Wigs, Hair and Make-Up: A Backstage Guide 1350135879, 9781350135871

Table of contents :
Half Title
Title Page
Copyright Page
Contents
Preface
Introduction
Chapter 1: Starting out: Training, employment and kit
Introduction
In this chapter, you will learn
A foot in the door
A CV and portfolio
Work experience
Essential kit
Chapter 2: Design and research
Introduction
In this chapter you will learn
Design brief
Script breakdown
Historical research
Casting
Budgeting
Design development and prototyping
Chapter 3: Wig and Postiche making
Introduction
In this chapter you will learn
Finding the form
Taking a head wrap
Foundation construction
Knotting the wig
Hair selection
Re-fronting and wig reuse
Postiche-making
Weft and hair pieces
Chapter 4: Wig and hair dressing
Introduction
In this chapter you will learn
Blocking a wig
Wet setting
Dressing out
Hair decorations and accessories
Dressing a performer’s own hair
Barbering, cutting hair and colouring
Cleaning and storage
Dressing postiche
Chapter 5: Make-up
Introduction
In this chapter you will learn
Cosmetic make-up
Specialist make-up
Tattoos and tattoo coverage
Stage make-up for film
Bald caps
Casualty effects
Teeth, eyes and nails
Prototyping and face charts
Skincare
Chapter 6: Prosthetics and stage effects
Introduction
In this chapter you will learn
Making prosthetics
Lifecasting
Filling the cast
Sculpting
Casting
Making the piece
Application
Removal and aftercare
On-skin prosthetics
Blood and stage effects
Chapter 7: Staging
Introduction
In this chapter you will learn
The tech and previews
Backstage etiquette and vocabulary
Wigs, hair and make-up during performance
Wig application
Continuity and record keeping
Conclusion
Glossary
List of Credits

Citation preview

WIGS, HAIR AND MAKE-UP

NATIONAL THEATRE BACKSTAGE GUIDES To audiences, the work that goes on behind the scenes of a theatre can sometimes feel mysterious and the sheer number of people involved often unknown. It is often said that it takes a village to get things done and that is certainly true of theatre. At the National Theatre, writers, directors, designers and companies of actors work alongside skilled craftspeople to realise the productions audiences see on stage, from wigs, hair and make-up artists to stage management, casting, sound, lighting and video, costume and even armourers. The National Theatre Backstage Guides series aims to bring the skills behind much of this talent to the fore, offering practical and positive introductions to different aspects of theatre-making. These guides don’t presume previous knowledge about each discipline and are equally perfect for those who are merely curious to understand more about how practitioners work as those looking to start out in the industry or to progress. The series celebrates the ingenuity and dedication of those involved in theatremaking, but it also aims to incite future talent. There is no one perfect route into the theatre industry and as such, these books are not masterclasses. Written by experts, with lived examples, humour and personal insight, they reflect on changes within the industry and may challenge your assumptions about the work involved. Through practical exercises, tips and tricks to improve – or even begin – your practice, they offer a springboard for finding out more or for further development. We hope you find the series enlightening, demystifying and above all, inspiring. Other titles in the National Theatre Backstage Guides series: Playwriting: A Backstage Guide by Dan Rebellato

WIGS, HAIR AND MAKE-UP A Backstage Guide

Helen Casey

METHUEN DRAMA Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, METHUEN DRAMA and the Methuen Drama logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2023 Copyright © Helen Casey, 2023 Helen Casey has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as author of this work. Series design by Charlotte Daniels Cover image © Emojoez / Getty Images All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. ISBN: PB: 978-1-3501-3587-1 ePDF: 978-1-3501-3588-8 eBook: 978-1-3501-3589-5 Series: National Theatre Backstage Guides Typeset by Deanta Global Publishing Services, Chennai, India To find out more about our authors and books visit www​.bloomsbury​.com and sign up for our newsletters.

CONTENTS

Preface vi

Introduction  1 1 Starting out: Training, employment and kit  9 2 Design and research  27 3 Wig and postiche making  49 4 Wig and hair dressing  65 5 Make-up 81 6 Prosthetics and stage effects  97 7 Staging 115 Conclusion  129 Glossary 135 List of credits 138

PREFACE

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he lights are up, the scene is underway. It is 2011, and the show is Ibsen’s Emperor and Galilean, in a version by Ben Power and directed by Jonathan Kent. We have reached the climactic closing of the scene before blackout and I am dashing around to the side of the Olivier auditorium to listen to the reaction of the audience as Gregory of Nazianzus, played by Jamie Ballard, appears to dig his nails into his own skin and tear the flesh from his chest. The audience gasp in horror and I breathe a sigh of relief – our carefully designed effect has achieved the desired reaction for another performance. I return backstage to mop up the pool of fake blood. The next night, we will do it all again. I have been working as a wigs, hair and make-up artist for almost twenty years, on projects spanning everything from disco musicals in South Korea, to tiny independent films in Welsh fields in the middle of the night, to fancy dress parties for millionaire tycoons in penthouse apartments. I started my career as a teenager, volunteering for local amateur dramatics societies and smearing dirt on the faces of urchins

for the school production of Oliver! I fell in love with working in the theatre early on and have spent most of my working life in that part of the industry. The live performance aspect of the theatre is something which has continued to hold my fascination. As a nonperforming creative worker, there are not many disciplines in which your work can find its audience with such immediacy. Hearing the reaction of audiences to a character look or stage effect is an unexpected benefit of working in a live performance environment and one which I never get tired of. I believe that everyone can use their creativity to tell a story and the transformation of the body can play a part in that at any scale. I hope that the tips and insights in this book will inspire and encourage you to tell your own stories.

Preface

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viii

INTRODUCTION

Throughout recorded history, make-up and hair manipulation have been used for protection, transformation and beautification (eye make-up equipment has been found in Egyptian burials from 4000 bce). From the geometric beauty of Japanese Kabuki face paint to the rosy cheeks and huge wig of a pantomime dame, they have also been important elements of narrative performance around the world for centuries. Make-up and hair are powerful tools in storytelling, as they represent not just a costume change, but a change of the body, of the very self. Sociologist Bryan Turner writes: ‘In pre-modern societies, the body is an important surface on which the marks of social status, family position, tribal affiliation, age, gender and religious cohesion can easily and publicly be displayed.’ There is a direct correlation between Ancient Greek chorus masks, the strongly painted travelling players of the sixteenth century and today’s modern clowns, all of which used the white face to become unrecognizable, to lose themselves in the role and the play.

Inigo Jones embraced the fantastical potential of body paint when he designed The Masque of Blackness, a lavish court performance written by Ben Jonson for James I in 1605, painting some characters’ faces, hands and hair black and blue. Anne of Denmark, Queen consort, appeared in the masque and its use of body paint instead of more traditional masks was most controversial at the time, as observed by Sir Dudley Carleton: ‘Instead of Vizzards (masks), their Faces and Arms up to the Elbows, were painted black, which was a Disguise sufficient, for they were hard to be known.’ The Italian composer Claudio Monteverdi was writing L’Orfeo at this time, and it is easy to see how these visually arresting court entertainments soon evolved into the opera staging that took the European courts by storm. The nature of live performance is essentially transitory and each night the work at the make-up mirror is created and destroyed, the process of this nightly application often being a fundamental aspect of a performer’s pre-show mental and physical preparation. Until a Wagnerian opera singer, Ludwig Leichner, began to commercially produce greasepaint in 1873, the actor’s make-up arsenal was limited to a basic kit including white lead, lard, burnt cork, ashes, Indian ink, white chalk, black crayon and carmine. Skin colour as a preference is a complex topic to discuss in our contemporary society, even within a historical context. Until the later part of the twentieth century, when tanned skin denoted a holiday in the sun, the whiteness of the skin 2

