The designer has been an esteemed collaborator and a catalyst for numerous acclaimed directors, including Mike Nichols, Nora Ephron, Steven Spielberg, Anthony Minghella, John Schlesinger, Brian De Palma, George Roy Hill, Hal Ashby, Joe Mantello, Jack O’Brien, M. Night Shyamalan, Stephen Daldry, James Brooks, and, in the early stages of her career, Dino De Laurentiis.
“She is like a co-pilot,” praised Mr. O’Brien, the esteemed Broadway director.
Ms. Roth graciously highlights a bedroom where her dear friend Meryl Streep comfortably stays during her visits. In 13 movies, such as “Silkwood”, “Heartburn”, “Postcards From the Edge”, “Doubt”, “Julie & Julia”, “The Post”, “Mamma Mia!”, and the mini-series “Angels in America”, she has masterfully crafted the look of Ms. Streep. Ms. Roth affectionately refers to her as “Melstrip,” inspired by the Italian pronunciation she heard.
She plans to embark on a scenic road trip across Italy with Melstrip, but she hopes to find the right shoes to alleviate her knee pain first.
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Ms. Roth hails from a Quaker lineage and grew up in the picturesque Pennsylvania Dutch country. As a teenager working at a local five-and-dime store, she adorned herself with a long strand of pearls. After graduating from Carnegie Mellon in the class of ’53, she apprenticed under the renowned costume designer, Irene Sharaff. During this time, she contributed to productions like “Brigadoon” (where she skillfully dyed the men’s tartans), Judy Garland’s “A Star Is Born,” and “The King and I.”
Ms. Sharaff cautioned her prodigy against pursuing a career as a production designer, asserting, “it’s not a place for women,” according to Ms. Roth.
Mr. O’Brien recognized Ms. Roth’s indomitable spirit in 1970 while collaborating on a production of “The Importance of Being Earnest.” When brainstorming ideas for Miss Prism, Oscar Wilde’s stern spinster governess, Ms. Roth proposed outfitting her with small scissors around her waist. “So she can playfully snip at people’s ego,” quipped Mr. O’Brien.
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