Behind the Seams: Clint Ramos on Dressing Maybe Happy Ending for Broadway
From Sketches to Stage: Clint Ramos on Designing Maybe Happy Ending and Building a Career in Storytelling
Last month, I found myself at the Belasco Theater, buzzing with excitement to watch Maybe Happy Ending. As someone who grew up immersed in community theater, let me just say: that I’m very particular about Broadway. (Thank my childhood critiques of Orange County Children’s Theater productions for that.) I keep my ear to the ground, devouring message board chatter while expertly sidestepping reviews—spoilers? Absolutely, not. When Maybe Happy Ending hit my radar as the season’s new “it” musical, I couldn’t resist. And with Darren Criss in the mix, I was primed for a night that promised to be anything but ordinary.
Maybe Happy Ending is a charming and thought-provoking musical set in near-future Seoul, where technology and humanity intertwine in unexpected ways. With a jazzy, heartwarming score by Will Aronson and Hue Park, the story offers a tender exploration of connection, identity, and the universal search for companionship.
The older I get, the more I appreciate live theater — not just for its song and dance, but for the full sensory experience. Scenic and video design by Dane Laffrey and George Reeve created a futuristic yet intimate world, while Ben Stanton’s lighting design heightened every emotional moment. And Clint Ramos’s costume design was the evening’s standout, bringing the characters to life with thoughtful details that added depth and personality. Ramos’s work was the true MVP of the production, tying together the visual storytelling in a way that left a lasting impression.
Later that night, an idea sparked, and on a whim, I reached out to Clint Ramos for an interview. To my surprise, he responded! I was eager to dive into his creative process and share with my readers the inspiration behind his stunning costumes for Maybe Happy Ending. So without further ado, let's pull back the curtain and dive into our conversation.
Evonne: Maybe Happy Ending explores themes of connection and identity in a futuristic world. What drew you to this story, and how did it inspire your design choices?
Ramos: What drew me to the story were its timeless themes. At its core, it’s about two lovers facing the inevitability of their own mortalities. This resonates with classic literature and operas like La Traviata, or even modern works like Rent, where one lover's life is tragically cut short. Despite the tragic nature, I’m captivated by its underlying hopefulness as it presents the enduring belief that love can conquer all.
Evonne: You’ve worked on a range of plays and musicals over the past few years, from the intimate drama of Eclipsed to the vibrant and expressive blend of Caribbean cultural influences of Once on This Island. How do these diverse experiences shape your approach to a project like Maybe Happy Ending?
Ramos: I think it really is just about storytelling, what can design do to aid it? In many ways, although these characters are robots, we need to infuse them with familiar human things. We need to be able to latch on to them as characters before they utter their first word. We need to be able to identify with them. That character looks so and so so they must be so and so. These associations all come from our own personal experiences.
Evonne: In Once On This Island, you transformed found objects into costumes, like Papa Ge’s striking ensemble. What were some of the most unexpected or surprising materials or design choices you used in Maybe Happy Ending?
Ramos: I didn’t initially think of it in terms of material choices. I mean there are a couple of things, I wanted classic silhouettes from the mid-20th century onward. For Claire, I envisioned a long skirt paired with a cropped shirt and jacket, while for Oliver, I chose high-waisted tapered trousers to reflect that timeless aesthetic. When it came to materials, I wanted to explore novelty fabrics. For Claire, we used laminated silk for the skirt, paired with classic fabrics like wool to create contrast. Oliver, being very physical, required outfits made entirely of stretch fabrics. There’s a lot of Lycra in his wardrobe, but it was important that the materials could still be tailored and behave like organic fabrics.
Evonne: The relationship between Oliver and Claire is central to Maybe Happy Ending. How did you design their costumes to reflect their emotional journey while complementing the lighting and scenic design?
Ramos: I think it really is just about color, trying to find basic iconic colors. For him, I was really looking at this turquoise blue with pops of a brick found in his tie and the little diamond in his pants. When they go traveling the two colors combined create the plaid and the cheque of his jacket.
For her, I wanted her to be a little more carefree and less ‘organized’. You have this olive limey skirt with a pink jacket with pink buttons and a cream top. In a lot of ways she is more of an advanced model so she is less uniformy than he is.
Evonne: Mood boards are a key tool for fashion designers to find inspiration. Do you use a similar process for costume design, and if so, what types of imagery or themes guided your vision for Maybe Happy Ending?
Ramos: Yes, we do mood boards and we do sketches. I really just did fashion research, a lot of how robots and futurism is interpreted in the media. We looked at a lot of Blade Runner, Wong-Kar Wai, 2046, looking at what feels like it can exist in the future, but also has classic lines. The design is rooted in the idealized mid-20th century, echoing Gil Brently’s vibe.
Evonne: What advice would you offer to aspiring costume designers, or what would you tell your younger self starting out in the industry today?
Ramos: These are the arts and it is so variable, many people go to art school and enroll in school and many folks don't end up sustaining their lives. Have a plan B, learn about finance, have a long-term plan. You can live your artist life but also know that you need to make ends meet. You should set up to pursue your art and find a way to create generational wealth. I say this because I didn’t do this and was so blind to art making. Try to find a balance, try to figure out a good financial plan. I’m sorry this has been so practical, but really that's my biggest advice.
Evonne: Looking ahead, what is one project or design challenge you’re excited to tackle next in 2025?
Ramos: I’m really looking forward to the productions I'm producing with New York City Center Encores! As their creative producing director. This upcoming season I am designing scenery for Urinetown and Wonderful Town. I’m really looking forward to the Lincoln Center Summer for the City Festival where I am the visual director and excited to see what I can do in terms of public art.
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Would you like to dive deeper into Maybe Happy Ending and witness the magic on stage for yourself? Get your tickets to the show here.
Also, what did you think of the insights shared in this interview? Did it give you a new perspective on costume design or Broadway? I’d love to hear your thoughts —drop your comments below. Special thanks to Clint Ramos for responding and his participation!
I will be taking the next two weeks off to spend quality time with loved ones over the holidays, but I’ll be back in the New Year with fresh content and insights. Thank you all for reading Musings of a Merchandiser and for being a part of this journey since August. Being part of the Substack community has truly been one of the most fulfilling projects I've worked on this year, and your support has meant the world to me. Happy Holidays, Happy New Year, and I’ll see you on the interwebs in 2025!
I saw MHE a couple weeks ago and LOVED it + the costume design. This is great!
this was a delightful read!