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was prized in European culture from at least the Roman period, as a sign of nobility and a life free from outdoor toil. Playing kings and nobles invariably required a lightening of the skin, a white base also being an excellent blank canvas to draw on the lines of old age or the expressive features of a comedy character. As make-up artists, the skin is our canvas and we must be able to fully understand the social implications of skin colour, both past and present. Actors in the all-male companies of Shakespeare’s Globe used ceruse, a lethal mixture of white lead and vinegar or powdered hogs’ bones and poppy oil to perfect the flawless complexions of their Juliets and Titanias, also crushing pearls into a powder to add shimmer in the candlelight which illuminated the stage, putting today’s extravagant Hollywood beauty regimes to shame. Lighting plays a key role in the use of theatrical makeup; stage lighting was developed to illuminate performances without casting distracting shadows onto the set. Until innovations in the late twentieth century, this also meant stage lighting effectively removed all natural shading from a performer’s face, rendering them featureless and two dimensional, not ideal for conveying the complexities of the human experience. In normal human interaction we are accustomed to seeing faces lit from above by daylight, so as stage lighting evolved from candlelight to oil and gas lamps in the early eighteenth and finally electric in the late nineteenth centuries, they all brought their own challenges of colour and intensity. INTRODUCTION

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Artificial light tends to contain more red and yellow than daylight, so skin tones would have to be adjusted accordingly and performers had to widen the eyes, define the lips and contour the face to even be recognizable to their audience, never mind convey their performance to the back row. Although modern stage lighting has dramatically improved, making this kind of corrective make-up unnecessary in many performances, even on large stages, wigs, hair and make-up artists must collaborate closely with lighting designers during design development to prepare for changes in lighting states throughout the performance. These principles of enhanced naturalism for the stage are taken into consideration with the increasing number of live performances filmed for cinema broadcast, high definition (HD) camera equipment requiring specific hair and makeup to effectively bring the stage to screen. When a physical transformation is required for a character, hair and make-up can truly come into the spotlight as a creative design practice. Character hair and make-up cover a broad range of products and techniques, from beehives to mouse ears to duelling scars. Alteration of age in both directions is still common practice, particularly in opera, where casting the voice is a priority consideration, although expectations of modern directors and theatre-goers for naturalism make this more of a challenge. Theatre make-up has benefitted from huge technical developments in the last thirty years. For three-dimensional ‘special’ effects mortician’s wax and spirit gum have been 4

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replaced by silicone prosthetics and airbrushing originally developed for the film industry. Contemporary social aesthetics have a large impact on character hair and makeup, with spray tanning, tattoo application and cover-up becoming regularly required from the modern hair and make-up artists. Even in today’s aesthetic soup of fashion, some styling choices carry clear cultural signals which can be manipulated for the expression of character, this is particularly true for facial hair (the ‘hipster beard’ being a particular current cultural meme). Although it is still common practice for performers to apply their own make-up for naturalistic and small-scale productions, the theatre hair and make-up artist plays a vital role in the realization of more complex character designs. The hair and make-up artist will work closely with the performer, designer and director to perfect a character’s look before the show gets to stage. Some productions will demand a very specific aesthetic from the outset; some will develop as the show takes shape in the rehearsal space. The wigs, hair and make-up artists then ensure that once established, the look of the character is maintained throughout the run of the performance. The wearing of wigs as a cultural adornment has been present in societies around the world for thousands of years. There is a surviving wig from the Eighteenth Dynasty of Egypt (1550–1292 bce) in the British Museum and the Roman Empress Messalina (c.17–48 ce) is thought to have used wigs for her elaborate hairstyles, the blonde hair of INTRODUCTION

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northern European slaves being particularly favoured. Wig wearing has moved in and out of fashion with changing appreciation of artifice and naturalism. Wigs were used often by Elizabeth I, possibly to cover hair loss caused by the use of ceruse whitening make-up (she is reported to have owned over eighty wigs). Her flame red hair – the patriotic colour of St George – became an aesthetic ideal in the Elizabethan court and home hair dye recipes were circulated to copy her colouring and curry favour at court. Fashion wig wearing peaked in Britain in the early eighteenth century, with both men and women wearing wigs that could reach dizzying heights. But wigs were an expensive commodity, so much so that people had to be careful when walking out that wig bandits wouldn’t snatch the wigs from their heads to sell on. Male performers played female roles on the British stage until the restoration of Charles II in 1660 and male performers wore wigs to play women. Wig-making for theatre continued through the changing popular fashion for wigs and developed as theatrical staging became more character driven. By the Edwardian period, perukier (wig maker) to the stars Willy Clarkson had a specialist theatrical wig shop on the Strand in London, later moving to Warder Street, where his beautiful store clock can still be seen at number 41. Clarkson’s wig catalogue of 1885 displays a dazzling variety of styles and characters available. He made wigs for such luminaries as Sarah Bernhart, Henry Irving and even 6

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Scotland Yard detectives working undercover. It is easy to imagine Sir Arthur Conan Doyle taking inspiration from Clarkson’s wigs when he wrote of the fantastical disguises adopted by Sherlock Holmes in The Sign of Four, written in 1890. The modern hair and make-up artists working in the theatre have a delicate role to play. Not only are they responsible for their own work, ensuring that they achieve technical and artistic excellence, they must remember that their canvas is human. Their work is not only to communicate the character and narrative to the audience but also to facilitate the performer, to make them feel prepared physically and mentally for the role. Some professionals in this area of the industry will specialize in one technical area, such as wig-making or prosthetic make-up. Dependent on training and personal interest, some people will naturally gravitate towards one area of strength, but it is advisable to take some basic training in all aspects of the profession to improve your understanding of design concepts and employability. In theatre, we are called upon to be more rounded in our skill set as budget and time restrictions cannot accommodate additional people on staff. We are also often working in an environment away from the facilities of a workshop, touring nationally or internationally, so need to be equipped for any eventuality. The work of a wigs, hair and make-up artist is extremely diverse, and we are often called upon to fabricate something that we have never done before, or occasionally INTRODUCTION

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even standing in on a photo shoot if they require extra bodies in the background (you can see me looking out of the window in the National Theatre poster for The Plough and the Stars). The basic skills, however, are cosmetic (beauty) makeup, character make-up, hair and wig setting and dressing, wig and facial hair application, special effects make-up and prosthetics application, hair knotting for wigs and postiche (a hair piece). These skills should be to a good level for all hair and skin types. Additional skills include barbering and ladies hairdressing and colouring, life casting and prosthetics sculpting and casting, wig foundation making, weaving and hairpiece fabrication. More general skills include project and budget management, design interpretation and research and good communication and team planning. This book will give you a solid overview of the everyday techniques and principles used by a wigs, hair and makeup artist working in theatre today. Techniques are always evolving, some have been used for hundreds of years, some are changing year by year, but underlying principles of good design practice always stay the same. I have used some real examples of how these techniques have been put into practice and how they impact your creative colleagues and collaborators. This is not a rule book, and I encourage you to be curious and try new things, while being safe and responsible. Practice and record everything, even your horrible mistakes. They will be hard to look at once you have improved, but it is good to see how far you have come.

