she says. After working at the Shakespeare Theatre at Folger Library for several years, she started at AU full-time in 1985. Since then, she has continued to work across the region’s theaters, including at the Kennedy Center, Studio Theatre, the University of Maryland, and George Washington University. 

In the ‘80s, DPA offices and classrooms were scattered across campus, and productions were held in a converted lecture hall. Tucker Parker’s costume shop was in a “cottage,” on the site of the current Hall of Science, with a double-wide trailer behind it for storage. When she arrived on campus for her first day, the shop didn't even have sewing machines. “I pulled the costume shop together from nothing, which was kind of fun,” says Tucker Parker. “But there were a lot of struggles back then. Our costume budgets were tiny, and we were doing big shows, plus our actors performed in traveling shows and competitions. I spent a lot of time at thrift stores, and I saved everything—to repurpose and economize.” Tucker Parker’s dedication was noted by the AU community—she received the 1992 University Staff Award for Outstanding Service.  

Barbara Tucker Parker. Photo: Chris Zimmer for American Weekly, March 27, 2001.

Moving to Greenberg  

In 2003, a gift from Harold and Sylvia Greenberg gave the Department of Performing Arts its first dedicated space and fully operational 300-seat theater. At the Greenberg Theatre, which celebrates its 20th anniversary this year, Tucker Parker finally had her own fully outfitted, on-site costume shop in the basement, giving her easier access to colleagues and student performers.  

Additional funding allowed Tucker Parker to hire part-time help and more students to work in the shop. “I’ve worked with many students who don’t sew, so we’re starting from scratch. You’re teaching them things—going from never using a sewing machine to creating something new.” Tucker Parker’s commitment to teaching has had a tremendous impact on students over the years—and one of her graduate assistants went on to work full-time in costuming at the Washington Opera. 

Stitching Stories 

Theatre costumes play an essential role in storytelling. Tucker Parker begins the costume design process by reading the play’s script and meeting with directors, who present their ideas and how they want their actors to appear. "Then, we look at our actors and figure out how that vision works in fabric,” says Tucker Parker. She then sorted through thousands of costumes in stock to see what could be repurposed and then decided what to buy and what to make from scratch. After mocking up the costumes, fittings with the student performers continued up to the last minute. In the critical days before performances, Tucker Parker spent many long days and nights in the costume shop. “The hours can be long, but it’s what I want to do and where I want to be. Everyone is working just as hard as everybody else.”  

Much has changed over the past 38 years. “We can now use technology to help with design planning, and we’re doing more modern shows, so we can use services like Amazon more. Our period shows still require a lot of hands-on work,” says Tucker Parker. And during the pandemic, productions were held fully on Zoom. “We collected students’ measurements and created their costumes." Other staff added microphones, cameras, and props, and then mailed a package to each student ahead of the performance. “It was challenging, but something different,” she says.  

A Lasting Legacy 

Reflecting on years past, Tucker Parker recalls that her favorite production was AU’s 1993 production of Rags, a musical about the immigrant experience in the 1900s. “It was a large cast in all period costumes—a lot of work but so much fun.” Tucker Parker’s young daughter, Alyson, also appeared on stage as an immigrant child. 

Tucker Parker will be missed by her colleagues at Greenberg Theatre and across the DPA. “Barbara was a joy to work with. Energetic, enthusiastic, always friendly, and ready to help out,” says Greg Anderson, facilities manager and production manager at Greenberg Theatre. “The slow build-up of the costume shop over the years with an occasional purchase, a donation accepted, and excellent thrifting skills was impressive to see. She was an institution, and we will miss her.” 

While enjoying her retirement, Tucker Parker will be back at Greenberg this year to assist part-time with upcoming shows. “Every day you do something you’ve never done before. Every day is magical,” she says.