Matt Tamnini (6:48)

Well, Clint, first off, congratulations on the Tony nomination, your seventh overall. What is getting this honor mean for you for such an interesting, unique little gem of a show like maybe Happy Ending?

Clint Ramos (7:03)

Thanks. I think maybe Happy Ending is such a, you know, such a special gem, as you said, and a lot of the collaborators have worked on it in a long, long time, for a long, long time, starting maybe in 2018 or 2019. I think it's a testament to the show and the power of that show, you know, and it is also a testament to the work that the creators have done, you know, because I feel like, I think when you look at maybe Happy Ending, you really look at the design, you know, you sort of look at it as one organism rather than separate disciplines or in your departments, you know, And I think that's a testament to how we've all worked very hard to make it really cohesive and feel like we're finishing each other's sentences. And in terms of it, just like, you know, on a personal level, I feel very proud and feel very kind of really, really grateful and fortunate to have had this nomin on a show that originated in Asia during API month. I think it's all, like, a confluence of really good things happening.

Matt Tamnini (8:23)

You mentioned the fact that this show, because you all worked together on it for quite a while, that it does feel seamless from one element to another. This is the only show this season in which everybody on the creative team is nominated. So I'm interested, like, how does that collaboration work? When you sit down to start sketching costumes, is that done directly, like, in physical collaboration with Dane Laffrey, with Michael Arden? How do you bounce ideas off each other to make sure that everything is working in harmony?

Clint Ramos (8:56)

First of all, I think it begins with really, this permission to not stay in our lanes, right? Like, we all kind of, like, give each other that permission, like this. This. This sort of, like, rapport, this idea that. That, you know, that we will be in each other's business. But, you know, the. As far as the costumes are concerned, it really is like a lot of conversations and a lot of texts, you know, back and forth and, you know, being privy to those kind of, like, sudden bursts of instincts, you know, like, Michael would text something that he saw on Instagram, or me asking, like, Dane questions about, like, you know, how sentient do we think these robots are? You know, like, that kind of, like, thing, you know, Because I feel like, you know, particularly with Dane's work, you know, as he's designing the scenery and I'm designing the costumes, and when we interface, we have to create this culture. We have to. On stage, we have to create this world, right, where, you know, they get plugged in and. And it's, you know, that these are, in fact, electronic objects, you know, and so a lot of that really is, you know, it begins with that kind of freedom to communicate with each other and. And. And really, you know, just like, absolute openness to hear each other out in terms of, like, what we think, what our point of view is. And to be honest, also, the. The. The authors and the, you know, Will and Hugh had a big input in. In this. In the conception of the design, really, because, like, it's their work, you know, so in many ways, it really came from their brains, you know, And a lot of times you're just really, you know, I'm interpreting what that means, you know, but also really thinking about what the emotional impact is of, you know, of the costumes when an audience sees it, you know, what this means for the actors when they're asking me questions about character, all of that kind of stuff, you know.

Matt Tamnini (11:00)

Well, I have a question that maybe somebody has asked you before in those Conversations. Maybe not. But what is the color of Oliver's pants? Because that is such an electric blue that I'm not sure I could put my finger on it in terms of what the actual color is.

Clint Ramos (11:16)

It's actually, I think it's, I don't even know if there's a name for it, but it's a, it's, it's, it's, it's a, it's a green and blue. It's, it's, it's a turquoise, you know, or aqua, you know, but it's ubiquitous to like, It's a sort of like a, a popular color that was, you know, really present in clothing and furniture and design during the mid 20th century. And a lot of the, you know, a lot of the, A lot of the design is influenced by that. You know, although we are set in the future, you know, the fact that we're catapulted into the story by this kind of, you know, mid century crooner sort of gave us a clue on what we could anchor the design on. But it is, it is, you know, it is like a version of turquoise or aqua and it's. And I just really wanted it to be hotter, you know, like really hot. So it always appeared new, you know, it always appeared like, oh, it's some sort of like constructed fabric that, you know, that is, you know, that somehow doesn't age. You know what I mean? And I wanted to be able to track him throughout the stage. You know, there's so much design is very complex and very layered and, you know, with the video, the lighting and the scenery, you know, I wanted to be able, I wanted the audience to be able to really track those two characters as they move around, you know, and color was really important to that, you know.