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1 STARTING OUT TRAINING, EMPLOYMENT AND KIT

Introduction When I decided to work in this industry, there were no celebrity make-up artists, or YouTube instructional videos. It was an obscure career choice, and my family were concerned that I was making a rash decision (this was also in the days before high tuition fees!). Many of my fellow students decided after university that the career path was not for them, either the working patterns or the freelance lifestyle didn’t appeal to them once we were out in the big world. However, those with a real desire to make a career as a wigs, hair and make-up artist are still working and have travelled all over the world, working on projects as varied as training emergency first responders to sticking on rock stars’ toupees. I have spent the last eight years finding and employing freelance staff to work at the National Theatre. In this chapter, I’ll share with

FIGURE 1.1  Greasepaint make-up owned by Laurence Olivier.

you some of my thoughts as both a freelancer myself and as an employer. I’ll also give you a few tips on how best to start your own wigs, hair and make-up tool kit. There are other tools mentioned in this book, which are listed in greater detail in the glossary.​

In this chapter, you will learn ●

●

●

10

Options available for training as a wigs, hair and make-up artist. How to tackle job applications. The essential kit to start your journey in wigs, hair and make-up for stage. WIGS, HAIR AND MAKE-UP

A foot in the door Any career in the arts which is mostly staffed by freelancers is difficult to get started in. The temporary nature of most projects, be they TV shows, films or theatre productions, means there are few structures within companies to provide training and limited opportunities for points of contact for junior staff, people just starting out, to enquire about opportunities. The time-pressured nature of a lot of these projects also limits the capacity for someone to take a chance on a new person or pre-screen their skill set. The upside of this is that it is a fairly small industry, particularly working in theatre, so if you can establish yourself it is easy to make a network of colleagues who can recommend you when other work comes up. There are, however, economic and team dynamic reasons for employing juniors in a team and a lot of excellent industry professionals wish to support the growth of their industry by helping the next generation. Currently there is no industry standard qualification and people come to this career through many different pathways. There is an increasing amount of higher education (HE) and further education (FE) courses around the country, from short courses to degrees, some focusing on technical skills, some reaching further into design and academic application of creative practice. But there is no right way to enter the industry, just whatever feels right to you and STARTING OUT

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your interests or the path you want to take. There are some skills such as hair cutting and colouring, for which some employers will request a specific qualification for insurance purposes. As a wigs, hair and make-up artist is always working on the body of another person, good training in safe practices is important for their health and safety. Some people specialize in a particular aspect of the industry, whereas some are all-round practitioners. Even if you have no interest in a particular area, it is good practice to have a solid understanding of it as it will enable you to work with your colleagues better and respond to any emergencies. Wigs, hair and make-up artists are guaranteed to be asked to come up with solutions to the most extraordinary creative problems. Joining the industry is sometimes about being in the right place at the right time. My first job after graduating was as a trainee on the West End production of The Lion King. I had just happened to apply when they were looking for a new trainee and was invited in for an interview the week after applying. I had applied to around fifty other places and that was the only reply I got, so timing can make a huge difference. Try to use industry news resources to find out what projects and productions are coming up and time your applications with when they will be looking to recruit. Some people will keep unsolicited curriculum vitaes (CVs), but many don’t if they are not actively seeking new staff.

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A CV and portfolio A well-rounded CV is important and will develop as your career moves forward. Whatever your level of experience, but especially when you are starting out, your CV should be concise. No one wants to look through pages and pages of information, especially if it is not recent or relevant. Don’t be stuck having a one size fits all CV, try to understand what the employer will be looking for and prioritize different skills and experiences for that particular job. As a wigs, hair and make-up artist, some skills are always a priority, as discussed in the introduction of this book. If you have these skills make sure that is clear in your CV, along with your level of competency in those skills. If you have experience, be honest about the role you played on a project. If you were working on a huge TV show, but you were only there for one day making the tea, that is fine, just don’t pretend you were looking after the star as it will only get you into hot water later. When listing projects you have worked on, include who you were working for, if it is a familiar name it will strike a chord with whoever you are reaching out to. Write a good cover letter, especially if you are sending unsolicited CVs. Make sure to highlight previous experience you think would be especially relevant and why you want to work for the particular project, person or company. When I was a trainee the internet was in its infancy and information

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about prospective job opportunities was much harder to track down than it is now, there is a lot of information out there if you spend a little time looking. As a reader of unsolicited letters and CVs I am always struck when people don’t even make the effort to address their letter to the appropriate person. It really doesn’t make a good impression and I must admit those letters may quickly find their way into the recycling. Employers are looking for staff who want to put effort into their work, the first evidence they can have of this is how much work you put into your application letter. Large companies and successful wigs, hair and makeup designers receive many unsolicited applications, if you are specific about why you want to work for them, maybe yours will stand out. It is fine to be proactive and contact people, particularly if you know they are looking for staff, but don’t pester people, multiple emails and phone calls will not endear you to a busy person. If they don’t reply and you really want to work with them, go somewhere else to increase your experience and try again at a later date. I tried for three years to get a freelance job at the National Theatre, eventually I went in for a couple of weeks to cover someone’s holiday, I ended up staying for thirteen years. Portfolios have evolved hugely over the past ten years and there are many different ways to connect people with your work. However, good professional practice should apply regardless of the medium you are using. Try to take good photographs of all your work. If professional photographs 14

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are taken of a project you have worked on, ask for copies, sometimes this can be negotiated as part of your fee. Be mindful that production photographers will generally take images front on or in profile, so you may have supplement with your own images of the work from all angles. If it is not your design or not all your work, be sure to credit the relevant person. Honesty is the best policy. Don’t retouch your mistakes on images, most professionals will be able to tell and it is much more interesting to talk through your mistakes and how you would do it better. No one is perfect and at the start of your career no one should expect you to be, they do, however, expect you to be honest. If you are working from designs or reference material, include them in your portfolio as it is useful for people to be able to see your interpretation process. If your work requires many stages, such as prosthetics making, include some images of the making so people can see you have good working practices. Try not to include images of work tried out on yourself. This can be tricky to avoid in the modern social media world, as there are some people making a good living creating looks on their own faces for social media consumption. But for a wigs, hair and make-up artist working in theatre, film and television, you will be working on other people, which is very different. It is fine to have a digital portfolio but do be mindful that sending a link to your social media page with no additional introduction or explanation does not make STARTING OUT

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for a good job application, I have had this happen more than once. If you are making physical objects, such as wigs or prosthetics, you can include them in a portfolio presentation. Being able to see the actual finished piece will give people a much clearer indication of your skills. Put what you consider your most important or interesting work first, most people will not carefully look through a whole portfolio (though I am very nosey, so will always look through to the end).

Work experience Work experience can be extremely useful, both to give an insight into the reality of the work environment and day-to-day activities of a working professional and to increase your network of professional contacts. However, you should be very careful about what work experience and internships you accept, especially in the arts where demand for career opportunities is high. There is no definitive right or wrong about taking unpaid work experience, but here are a few questions to ask of yourself and the project producer to ensure you make the best decisions for you. Are other people getting paid on the project? If so, who? Are you getting travel expenses and/or meals and a product budget? It is one thing to give your time for free, quite another to be out of pocket. 16

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How long is the call/ongoing project? Lending a hand for a couple of hours is very different to working full time for a month. Will you have the opportunity to learn new skills or gain valuable professional insight? Assisting on a challenging project has more inherent value than making tea in a workshop. Can you get images of your work or a copy of footage? If you’re trying to build a portfolio this may make a job worth doing, even if you aren’t being paid. If you are giving your time for free, don’t be afraid to ask these questions and get clarification of expectations in writing. You are doing them a favour. At the National Theatre, we operate a work placement programme for those already training on relevant courses. These placements are a chance for people to spend time working in a professional environment, with good equipment, to refine skills they have already learnt on their courses and gain insight from a team of working professionals. We never expect the placement to undertake work that would be paid for.

Essential kit The kit each wigs, hair and make-up artist carries around is an ever-expanding, personal matter. For some, it can border on the obsessional and I have heard many a heated STARTING OUT

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discussion over trade show counters about the benefits of one small lidded box over another. Your kit will depend on the job you are doing and most professionals have a dedicated room in their house just to store their kit. When working on a theatre production it is the general practice that any kit needed will be bought for the production by the wigs, hair and make-up supervisor, but many professionals prefer to use their own scissors, combs and brushes, and will travel with them between projects. As the list of useful equipment could be a book in itself, I will just touch on the absolute essentials for a theatre wigs, hair and make-up artist.​

FIGURE 1.2  Backstage quick-change kit.

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All tools and equipment should be kept fastidiously clean. Specialist cleaning products can be bought to remove different types of make-up products from brushes and tools. Isopropyl alcohol can be sprayed on all equipment as a disinfectant. Brushes should be thoroughly cleaned and dried before being stored. You should also always wash your hands with hand sanitizer.

