We were lucky to catch up with Eric Franzen recently and have shared our conversation below.

Eric , thanks for taking the time to share your stories with us today We’d love to hear about when you first realized that you wanted to pursue a creative path professionally.

Oh boy, this is most likely a most frequently asked question that I get! I first knew that I was more creative an artistic at an early age. I believe it really hit me when I would go to my grandma Shirley’s farm house and she had a cabinet in the wash room with crayons and coloring books for when all the grand kids visited. I found myself always drawn to that section of her cabinet in the wash room.

Also, my parents were a second big influence on creative and costume creation. Many Halloween costume parties did they attend in our small town from year to year and were always creating or getting creative with their costumes, subconsciously had a huge influence on the trajectory of my life.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

Well I grew up in a small town in Southeastern Minnesota named Lewiston. It was very much a farming and sports community, with albeit some budding artists in many individuals. My passion for art was fostered in high school by a late great mentor Gene Stevens, who painted for Ducks Unlimited and from there grew into tapping into theater. It was at South Dakota State University where I found my passion under the guidance of Billy Wilburn who steered me into Costume Design, construction, and Crafts, he would also be my catalyst for graduate school at Michigan State University where I received my MFA in Production Design.

My first professional designs would be at the Mac-Haydn Theater in Chatham, NY in the Catskills and couldn’t be more appreciative of the late Lynne Haydn for allowing me do Damn Yankees there. It would be 2012 after grad school where I moved to Chicago and stepped foot into the theater scene there doing such experimental works as Kill Viktor (a parody of Kill Bill) and Also working at Actor’s Training Center in Wilmette, that I would gain more professional chops in smaller theater scene. This also lead to me going back to the Mac-Haydn in 2013 where I would design a few more musicals 9 to 5, Gypsy, and All Shook Up, and upon that summer completing I would move on to working on the National Tour of Phantom of The Opera. The flood gates opened after that with taking on Wardrobe supervision for Norwegian Cruise Lines and my Network forever changed with the opportunities there. I lead Rock of Ages on the Breakaway as wardrobe for 6 months, Legally Blonde on the Getaway as wardrobe for 6 months and the true gem was being part of the inaugural team to open Priscilla Queen of the Desert on the Epic, working along side Tim Chappel.

I’ve worked all over and after Cruise ships landed in Eastern Ky, as a resident costume designer for Jenny Wiley Theater and had Opportunities work with some great directors, the likes include Joey Murray of NYC, and Rachel Klein also based in NYC who would be the catalyst and god send of bringing me into my first Pre-Broadway costume design with Esther: Heart of a Queen starring Sharna Burgess from dancing with the starts.

As you can see I provide costume design services, but also can provide set design as well, I think what sets me apart from others is that I am consistent in delivering and working hand in hand with directors in a very collaborative way. I am not a designer who stays steadfast in just “this is how it is, and it won’t change” I’m flexible as visions directors have should also be cohesive with their designers, we are collaborators not dictators.

If there is one thing about my brand that I want people to know is that I am quirky and the more extravagant the and avant garde gets me super excited along with a good historical piece that involves references to pop culture and my love of horror movies.

I am most proud of Esther, because it was a project that reinvigorated a spark of what it is to be in this business, that we all strive to make a mark in. I want everyone to know that I care deeply about the overall product that I put out and that I am going to put in more than 100 percent effort to deliver its 200 percent, because I am mindful that it’s not just my name I am representing, but it could be a theater company, individual performer, or director that I represent as well.

Is there mission driving your creative journey?

My particular goal has always been to create with as many artists as possible in my time here on Earth. I would love to still create in New York City on some scale with everyone and any one I have met.

I love that theater is so interconnected and my mission driving me is always let the work speak for itself and your work ethic and hopefully that will land you among the long term goal of a major award. It’s also the fire in my belly to prove to the naysayers and those against me that I have prevailed against the roadblocks you set before me.

For you, what’s the most rewarding aspect of being a creative?

The most rewarding is seeing new designs come to life and knowing that you have had a hand in creating something different from a designer who may have designed it before you.

I would also say where I teach Currently at Tennessee State University, the reward there is seeing students lean into theater and the light clicks for them that, “oh I can do this”

Contact Info:

• Instagram: Ejfrnz
• Facebook: Eric Franzen
• Linkedin: www.linkedin.com/in/eric-franzen-52445b192

Image Credits
Photo Credits: Lauren Mason