Matt Tamnini (12:50)

Yeah, well, with everything going on with maybe happy ending, that is going to culminate with the Tony Awards on June 8. But immediately after that, like three days after that, we have the start of the Lincoln Center Summer in the City series, which I know you are already working on, but for folks that maybe either don't live in New York or.

Unknown Host (13:16)

New to New York or never heard of this series.

Matt Tamnini (13:18)

What is the Summer in the City series and what is your job as the visual director that you have been doing now for a number of seasons?

Clint Ramos (13:28)

Oh, my God. Thank you. Well, Summer for the City is summer festival that Lincoln center puts up. And it is a gift to everybody, to all New Yorkers and to the folks who visit New York. Right. It is a festival that runs throughout the summer and it is a festival that features between 200 to 300 programs across dance, social dance, music, varying genres of music, musical theater, everything. And everything is for in all venues at Lincoln Center. So it is for free or we offer pay what you choose. And it's essentially a celebration. You know, it started coming out of the pandemic, really working off of, you know, Midsummer Night Swing, the festival that we had a while ago at Lincoln Center. And it's really just an offshoot of that, like how can we make social dance and people come together through dance and then expand. And over the years it has expanded to multi pronged programming for the family. We have a lot of family programming. There's like, you know, during the day we do like readings in the garden, you know, and it's open to all toddlers and everybody. And in the weekends we have a lot of family programming. So, yeah, no, I invite everybody to visit, check out Lincoln Center's website and sign up for those programs because, you know, they fill up very quickly.

Matt Tamnini (15:07)

So with hundreds, 200, 300 different events going on over the summer, how does the job of the visual director impact that? Is it just the overall vibe or are you working with like, each of those?

Unknown Host (15:21)

Because that's a.

Matt Tamnini (15:21)

That's a lot of events for somebody to work on.

Clint Ramos (15:23)

Yeah, yeah, yeah, yeah. So my job really started as, you know, sort of creating the space for the. For the festival, really across venues. Right. So we have the plaza where the fountain is, and we transform that into this big dance floor. Right. And that would hold all of the social dances, salsa, swing, all of it. Right. And concerts as well. So I designed, you know, I designed that we put a giant mirror ball on top of the fountain in the summer. And then we also do Dam Rush park, which is the big amphitheater outside. And that's where we hold 2,000 people for concerts. Like international and global talents come, you know, like Frankie Ocean came. And you know, the programming is really diverse and really. And it really features all of these global and American artists. You know, I also designed the Garden, which is our quiet space. It's for storytelling for kids and also parties at night. But we also have smaller, like music programming there, like smaller orchestras. And then, you know, we also. I basically designed the whole campus, right, like, and making sure that we. That the wayfinding is, is appropriate and effective and also making sure that everybody feels like they are in a festive atmosphere. It is very joyful and inviting. And one of the things that Lincoln center is pushing really is to create more and more Access to folks and making Lincoln center their own really. And it's not just this kind of hallowed institution where the opera is and all of that. It is also so many other things, you know, and we. What I really enjoy about being the, you know, the, the, the visual designer for the festival, but also now I've been appointed as the artist in residence at Lincoln Center. All of these disciplines kind of like really cross pollinate. And in many ways what I love about the, the work that I do in the summer is that I create these spaces for collisions. Right. So you, you could have these performances or programming happening on while folks who are going to the opera are arriving, you know, or coming out of the opera. So for folks who have seen like, I don't know, like, you know, Tosca coming out into people dancing salsa is like, I don't know. That feels so New York to me. And it feels like, oh my God, everybody's just living as one kind of community, regardless of what kind of programming or art you like, you know.