HAIR KIT • Pin tail comb: This is the most versatile tool for hairdressing, prosthetic and facial hair application, and accidentally stabbing yourself in the leg. • Wide-tooth comb: Important for curly hairdressing and carefully detangling hair. • Bristle brush and good-quality hairbrush. • Selection of pins and grips in different colours and sizes. It is better to buy these from a professional stockist, as those available on the high street are not very strong. • Small scissors and safety pins: Even though not strictly our department, someone will always ask you for these in a panic in case of a wardrobe malfunction or similar. • Hairbands: A range for different hair types, colours and requirements is ideal.

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• Sectioning clips. • Toupee or double-sided tape. • Spirit gum and remover, and cotton pads or a soft cotton cloth. • Stocking caps. • Water spray. • Hair products, gel, hairspray, smoothing cream and so on.

MAKE-UP KIT • Good-quality make-up brushes. • Make-up palettes for general use (concealer, ­foundation, eyeshadow, blush and lipstick). • Eyeliners and mascaras. • Translucent powder. • Anti-shine cream. • Powder puffs. • Make-up applicator sponges. • Tissues. • Cleanser and moisturizer. • Brush cleaner. • Small mirror.

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EXERCISE: PERSONALIZE YOUR KIT If you are working on a project with other wigs, hair and make-up artists, it can be easy to get brushes and tools mixed up. In order to keep an eye on what is yours, personalize your kit. A common way to do this is to pick a distinctive colour of nail varnish and put a dot on all your equipment. This makes them easily identifiable and will not wash off with cleaning. Some successful make-up artists even have their brushes monogrammed.

Fact 1: In the 2012 production of Alan Bennett’s People (National Theatre, dir. Nicholas Hytner), the Props department enlisted the Wigs, Hair & Make-up department had to provide a kit for the fake hair and make-up artist in the play.

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TIP 1 Make-up kit bags are often expensive. Some are very hard-wearing and even come with inbuilt seating for long days waiting around on film sets. However, do-it-yourself (DIY) stores often have hard-wearing tool bags with several compartments that are just as useful and much cheaper.

INTERVIEW WITH CAROLE HANCOCK Carole Hancock is a wigs, hair and make-up designer who has worked on many national and international productions, such as wonder​.la​nd and The Lion King. She is the hair and make-up designer for the internationally acclaimed production of Harry Potter and the Cursed Child.

How did you get your first job? I trained as a hairdresser in Stratford-upon-Avon. I loved going to the theatre and would go to see shows at the Royal Shakespeare Company (RSC) in

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the evening after college. I had never thought about all the different jobs that are needed for a theatre production, but I came to realize that there was an opportunity for me to use my skills in this context. I contacted the head of the wigs, hair and make-up department at the Royal Shakespeare Company to ask if I could come in for a chat. She kindly agreed and while there she asked me if I could cut men’s hair. I said I could and started working there straight away.

What do you look for in new ­employees? I look for a willingness to engage, a real hunger for learning and a motivation to undertake whatever work is needed. We are all learning throughout our careers, so it is important to have an enquiring nature. A certain level of humility about what you know and don’t know is also important to growth and development. Our profession is so much about technical, manual dexterity and a critical visual eye, it is important to see someone actually work with their hands before making a judgement on their ability. An impressive CV or portfolio cannot show you if someone can work under time pressure or think on their feet. We take work placements in our studio, which is a good opportunity for me to judge the potential of new juniors.

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I do look for diversity in my teams, we need people from all different sorts of backgrounds to bring their creativity and culture to the stories we are trying to tell.

What are the best and worst parts of the job for you? There are so many good parts of this job. I love the travel and working within an incredibly skilled and creative community. The period of production on a new show when you are working with the performers and creative team to make a new character is really rewarding. I think my favourite thing though is creating looks which people don’t even notice, they seamlessly inhabit the world of the play and just enhance the characters and stories. Someone once said to me that working in theatre, your working day always ends with the punctuation of applause and that’s pretty special. The worst part of the job is definitely the hours; they are demanding and given the nature of theatre work, you miss a lot of evening and weekend events like birthdays and weddings.

What key advice would you give someone starting out? Academic and non-academic routes into the industry are both valid, it really depends on the individual.

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Wherever you train, it is only the start of your journey. Think carefully about what will be a good fit for you, what are your interests and ambitions? Research your options before committing to a training programme and try to speak to alumni of that course. Check the credentials of the teaching staff and what industry experience they have. Try and get as much work experience as you can across a range of workplaces, you will learn a lot by offering people your time. Anyone starting out now should have a digital presence; experiment, make work and photograph it. We are working in a visual industry, so a short CV and well presented, interesting visuals will be much more effective in getting someone’s attention.

What mistakes have you learnt from? I don’t know if it was a mistake, but I could have been more confident, more assertive when I was younger. It took me a long time to be able to fully assert myself and I wonder if I had gone down the route of doing a specialist college course it would have given me a greater feeling of legitimacy. Everyone takes their own journey to establish themselves though and that is always going to be something you learn over time.

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What is your favourite memory of work? I have had some wonderful, surreal experiences working with legends like Terry Gilliam, but getting the call to work on Harry Potter [for the stage] was really thrilling. I felt like this was a project at the top of my profession and I had earned my place at the table. It is exciting to still be able to work on projects which really scare me.

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2 DESIGN AND RESEARCH

Introduction The role of the wigs, hair and make-up artist in the design process is to bring their particular set of expertise and understanding to the table to support the design development of the show. Depending on the nature of the production, they may be designing elements, or facilitating the vision of another designer. They must have a good understanding of the conceptual and aesthetic sensibilities of the creative ambition of the production, but also a firm grasp of the material possibilities and technical considerations of what they will create. The wigs, hair and make-up department at the National Theatre is in the very advantageous position of following a production all the way from design conception, through production to the last day of performance.

In this chapter you will learn ●

How to analyse a script.

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How to research a historical period.

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How to develop a design.

Design brief The general concept for the design and setting (or ‘miseen-scène’ as it is sometimes called) of a show is decided between the director and designers. Depending on the scale of the production there can be individual designers for each aspect, such as set, lighting, costume, hair and make-up, or one designer who encompasses all roles. If the writer is present during the production, they will also have input on the aesthetic of the show, especially for new productions. The performers also often have an idea about the aesthetic of their character, having worked through the character’s backstory and motivations beyond the setting of the play in their preparations and research, even more so if the show has been devised in a collaboration between the director and the company. Some shows are designed before they are cast and the character ‘looks’ are very prescribed, regardless of who is playing the role, this is mostly true for productions that feature real historical figures or if the overall aesthetic is 28

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very fantastical or non-realistic. More frequently a designer will respond to casting to make the most of the individual performer in the role they are playing. This process varies with each project but a certain amount of flexibility in the design gives the aesthetic a chance to develop during rehearsals. The wigs, hair and make-up team may have advance notice of designs before the rehearsal period starts, but usually the designers begin design discussions in the first week of rehearsal. Some designers will produce detailed drawings, some will use reference images, collage or mood boards, taking different elements of colour and shape from different images and using a broad range of inspiration to communicate clearly the world of the play and character through their look. The design should always serve the story and the performers, and it is a very collaborative process. There is no right or wrong in creative practice, only whether or not you are communicating the intended message, using a shared visual culture to give the audience clues to the character. This tool can be used in subtle or very obvious ways and put to work across the whole spectrum of performance from tragedy to comedy. Drawing is not essential to the design process, but the ability to communicate ideas quickly and simply through a sketch is very useful. Especially as changes often happen at short notice during the latter stages of pre-production and, as anyone who has been to the hairdresser knows, trying to communicate something visual through language alone is DESIGN AND RESEARCH

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very challenging and prone to misinterpretation. Sketching is also a great way to solidify your own thoughts as a designer, the process is often about narrowing down what you don’t want as much as knowing what you do want.

