About Lois Garren

Almost as soon as Lois came aboard a costume collection began to evolve. There had always been an influx of cast-off clothes from local citizens who came to the department's shows and knew it needed help. Often the clothes came as the result of cleaning out trunks and attics following the death of a beloved spouse or relative. There was much bounty in these cast-offs, but for a time the Department owned the world's largest collection of World War I and II uniforms since widows couldn't bare to put a loved one's old outfit in the trash. Lois, however, graciously accepted anything anyone had to offer; her view was that SHE would decide whether something was worth keeping or not, and always argued that if a whole outfit was not salvageable at least parts of it might be. That point of view and the willingness to accept anything offered has maintained to this day.

In Lois's early days the department was in an old building that had been converted from the law school and space was very much at a premium. But that did not deter Lois and her students who soon built a storage area along one wall of a large classroom that was also the rehearsal space. A crude structure at best, this storage area was protected by wire fencing and soon came to be known as "The Cage." This space contained every costume item the department owned including the donated collection and a growing set of costumes designed by Lois and her students.

In 1974 the Department of Drama moved into its new quarters where space is once again at a premium. But when Lois settled in she had far more room in which to store anything and everything she could collect. A large space (at least at that time), nearly two stories high, became the costume storage area and somehow also became known as "The Cage." The new building actually spurred a burst of donations simply because the department was becoming better known due to the publicity that came with the opening of the new facility. And the University student body had expanded with the refreshing presence of women who were finally admitted to the College in 1970.

With the opening of the new building and the expansion of the faculty that came with it the introduction of a Master of Fine Arts degree was now possible. Lois was encouraged to take the degree and did so, though she managed to do it without taking any courses from herself. This did allow her, however, to teach at the graduate level with a clear conscience and the program thrived as a result. Anne Hould-Ward, who went on to design the original BEAUTY AND THE BEAST (and many subsequent versions of it) for Broadway, was just one of many graduate and undergraduate students who enjoyed Lois's loving tutelage.

Unfortunately Lois became a victim of academic policy and was discouraged from applying for tenure because she had received both of her graduate degrees from the University of Virginia. Very much to her regret, as well as the department's, Lois moved on, first to Texas for a short time and then to Auburn where she continued to nurture students, collections and productions of high quality. It was there that Lois ended her days, succumbing, finally, to cancer.

There are all kinds of good reasons to memorialize Lois Garren but the establishment of this fine collection of antique and unusual costumes in her name is especially appropriate. Lois saw from the beginning that these examples, which have been so enthusiastically expanded by Lois's successors, would have inestimable value to students at the University of Virginia. Now, through the technology of the computer, these examples of actual clothing, not theatrical interpretations, will be available to far more than an isolated group of students at one school.

Lois would be very pleased to see this development because she was one of the most generous folks you'd ever have the joy to meet. She eventually became chair at Auburn, as a matter of fact, because Lois was the only member of the faculty with whom everyone could get along. She was a marvelously patient, painstaking teacher and artist who was much loved by all who knew her. It was a joy to work with Lois because there were never any flares of temperament; she embodied the spirit of "We're all in this together." Even when wracked with the pain of arthritis, with which she suffered for more years than most people knew, Lois could be depended upon for a cheery disposition and kind words for all.

The Lois Garren Collection continues Lois's delight in teaching, and creating good theatre to anyone who has the need, by passing on valuable examples of the art and craft of clothing the human being. May this collection be used by students, teachers, artists and craftspeople with the same passion that caused it to come into being in the first place.

David Weiss
Professor Emeritus, University of Virginia
1999