Matt Tamnini (18:09)

Yeah, I want to get back to that confluence of different styles. But one of the prongs of your responsibilities as an artist in residence at Lincoln center is to work with a, with Create a Thon events for young designers, which seems so cool. And everything that I know about you and everything that you do, like, the opportunity to work with not only the next generation of designers, but also introduce design to people seems very at the heart of a lot of the work that you do. So tell us about what those events are going to be and what people who are interested in design but might not really know what it really entails are going to be able to experience through those events.

Clint Ramos (18:49)

Thank you so much for mentioning that. That is really like, you know, so like, that's the, you know, at the heart of my residency is really like, you know, when we think about access and we think about service to, to all New Yorkers, you know, I think number one, we do create a thon. We just finished one where we built a boat. And it's really geared towards kind of like the younger generation and looking at creativity as an avenue for thinking, really thinking about everything. Right. Like, I think in many ways it's. I feel like it's really important for the, you know, for young folks to really look at creativity not as a siloed thing, like, oh, you know, that person is creative, so they're going to go into the arts or whatever it is. You know what I mean? Like, I think there's a way to really think about creativity As a way of living and a way of thinking. Right. So the last creative fun we did, we built a boat, you know, and I asked a lot of the young, I asked a lot of the young folks to say, to think about what does boat making mean? What does, you know, sailing mean? What does a journey mean to you? Right? And why do people need to journey? So in many ways it's really, it's just beyond. It goes beyond just building the boat, but like thinking about how creating something makes you think about being a human being. Right. And then also we have springboard to design, which is a more sort of formalized one week intensive of master classes with all the grades of the American, American theater design, you know, coming together to, to basically teach a group of high school students, showing them that a path or, you know, a life in the, in the theater, in theater design is actually really viable. Right. And that there are many avenues. You don't have to go to grad school to be a theater designer. Right. I think all of us go into the theater as performers. That's how we enter it. Right. Or most of us at least, right. In high school. But I think it's reality that not all of us make it as performers or not all of us are just like built for it. Right. But then there is design, right? There is this sort of like, there is this area wherein you can still be part of the theater community, still be part of creating something, but just not being on stage, you know, so we' that in July and that's a one week intensive. They have classes during the day which we're doing at the, at the brand new Harvey Fierstein Studios that was, that was built in the New York Public Library for the Performing Arts that's being housed at Lincoln Center. And during the day they have classes there and then at night they see all of these Broadway shows, off Broadway shows, and they're going to be in the middle of the festival. So it's chock full and it's really, you know, we're very excited for it.

Matt Tamnini (21:43)

It.

Clint Ramos (21:44)

This is our fifth year doing it in collaboration with Design Action.

Matt Tamnini (21:48)

Yeah, that's incredible. And you were talking about the boat making and the thing that I loved about the video that you guys put out about it was is that you had two elements. One where people could kind of decorate an existing boat, which, you know, kind.

Unknown Host (22:02)

Of leans into more of the artistic, the creative side.

Matt Tamnini (22:04)

But then you had one who's actually.

Unknown Host (22:05)

Built a boat boat where it shows.

Matt Tamnini (22:07)

That like there's a whole other side to that creativity that is, you know, not to borrow the term, but, like, it's constructive. It builds something. I thought that was really brilliant. That showed all sides of what designers and creatives do, not only in theater, but just in the world in general. One of the things that you're doing with your artist in residency is working with the opera right there on Lincoln Center's campus. And I'm interested from a costume design perspective.

Unknown Host (22:36)

Is designing for the theater different than designing for the opera?

Clint Ramos (22:39)