EXERCISE: CREATE A DESIGN Think of a character from a play you know. Use faces from newspapers and magazines to sketch or collage over. Try sketching a design in a variety of different ways, see what works for you. You can use hard copy or digital media for this.

Script breakdown As with all theatre production departments, the elements of a project start with a script breakdown. The wigs, hair and make-up designer as well as supervisor (who project manages the wigs, hair and make-up elements of the production for the designer), work through the script to highlight any descriptions, either in stage direction or dialogue, of a character’s appearance. Although many aesthetic aspects of a production are open to interpretation, some have elements intrinsic to the plot and therefore have to be considered in any design choices. 30

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The supervisor will also look for the passage of time – will the character have to age thirty years through the course of the play? Is the action chronological or does it leap forwards and backwards? Does the character change their appearance on or off stage and how much time will they have before for that transformation? – you can generally judge this by looking at how much dialogue there is between exit end entrance, a page of dialogue lasting for approximately one minute. This is also the point at which any potential stage effects can be highlighted and addressed within the overall concept. At this point, the supervisor will be able to judge how many staff will be required to manage all the work throughout the show.​

Historical research It is a common practice in modern theatre to mix historical periods and influences; after all, we are making work for a contemporary audience who hold all these references in their cultural vocabulary. However, bending the rules of visual/historical culture must be done knowingly and from a point of well-researched idea development. When designing a show with period elements, every effort must be made to find references accurate not only to the time period but also to the geographic place, cultural or ethnic background and socioeconomic position. In many historical periods, hair was one of the few places women DESIGN AND RESEARCH

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FIGURE 2.1  King Lear script with make-up effects annotation. 32

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could express themselves, so it could be a powerful way of a woman communicating her position in society and can therefore be a useful tool in telling a character’s story visually. It is also important to consider the character’s age in relation to the time period; for example, if there is a stuffy matriarch of eighty years in a play set in the 1920s, she is much more likely to be wearing a mid–late Victorian hairstyle than a flapper bob. Having a good understanding of the general hair shapes of historical periods is vital when working in the industry, as early design concept meetings often call for fast communication of aesthetic ideas without time to go away and research, and other members of the creative team, such as designers, writers and directors will rely on you to have this information to hand. When researching visuals for eras before the age of photography, taking reference from statues can prove useful. Portraits were rarely painted showing the back of the head and in many periods women’s hairdressing was far more elaborate at the back than the front. It is also beneficial to communicate with the costume team during this research, as high collars and hats played an important role in the way different hairstyles were structured. While designing from a position of good-quality research is valuable, you should remember that the images available are just a snapshot of one person, and as long as the principles of the aesthetic of the period are considered, many variations on a theme are possible.

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EXERCISE: UNDERSTANDING STATUS Find three reference images of women from midnineteenth-century Britain. One upper class, one middle class and one working class. Note the differences in their aesthetic and how the hair fashions of the period have been interpreted by each woman.

Casting Each production will have different casting priorities. In opera or dance performers are often cast for their particular talent, which can present a challenge if the character they are playing is aesthetically very different to them. A certain amount of creative licence is to be expected in these circumstances, but the designer must tackle the challenge with a sensitivity which will enable the performer to play the role and the audience to believe in the world on stage. In opposition to this, work which requires a performer to wear something which constricts or conceals their body and face must be played by a performer who has the ability to give that aesthetic life and vitality and not be overwhelmed by it. Ideally this would be discussed during the casting process, 34

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but it’s certainly a performance element which should be developed during a rehearsal period. If the cast is ethnically diverse, the designer must create a concept that is suitable for a range of hair and skin types, for example using a period silhouette and ornamentation for a hairstyle but using a hair texture and colour close to the performer’s own. The cast for theatre productions can generally be divided into three categories, although there are no set boundaries for these roles and they vary from production to production. Main/principal cast: Drive the narrative, speaking parts, usually remain one character throughout the duration of the play. Ensemble: Small speaking roles, often play multiple characters throughout the play, some ensemble members will understudy principal roles. Supernumeraries/supporting artists: Non-speaking roles, often used when productions require large crowd scenes. If there are cast members playing multiple roles, the wigs, hair and make-up designer will have to decide how the audience will be able to differentiate between the two characters. This forms part of the wider discussion about the overall aesthetic of the production, some requiring a total transformation, some simply stating to the audience they are now a different person. In the National Theatre’s 2018 production of An Octoroon, Ken Nwosu played the playwright BJJ, George Peyton and M’Closky, changing in DESIGN AND RESEARCH

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and out of characters – including applying wigs and makeup – on stage. Understudies must be taken into consideration when designing, as they will have to have a suitable aesthetic for the principal role prepared and ready at a moment’s notice. If the  principal cast member is injured during a performance, the understudy may have to go on with just a few minutes to prepare. This can mean duplicates of wigs or prosthetics and any specialist make-up needs to be prepared before opening night.

Budgeting The initial creative process shouldn’t be hampered by financial restraint, as new solutions often present themselves when a production is in development, however, the wigs, hair and make-up designer must take into consideration not only the cost of the initial set up of the show but also the running costs. As a wigs, hair and make-up department deals in transitory materials, a big part of the overall production budget is spent during the run of the production; make-up runs out, hair grows and needs cutting, prosthetics wear out and need to be replaced. The specialist materials needed are not widely available, so an adequate supply is essential for a smoothrunning production. This is particularly vital when working on touring productions. Bespoke wigs and prosthetics are very costly items, so it is important to be able to communicate 36

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with the director and production manager (who holds the budget), the true cost of certain design choices. The wigs, hair and make-up designer must also consider reparative costs which performers may have written in their contract, such as restoring natural hair colour or replacing or removing of hair extensions. The schedule of the production period should also be taken into consideration when thinking about a budget. Productions with a very tight schedule may need extra staff and speedy transportation of materials, which can greatly increase the cost of bringing the show together.

Design development and prototyping Once the initial designs have been agreed in principle, the designer or wigs, hair and make-up supervisor may produce more technical designs called head and face charts. For a hairstyle, this would be a drawing from every angle, possibly with hair colour samples and notes about any decorations or additions. For make-up, this is a chart showing the placement of different shapes and colours and notes about which products and techniques should be used. If the hair or make-up needs to match a costume fabric, a sample of that fabric should be added to the chart to provide a further reference. These charts together with the original design and reference should be taken to the first design consultation with the performer and amended as the design process develops. DESIGN AND RESEARCH

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FIGURE 2.2 Costume design drawing for Ms Manxome in wonder.land by Katrina Lindsay.

It is common for wigs, hair and make-up artists to test designs or design elements on themselves first. Making the creative leap from two dimensions to three is always a challenge and there is much less pressure to try bold creative choices on yourself. Creating prototype wigs is also very useful, as the shape of a finished piece will influence how it is fabricated, and it is crucial to be confident of those choices before production. If hair and make-up elements are intrinsic to the structure of the performance, the director will often ask 38

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FIGURE 2.3  Anna Francolini in wonder.land. Costume design by Katrina Linsday.

for support in the rehearsal process. Sometimes this will involve providing rehearsal wigs or make-up, particularly if the performers are required to apply them on stage as part of the action. In the National Theatre’s 2014 production of A  Small Family Business, Gerrard Monaco played all five of the Rivetti brothers, which required multiple quickchanges, so rehearsal of backstage choreography was vital before the show reached the stage. The wigs, hair and make-up supervisor will also be present in the rehearsal space if the show contains very quick changes, if the changes require the wigs, hair and make-up team to be on stage or if the action of the production contains a stage DESIGN AND RESEARCH

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effect which has to be prepared by the wigs, hair and makeup team but executed by the performers. Where possible, it is very useful for the whole backstage team to watch some of the rehearsal process, as this helps to contextualize the work and enables them to better support the performers.​​

INTERVIEW WITH VICKI MORTIMER Vicki Mortimer is an Olivier Award and International Opera Award-winning theatre designer. Mortimer has designed over twenty-five shows for the National Theatre, including Follies in 2017, Othello in 2013 and The Cat in the Hat in 2009.

