STANDBY STAGE MANAGER. CUE SEAMSTRESS.
While at Point Park University in Pittsburgh little did Natalie Hratko know a work study scholarship in dance production would impact her life as it did. As a freshman dance major in 2008, her first assignment was the theater light-board under the mentorship of Josh Monroe, who is currently the lighting designer for Alvin Ailey. The position brought light to the artist she wanted to become as she assisted Monroe in lighting the Point Park dancer’s pieces. “So many of the choreographers did not know how to communicate their ideas to the designer” Her thinking was “I cannot be this kind of artist. I need to educate myself and understand every aspect of this industry so I could be a more eloquent communicator.”
Continuing to explore the workings of a dance production, Hratko decided to minor in stage management. Jonathan Surmacz, the production manager for Point Park’s dance department, encouraged Hratko’s exploration in the field. They remain good friends and professional colleagues. Dance is at the center of Hratko’s life and career, but it is a gruesome profession and cannot be relied upon forever. That is why she minored in stage management, “If my body is going to fail me. I want something that I actually care about.”
Hratko has had a career in the theatre and dance for over ten years. Five of which she has toured internationally. A pivotal point of Hratko’s career is accompanying contemporary ballet company, Complextions, as the production stage manager on their international tour in the fall of 2016. This was a big leap as Hratko cut her teeth to stage manage a large production on an international level. Imagine a one women band where you were in charge. Accumulating success and knowledge along the way Hratko had better footing before touring with Ars Nova’s Underground Railroad Game in May of 2017. This time was not only more comfortable for Hratko, but also brought an immense feeling of pride for the passionate purpose of the work and its impact on audience from many companies. Natalie met current business partner, Molly Seidel on the off Broadway premiere of Underground Railroad Game at Ars Nova in the fall of 2016. Seidal was the wardrobe supervisor and Hratko was the assistant stage manager. During Underground Railroad Game, they bonded over a love for crafting and remained creative pen pals.
The nature of Hratko’s career is constantly be in search of work. In her case connections follow after a production comes to a close. Her credits include production stage manager for Sammy Miller and the Congregation, choreographer for Body Jolt, and assistant stage manager for off Broadway Oh, Hello!. When COVID-19 entered the world stage, the arts community was the first to halt production and live shows. After a year and three months in the United States, theater seats still remain empty. This means pausing 14.8% of people’s professions and incomes in the United States. Natalie Hratko and Molly Seidel started their business called First Fittings which produces organic, ethical sourced, versatile children’s clothing. Hratko and Seidel started First Fittings from scratch. Hratko stated First Fittings began because
“It was purely and alignment in circumstances and timing. As two out of work theatre professionals, Molly and I were looking to keep busy with skill that we have and still wanted to hone. Simply by chance were we both welcoming a lot of babies into our family and friend circles. So, what started as us producing many gifts turned into a ‘full time’ side project.”
Hratko’s interest in needlework stems from childhood when her grandmother would hand-make outfits for her American Girl dolls. Hratko and her sisters were already dabbling in reusable garments for dress up. “We would think, ‘how can we make this skirt passed down three generations into a princess dress? Or how a skirt worn on the head created the effect of long hair.” Hratko describes her childhood as “Boundless in creative energy and encouragement while having a very early responsibility for others including siblings, cousins, younger friends.”.
Aside from being theatre professionals, the co-business owners are both skilled seamstresses. Hratko and Seidel realized that there are not many businesses making sustainable clothes for children. First Fittings designs and constructs comfortable quality children’s clothing at the hands of two highly skilled seamstresses. They appeal to the growing community supporting environmentally friendly products from up-cycled fabric. The business sources their organic materials with Global Organic Textile Standard certification or with OEKO-TEX. Currently, art gallery fabrics (eco tech certified). First Fittings left over materials are recycled through FABScrap. First Fittings produces gender neutral children’s clothing for sizes newborn to 3-toddler. Gender neutral clothing is often more appealing to a consumer because of the versatility and less decision making. And this is perfect for reusing the clothing for other children. The clothes are shipped from New York City to anywhere in the United States. Another principle of their business model is the exchange of quality clothing for fairly matched prices for the labor prices.
First Fittings mission statement is, “We devote our time to producing quality over quantity and are committed to following sustainable business practices, connecting with our customers and giving back to our community.” This past year caused many people to reflect on their values and adjust their purchasing habits. First Fittings is targeting those who concluded local and domestic support for artisans is rewarding. The slower pace of the past year made time to be more intentional with our spending and support environmentally friendly businesses. The Broadway Merchant collective highlights small business of artist in the theatre industry just like First Fittings. When asked what the future of the arts looks like, Hratko answered “there are days where I wonder if the "future of the arts" will in fact include art. How do we break from the dangerous cycle of art being produced solely for the purpose of serving a capitalistic structure? Until art goes beyond just the sentiment of putting the creators' and collaborators' work at the forefront; and the process is not determined by monetary value.”