Bio Summary:
August 12, 2010 – written by Larry Morin:
Peggy Burdick joined our class at the beginning of senior year when her family moved to Hanover. The good news for me was that, rather unbelievably, she was denied admission to Middlebury to which she had applied to study languages. Peggy was a far better student than I on virtually all levels, and especially excellent in Spanish and German. So, to be turned down by Middlebury was, and still is, amazing. But because of that decision, we both ended up at Brown, started dating sophomore year, and married after graduation in June 1969. We have two daughters living in the greater Boston area. One is also married with two daughters, so we too are the proverbial proud grandparents.
Peggy is also a lawyer, but she "retired" about 15 years ago, after getting another degree (MFA) in costume and set design. She is presently the costume designer and Productions Director in the Theatre Dept. at Stony Brook University. I am in the Psychiatry Dept. where I run a research lab.
from the Internet:
Peggy Morin – Lecturer, Costume Design and Head of Production
M.F.A. 1999, Stony Brook University
Peggy Morin received her undergraduate degree from Brown University, her law degree from University of California-Hastings, and her M.F.A. in Dramaturgy from Stony Brook University. She teaches in the costume/technical theatre area, designs costumes and sets for the department, and serves as Director of Production.
• Recent designs include Arms and the Man (costume and set), The Rover (costumes and set), Prelude to a Kiss (costumes and set), Pterodactyls (costumes and set), and Stop Kiss (costumes and set).
• For the Stony Brook Opera Ensemble, her recent work includes Handel’s Coronation of Poppea and Mozart’s Don Giovanni.
• She is also presently a guest Design Teaching Artist for American Ballet Theater.
Contact: mmorin@notes.cc.sunysb.edu 631-632-7276
[Excerpt of review in the Stony Brook Statesman of a production of Shakespeare’s As You Like It -- April 30, 2007:]
“The visual effects were the strongest aspect, tying together every loose end imaginable, from the actors to the set. The stark city court with only the Duke’s throne and his black costume as the only props seemed cold and confined. In juxtaposition, the forest seemed warm and open, with colorful costumes (as always beautifully done by Peggy Morin)….”