What are the challenges of designing the wigs, hair and make-up elements of a show? Hair is a dark art to me, and I feel that I have barely scratched the surface of understanding the craft. When you hit something in a fitting that really works it is such a thrill. Sometimes it feels almost accidental when we get it right. I really enjoy it as it is such a transformatory part of what we [as designers] do.

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There is something, [this is] particularly true from the neck up, where your collaboration with the performer is at its most intimate and, in a way, intense. There is a level of complex subjectivity about hair particularly, but it is where you hope you can help the actor to get past their preconceptions about what they look like, and [move] towards character and story. Often the more extreme looks are easier, the more naturalistic looks which they would never choose for themselves are more difficult. It is [about] finding a meeting point between the needs of the character and performer, it is really delicate and often involves a lot of talking, as well as visuals. I feel almost the biggest challenge is finding a meeting place about what the job of the hair and make-up is on that production.

Do you think a lot of directors are frightened of using wigs? Yes, I was joking with someone about if you want an actor to wear a wig, you should get them to wear it from the first day of rehearsals, so there is never that distance between how the director has seen them in the rehearsal room and how they will appear on stage. There are situations when, no matter how good it is,

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you know the actor is wearing a wig because you have seen them without it. An organic, authentic, way of making theatre which grows out of the rehearsal process creates a nervousness about any kind of theatrical step which has to be taken. Lots of trials and communication can help. The last thing you want to do is put an actor in a place where they don’t feel comfortable, and if the director reacts to something, the actor will sense it and it can be hard to come back from that, it’s so personal. There are some actors who are very comfortable with wig wearing, for those that aren’t there is sometimes confusion as to, ‘How do I handle this thing on my head, how do I touch it?’ It can become a technical thing and something actors and directors don’t like is if there is a technical barrier between them and naturalism.

Did you have any discussions about wigs and so on when you were training? My training was postgraduation and very loose and conceptual, focused on ideas and collaborations. My perception about training [in design] is that wigs

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and make-up are something of an afterthought. Students do research (into) historical periods and so on, but I don’t know how much time they spend with wigmakers. Budget restrictions early on mean that designers don’t get to work with wigs until later into their career, so they don’t get to learn on the job. As we become more inclusive [as an industry] there are a lot of different attitudes coming in as to what wigs can do, which can be more than a naturalistic gesture. Which is bound to increase our palette of how we use those ingredients. Styles of performance also move on, there is a much wider range of styles of performance now; it feels like performative aspects of theatre are being celebrated more, which frees us to be more creative on some projects.

Do you find that working in opera is more visually creative than working in theatre? It depends, as a designer you are working to liberate a performance which is in the head of the director. The creative parameters of individual directors are different.

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Opera performers are much more used to wearing wigs, [but] the number of revivals is a factor. If you design a wig for a character, then that style can easily be made for another singer at a later date. Casting for character is not relevant in opera, what is expected of an opera performer is not the same total immersion into character, singers have to have a technical part of their brain switched on because of what they have to do musically. My experience of working with fittings with singers is that they look at the aesthetic technically as in how it will affect their voice. Opera singers are used to working with a concept as there’s so little technical time. The concept has to be delivered without much scope for change. It’s not a conversation, it’s amazing what singers will agree to. They turn up and they have no real idea what production they are going to be in.

When you start thinking about the hair and make-up, is it part of the overall process or do you wait until you know the cast? As my confidence has grown, I have been much more integrated in my design process, I don’t know how

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I’d split it up now. It is part of how you research, find interconnections and put your ideas together. It starts to be part of the language in a natural way, even if it starts quite impressionistic and you have to focus down. The other part of cultural change in real life is seeing the experimentation and fabulous execution of the looks of people on the street. There’s so much imagery accessible now and the sense of change is so fast, aesthetic becomes a personal journey, people become more articulate about how they want to shift their look. Young performers have a confidence and an interaction about their looks which is really exciting.

What would you say is your relationship to a wigs, hair and make-up team on a production? I think we are still bound by the budget so perhaps a bottom-line, lovely quality is inventiveness and resourcefulness. Not to be too set in thinking how things should be done; as a designer, it can help you to improvise to make things work. I love having a performer in the room and improvising around [them] with the hair on the head. It is brilliant to have someone who is confident in seeing the potentials of where a style could go. Some people have a flair

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for naturalism and that’s just great, so natural in the way they might dress a wig. A quality of enjoying improvisation and a kind of freedom and playfulness, you can work from there back to something structured but it’s hard to work the other way. One of the great things about the wigs, hair and make-up department at the National Theatre is that there is a continuity between design, making and performance as the team makes, dress and apply the wigs. It gives them brilliant perspective. I think one of the tricky moments is with actors before the show, as it is such an intimate part of a performer’s preparation. The hour before the performance is the most fraught, the preparation tension – [the] sense of anticipation – creates a volatile energy. What makes a good wigs, hair and make-up [WH&M] team member is being broad-shouldered and compassionate, a willing colleague. You are trying to support this person to get on stage and give their best performance. The quality of being collaborative and open-minded.

Would you have any advice to young designers to get the best out of hair and make-up as a tool in your toolkit?

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What I wish I had known is: don’t try to make wigs do something they are not equipped to do. Naturalism can’t be done cheaply, so you probably need to find another answer. If the design is more chosen, decisive, then you can probably find a way to do that. There aren’t short cuts to [creating] a naturalistic look and you can’t cheat it, but there are fabulous ways of using hair for character cheaply. Choose wisely what you are asking hair to do, it can do marvellous, expressive things descriptively, in terms of character and narrative.

Have you got any stand-out wigs, hair and make-up moments in shows you have worked on? Working on Follies (2017), the 1940s, young Phyliss. She had to be a real Hollywood, film noir archetype – she was based on Rita Heyworth. It had to encapsulate the context of the period. How the wig is delivered technically in a dance performance, the playful and expressive movement during the dance. It also had a great visual relationship to the older portrayal of the character. All those things arriving together was really pleasing.

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Fact 1: The 2017 production of Follies (National Theatre, dir. Dominic Cooke), designed by Vicki Mortimer, had eighty wigs spanning the 1930s, 1940s and 1970s.

Fact 2: In the 2015 production of People, Places and Things (National Theatre, dir. Jeremy Herrin), the character Emma is assailed by multiple versions of herself, requiring eight wigs which identically matched the hair of actor Denise Gough.

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3 WIG AND POSTICHE MAKING

Introduction Wigs were popularized and manufactured on a large scale in Britain in the seventeenth century, during a period known as the Restoration, when King Charles II brought the fashion for wig wearing back from his exile on the continent in 1660. Famed diarist of the era, Samuel Pepys, was proud enough of his wigs to write about them in his diary, at one point becoming concerned that his new wig could be made of hair from plague victims. The word wig is a shortening of the seventeenth-century word periwig, which in turn came over from France as a mispronunciation of the word peruke. Postiche is another French word, which translates as wig or hairpiece, but is commonly used in the industry to not only denote a false beard or moustache, but can also cover eyebrows, chest hair and even armpit hair. Wigs continued to be popular until the late eighteenth century, when a movement towards classical simplicity in

dress and a tax on hair powder caused them to disappear from all male heads apart from, mysteriously, judges and barristers. Partial wigs and hairpieces for women were still a common fashion addition in Europe until the 1960s – and they have seen a recent resurgence with the popularity of hair extensions and weft. Wig-making is still a painstaking, traditional craft and some of the tools and techniques used have not changed for hundreds of years. Although some wigmakers work for private clients, the majority of the work in the UK is for theatre, film and television. Wigs of all shapes and sizes can be used for performance, according to design requirements and budget. Bespoke wigs are generally made of human hair and made by hand to fit the individual performer. These wigs are relatively expensive and require skilled a craftsperson to fabricate, however, an understanding of the basic tools and techniques opens up a range of creative possibilities. This chapter will touch on these different aspects of wig-making.