Opera, it's not. I mean, it's a question of. It's the question of scale, really, you know, but. But the process to me is the same. I don't know, maybe other designers do it differently, but it's really about telling a story, you know, it's the same thing. And. And yes, the scale is bigger, you know, in many ways, because it is a much bigger house, you know, And. And. And there are limitations. Not limitations, but there are specific needs for. For opera singers, you know, at least as far as costume design is concerned, you know, but ultimately, it really is. It boils down to character, it boils down to story, and it boils down to what the theatrical event is, you know, and in many ways, I follow that same process. You know, it's like close collaboration with all of the creatives and the singers or the actors, you know, and making sure that everything kind of really follows, you know, that the most effective creative process there is. The only difference, I would say, with opera is that you don't have a lot of time to tech it as you would with a musical. Like a Broadway musical, Right? Like a Broadway musical, you tech for maybe a week or two weeks, and then you preview for weeks on end. Right? But with opera, you do sort of like separate technical rehearsals where you. Where you do all of the technical stuff for the scenery, projections, or whatever effects there are, Right? And then. And then for a few days, you introduce the singers, you know, because it is music forward in many ways, you know, and that's really about them being able to do the thing that they do, you know, with the full orchestra. So in many ways, you know, that kind of, like, compartmentalized thing is very specific to opera, you know, in terms of schedule, but in terms of, like, preparing for it and everything, it really is the same. We do the same amount of fittings, we need the same amount of support, you know, and designers go through the same process. Really.

Matt Tamnini (24:46)

One of the things that you mentioned is that there are specific requirements that opera singers need, and that's not something that I would have ever thought about. Because sometimes you do hear about costumes on Broadway. Thinking of the original Elphaba costume, which they have kind of since moved on for, that was hard to sing in. Is it different in the style of singing that people do in opera that you have to consider differently than maybe you would for a more modern style of singing like you would have in maybe Happy ending?

Clint Ramos (25:12)

Yes, because opera singers are not mic'd. Right? And so.

Matt Tamnini (25:16)

Yeah, that's true.

Clint Ramos (25:17)

That's one thing, you know, and also because the opera really is. You know, this is really an interesting question because I think different designers do different things, right? But like, I think in close collaboration with, you know, with the director and the opera singer, right? It's really figuring out what the best costume would be. You know, clearly a lot of it is like we have to stay clear of the, of the neck area for most of them. Most of them are okay with like something really close to the neck. And you know, and also really the amount like I'm doing Tristan and Isolde, I think that's the, that's the opera that you were at the Metropolitan that you're. You're referring to. And that's almost like a four hour opera, right? So in many ways it is virtuosic. It's like an Olympic act to sing those two parts, Tristan and Isolde, Right. So I had to really make sure that these singers are not only comfortable that they actually can do their job and also create the spectacle that we need. Right. So in a lot of ways, I have to put the music first, their needs first, right. And make sure that everything, materials, everything, the weight of the costume, everything is okay with them. And then we look at. Then how do we marry those needs with the vision of the director. Some opera singers, you know, they're like, put me in whatever. You know, some opera singers are very specific about their needs. And those are real needs. Those are, you know, those are needs in order for them to do what they need to do. It's literally I look at them also as instruments, you know, they're like these really finely tuned musical instruments, you know, as you would with like a Stradivarius, you know, you don't. So it's. It, you know, you kind of need to wrap that in a very specific, you know, those instruments in a very specific garment.

Matt Tamnini (27:14)

Yeah, yeah, no, I understand. Absolutely.

Unknown Host (27:16)

Well, I want to ask about one.

Matt Tamnini (27:18)

More project you are working on before I wrap it up with maybe Happy ending. But this summer you are going to Manila to do a production of into the woods with. With obviously some great Filipino talent and obviously some names that are known here in the United States. Lea Salonga, Ariel Jacobs are uniting again after working together. And maybe happy ending or not maybe happy ending in here lies love. And they're gonna go over and do it as the witch and Cinderella, respectively. From what I understand, that entire run of the show is completely sold out already. Such a joyous opportunity to do that show with these stars in Manila. Everybody's excited about it. What does that mean to you to be able to work on this production back in the Philippines?