In this chapter you will learn

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How to measure a head.

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How wigs are constructed.

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How to handle hair.

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Finding the form In order for a wig to fit perfectly, detailed measurements must be taken of the wig wearer’s head, including its size and shape. Those measurements are then used to create a copy of the head on a malleable cork and canvas head block. The wig foundation is then constructed around this block. There are seven basic measurements to take when measuring for wig-making (see diagram on the head measurement chart). ●

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Around the circumference of the hairline. From the middle of the front hairline, over the top of the head to the hairline at the back of the head. From the point above the ear, over the top of the head to the same place above the other ear. From the temple hairline, around the back of the head to the same place on the other temple. From the temple hairline across the forehead to the other temple hairline. From the hairline above the ear down to the corner of the nape. Across the back of the nape.

These specific places of measurement are always a point of discussion and argument among wigmakers (I have been WIG AND POSTICHE MAKING

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to international conferences where this was a major topic of discussion). However, these should allow for a thorough understanding of the overall shape of the head. As long as the person taking the measurements and the person making the wig (if they are different) both understand each other, then the wig should come out fine. Care should also be taken to ensure that the wearer’s own hair is prepared appropriately underneath (this is covered in Chapter 4). The general rule of thumb is to prepare the hair in such a way that it follows the natural shape of the head as much as possible. However, in circumstances where the wig is going to have a particular shape the hair can be placed strategically to support the structure of the final dressed shape. It is good practice to take a photograph of the shape of the hair preparation at this stage, to enable accurate recreation during the performance wig application. The wig wearer should be told that any changes to their own hair length will have an effect on how the wig fits. I have worked on projects where performers have turned up one day with hair extensions, then been baffled why their wig doesn’t fit. A stocking cap should be placed on top of the hair to secure. If microphones are being used in the performance, sometimes the sound department will request that the microphone battery pack is worn under the wig. This is particularly necessary when the actor is very active or appearing naked in the performance. During the 2013 production of The Light Princess, Rosalie Craig was flying using an aerial harness for much of the performance, so the 52

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need to have all cables covered was very important. Space for her two microphone battery packs was built into the wig. It is important to establish this at the first stage of wig-making as the packs will affect the fit. At the National Theatre we use a stand-in shape to represent the pack and pin it to the stocking cap. The head measurements and additional details listed on the chart can now be taken; however, we include an additional step to increase the accuracy of the measurements and provide additional details for the maker.​

Taking a head wrap This is a very simple but effective method of copying the shape of the wig wearer’s head and also allowing the maker to document the shape of the hairline and the form of the finished piece on the wearer’s head. There are other methods, such as lifecasting, but this is quick, easy and effective. This principle can be applied to taking a pattern for any other postiche, such as moustaches and sideburns. You will need: ●

Hair prep equipment (comb, grips and stocking cap)

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Tape measure

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Measuring chart

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Clingfilm WIG AND POSTICHE MAKING

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FIGURE 3.1  Head measurement chart for wig-making.

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Sticky tape

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Marker pen

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Scissors

Method: ●

Set out all your equipment to hand.

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Prepare hair for wig (see Chapter 4).

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Take a long piece of clingfilm and lay over the forehead, get the performer to hold the ends taut if you don’t have assistance (see photo one). Take another piece of clingfilm and lay it over the back of the head, overlapping with the front section and ensuring there is plenty of coverage over the hairline. Twist the two ends of the film together to tighten onto the head. Lay a long piece of sticky tape across the head, one front to back and one ear to ear. This will secure the head wrap. Use strips of tape to cover all the clingfilm – it is very important to cover all the hairline. Once covered take the measurements on the measurement chart. With the clingfilm still on the head, take a marker pen and draw on the hairline. This is also an opportunity WIG AND POSTICHE MAKING

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to draw in any partings or design requirements needed during wig construction. Some people like to draw on the eyebrows too, to get a good balance of the shape of the hair on the face. ●

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Cover the pen marks with tape to prevent them rubbing off during the making process. The wrap can now be carefully removed and attached to a wig block and padded out using wadding, plastic or paper. This will form the base of a foundation.

EXERCISE: TAKING A MOUSTACHE SHAPE Take a small rectangle of clingfilm, cover in strips of sticky tape and hold under the nose, then draw on the desired moustache shape. This can then be used as a template to create a moustache out of any material you want. Use the wearer’s face for the template to make sure it will fit and be the correct proportions.

Foundation construction Once the head wrap has been padded out, the foundation can be made. Foundations are generally constructed from 56

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a specialist fine nylon net or lace, and various thicknesses and colours are available, dependent on the demands of the project. The foundation is constructed much like a garment, in shaped sections to fit the three-dimensional shape of the head as closely as possible. The front of the wig, the nape of the neck and the parting are generally constructed from a finer lace, coloured to match the skin tone of the performer. This helps the lace to be less visible when worn. The net has a hexagonal pattern that can be used in different directions to mimic natural growth patterns. The sections of the wig are drawn onto the head wrap and cut accordingly. They are then pinned securely and sewn or whipped (sewing using a knotting hook) together with secure seams. Pleats are added to further shape the lace to the padded block. A cotton line is sewn into the lace to mark the edge of the hairline, this will be removed once the wig is completed.

Knotting the wig Knotting (or ventilating) is the method by which the hair is added to the foundation. The hair is drawn through the bars in the lace and tied around itself using a knotting hook. I’ve added an illustration, breaking down the stages of this action, but there are many visual resources available online. Hair can be pulled through singly or in small sections of three or four strands. The direction of the knotting will influence how WIG AND POSTICHE MAKING

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FIGURE 3.2 Knotting direction chart for adding hair to a wig foundation.

the hair sits on the foundation and can be used to give the illusion of root lift. A well-knotted wig can be very durable and withstand chemical and heat processes. The wigmaker can change the direction of the knotting throughout construction to replicate natural growth patterns and movement, such as the parting and the crown. The wigmaker can also mix hair colours when knotting, this gives a more natural finish and can be used to add highlights and lowlights.​​ 58

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FIGURE 3.3  Step-by-step illustration of knotting a single hair into wig lace.

Hair selection For natural-looking wigs, human hair is generally used, as it is more versatile, durable and realistic than any other fibre. Don’t be surprised if some people have a strong reaction to the idea of using human hair, there’s a member of the Stage WIG AND POSTICHE MAKING

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FIGURE 3.4  Hair bundles and drawing mats for wig-making.

Door staff at the National who doesn’t even like handling the hair in the delivery package. I consider it as just another natural fibre, like wool or cotton, but it’s worth bearing in mind if you have a performer who has reservations about wig wearing. Where we get hair from is a source of constant fascination to people, possibly being the most asked question by members of the public on backstage tours, second only to a man pointing to his bald head and saying, ‘Can you do anything about this?’ People have fantastical ideas about where it comes from, from donations by the public all the way to grave robbing. Human hair is sourced by a hair 60

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merchant, who buys the raw hair, cleaning and processing it so it is ready to work with. Human hair must be handled carefully when knotting, as the construction of the hair shaft is made of scales which grow down away from the root. If the hair is knotted into a wig in the opposite way to its natural growth the scales will knit together and create a matted wig which cannot be used.​ Care must be taken when washing the wig to ensure the hair does not mat together. In order to prevent this the hair is kept in drawing mats with the root direction clearly marked. There are a few alternatives to using human hair. Acrylic hair can be used when appropriate but is harder to work with and less durable. Mohair is sometimes used for fine baby hairs around the hairline, and for coarser hair or facial hair, belly hair from the yak can be used.