Clint Ramos (28:03)

Oh, my gosh, Matt, you know, this is like. It is, it is a dream come true. It had always been my sort of like dream to start a theater company in Manila who's where the main mission really is to bring the global diaspora together doing world class theater. Right? And this is our second year and yes, we did sell out in two. And so it means so much. It also means a lot to be able to actually bring a lot of folks home. You know, Ariel, who is Filipino, has never been to the Philippines, right. And so in many ways we're looking at, you know, art making or theater making that is meaningful, right. To the artists. But also I'm really excited about not only the collision, but the electricity and the learnings, you know, these artists who are coming from different parts of the globe and assembling in Manila can teach each other, you know, and can learn from each other. We also have Joaquin Valdez from the West End coming home to do the Prince. So it's. It's a dream come true, you know, it is, it is a dream come true. And in many ways, for me, as an artist and as a producer, it feels, it makes me feel complete, you know, that I'm not compartmentalizing. You know, I was born and raised in the Philippines, you know, I'm not compartmentalizing part of my life with another part of my life. It feels very organic and it feels very. I'm just really, really grateful that everybody's, you know, everybody is on board with this mission. And, you know, I don't know, like, Leah is such a supporter. She's also a member of our board. And Arielle, you know, is so beloved in the Broadway community. And I can't wait for the Philippines to hear her sing and to see her on stage, you know, because that's also part of it, right? Like being halfway, literally halfway around the world. You know, a lot of Filipinos don't get the. The chance to see a lot of their folks on Broadway or in the West End, you know.

Matt Tamnini (30:22)

Yeah. That's incredible. And that's. I can't wait. I'm sure we will see videos from it and everything.

Clint Ramos (30:27)

Oh, don't. Don't you worry.

Matt Tamnini (30:30)

Well, I'll wrap it up with one more question about maybe happy ending. And I'm interested because this was such an integrated process where everybody worked together. You can say something of yours or something that's involved with the costumes if you want. But I'm wondering, like, what is the moment in the show or what is the one element of the show that you think is quintessential to what maybe happy ending is about? Whether that's from a story standpoint, whether that's from a visual standpoint. When you think of. Of maybe happy ending, what's the thing that most comes to mind for you?

Clint Ramos (31:06)

Oh, my God. That is, like, a hard question, because there are many moments. Really, there are many moments, but to me, there's two that stand out. So I'm gonna cheat and give you two. One is when he reveals.

Matt Tamnini (31:18)

Yeah, yeah.

Clint Ramos (31:19)

One is when he reveals to the audience in the end that he didn't reset. You know, when he. When he tells the plant. I know. God, I hope this is not a spoiler alert.

Matt Tamnini (31:31)

Spoiler alert.

Unknown Host (31:32)

Spoiler alert.

Matt Tamnini (31:33)

I'll warn people.

Unknown Host (31:34)

I'll warn people.

Clint Ramos (31:35)

Yeah, yeah, yeah, yeah. I mean, that's just, to me, like, classic. We know. We've seen that, you know, that move before, but it always gets me. It just. It always, always gets me. And the other one is when they finally connect, like, not only, you know, you see these. I think that's sort of, like, what's quintessential about maybe. Maybe happy ending. And to me, what's also very culturally specific about it, right? And a lot of. A lot of people, like, you know, note this, that in many ways, you can see the musical as these two characters really holding back, you know, holding back so much that even that when they finally decide to touch it, is so explosive, you know, it is so. It is literally the sort of the quintessential, like, theatricalization of connection. And that, to me, is what the musical is about, really. You know, it's like, to me, the most profound thing about maybe happ. Happy ending, more than any other musical. Oh, God, I'm gonna get in trouble. But anyway, you're biased.

Unknown Host (32:42)

It's fine.

Matt Tamnini (32:43)

Yeah, yeah, you can say this.

Clint Ramos (32:44)

What really is the most profound thing about maybe happy ending is you have two robots telling us, showing us, in the most successful way how to be human, and that's through connection. And I can't even. You know what I mean? Just the thought of it really makes me kind of weepy because that's what maybe happy ending is about. This desperate need to connect, you know?

Matt Tamnini (33:11)

Well, congratulations on everything that you have going on. From Broadway to Lincoln center, all the way over to Manila. It is always thrilling to see what you are working on next. And I wish you the best with everything that you have coming up. And can't wait to not only see the videos from into the woods, but see whatever else you have coming up in the pipeline that I'm sure we're all going to love just as much.

Clint Ramos (33:31)

Oh, Matt, thank you for the time. Thank you so much.