Re-fronting and wig reuse As wigs are an expensive commodity, reusing them where possible can be a real economic saving. Human hair wigs can be treated in a similar way to a real head of hair; cut, dyed and permed. Wigs can also have hair removed by plucking or using a chemical hair remover and you can add hair. If the wig needs to radically change, the front section can be removed and remade, as the front hairline is the most important part of the wig for fit. It is important to thoroughly wash any wig before it is reused for another person. WIG AND POSTICHE MAKING

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Postiche-making Beards are constructed in much the same way as wigs, with the same method used to create a base pattern and foundation. If making a moustache, it is generally a good idea to make more than one, as they can tear easily with repeated application and removal. They can also very easily disappear backstage, attached to an actor’s shoe. To make it easier for an actor to speak and deliver their lines, it may be necessary to make a beard in several parts, then assemble it on the face like a three-dimensional jigsaw. This should be taken into consideration during the making process. Facial hair in multiple pieces allows for a lot more

FIGURE 3.5  Knotting a beard.

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comfort and ease of expression but can be time consuming to apply. I worked with Simon Russell Beale on Timon of Athens in 2012 and had exactly ten minutes in the interval to apply a seven-piece beard. He then went on to perform the second half of the show with no breaks for checks or regluing. We had the routine timed with military accuracy, but it was a hair-raising ten minutes every night. Postiche will need to be dressed once made, which is covered in Chapter 4.​

Weft and hair pieces Hair pieces can be made to be used with a performer’s own hair, either to add length or change a style. It is common to use a performer’s front hairline and add a piece at the back. A partial wig can be made for this, but also hairpieces can be constructed from weft. Weft is a strip of hair made by winding small sections of loose hair around several strong threads under tension; it can be bought or made to a specific requirement. Weft can be sewn into particular hairpieces called clusters or switches.

Fact 1: To protect her hair from getting damaged during the 2010 production of Season’s Greetings (National Theatre, dir. Marianne Elliott), Catherine Tate had a wig made which was an exact copy of her hair.

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Fact 2: For the 2012 production of The Magistrate (National Theatre, dir. Timothy Sheader), John Lithgow had a secret panel sewn into his toupee which contained a rubber bat. This bat was suddenly produced to a huge laugh in the middle of a scene.

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4 WIG AND HAIR DRESSING

Introduction People always ask me how long it takes to do my hair, I don’t know I’m never there. DOLLY PARTON

A change of hair is a simple way to indicate a transition of time, or a different character. Sometimes the styling of the hair will be dictated by the period of the production and the specific aesthetic of the character, for example Lady Godiva famously had long hair, so anyone playing her would need to use a wig or hairpiece. No wig will come ready to wear, even the cheapest plastic party wig will need a little shake or a comb to come to life. Complex period styles require a lengthy process of setting, drying and styling to achieve a desired look. This often has to be carried out daily as styles can become dishevelled and damaged by the rigours of

performance. Even the simplest of wigs can be transformed with a little care and attention from a skilled technician.

In this chapter you will learn ●

The correct way to prepare a wig.

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Essential wig dressing techniques.

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Useful equipment.

Blocking a wig Once the head wrap has been suitably padded to fit the performer’s measurements and design specifications, the wig must be appropriately blocked. The blocking of the wig serves two purposes, it secures the delicate lace foundation of the wig and prevents damage and shrinkage while setting and applying water and heat. Blocking also flattens the front lace, which should sit snugly against the forehead while being worn. This will not only provide a good fit, but it prevents the lace from being seen. Blocks are available in a range of materials; they can be bespoke plaster casts of the head, to widely available, cheap polystyrene mannequin heads. The most traditional and frequently used blocks are hard-wearing cork-filled canvas. They are made in a selection of sizes and have good malleability to pin into. 66

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Although blocks come in different sizes, they will never be a perfect match to the performers head shape. This means the block has to be padded out to account for the difference. Thin plastic, wadding or tissue can be used for this purpose. After padding, the block is generally waterproofed using clingfilm to prevent water damage and lengthen its life. If the dressed style sits on the face, or there are defined elements which have to match up to the wearer’s features, we will often draw the style on the block at this stage. This helps with continuity of reproduction throughout the run, it also gives the performer a reassurance of continuity.

Wet setting Setting a wig properly is vital, to help it endure the rigours of a hot and physical performance or the wearing of hats or multiple quick changes. In order to give the best set possible, we often use water and heat, such as a hood dryer or drying oven, to ‘set’ the curl. The water and heat weaken the protein bonds of the hair, allowing us to temporarily reform its structure around a hair roller. As the hair cools around the roller, the bonds strengthen again.​ Wigs generally have to be set before each performance, as the heat – and moisture – generated by the performer will disrupt the protein bonds and cause the curl to drop. This technique is mostly used for pre-twenty-first-century hair WIG AND HAIR DRESSING

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FIGURE 4.1  Wet setting a wig with rollers.

styling, as a ‘dressed’ style was popular until the 1960s, when the hair cut blow dry took over as the popular aesthetic. There are several different techniques of wet setting, each lends themselves to a particular period or style of hairdressing. The hair can be set in close waves to the head by thoroughly wetting the hair, combing into shape and 68

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securing with galloon tape while drying. Once dry, the hair is gently combed to soften the shapes and lightly sprayed with hair spray. This technique is used most commonly for the ‘Marcel wave’, which was extremely fashionable in the early twentieth century. Wigs are frequently set using plastic, metal or wooden rollers. This will give the style root lift and durability. Care should be taken to remove the marks of the rollers when dressing out. The level of root lift can be adjusted by altering the angle of the hair against the head when rolling up. To create long, soft curls and ringlets, flexible rollers can be used; the length of the roller helps to create a natural curl drop. Pin curls are used for soft period styles and natural curls. They are formed using wet hair rolled around itself and pinned in place to dry. Pin curls can be placed vertically or horizontally to adjust root lift. Any rigid form can be used to set hair, we have used cardboard and plastic to set hair into flat and geometric shapes. The hair can also be pinned into the block on a particular shape and left to dry. If wet setting is not an option, heat setting can be achieved on natural hair wigs using heated rollers or tongs. This way of setting is not as durable as wet setting, but can essentially achieve the same effects. Blow drying is another form of heat setting. It is frequently used for contemporary plays and is an essential part of a wig dresser’s skill set. Wigs can be made with pre-curled hair, reducing the need for setting, but if this is not the case, any natural hair wig can be permed. In the first half of the twentieth century, many WIG AND HAIR DRESSING

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ordinary women who wore dressed hair would have a perm to give the curl and have an occasional set to create the style. In order to style synthetic wigs, the acrylic hair fibres need to be changed using steam. A commercial steamer is most efficient for this, but a kettle and plastic bag can be utilized with care, as working with hot steam can be dangerous. Acrylic hair is far less heat resistant than human hair and although improvements have been made in some acrylics, making them more able to withstand heat, use of direct heat such as hot tongs should generally be avoided. I had one of my worst days at work ever when, early in my career, I placed a whole load of acrylic wigs in a too-hot drying oven, frazzling the ends and shrinking them by about two sizes. I had to make some serious apologies to the cast and pull together some replacements from the spares box at the last minute. It is not a mistake I made again and not one I would want you to make!

Dressing out Combing the style into the desired shape is called ‘dressing out’. The ability to dress out a hairstyle which is secure and correctly fits the design is a key skill for any wigs, hair and make-up artist. When preparing the wig, it is important to have a good understanding both of the aesthetic of the designer and also the practicalities of the performance. Will

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FIGURE 4.2 Fleur de Bray as Katherina Cavalieri in Amadeus, wearing an eighteenth-century style wig.

this performer be taking this wig off or putting it on quickly? Will they be dancing? Will they be involved in a stage fight? I have worked on shows where the fight choreography has to look like the character is being dragged by the hair – consideration needs to be given as to how will the wig be secured to allow this. In the 2013 production of Emil and the Detectives, we had to dress a wig in such a way that a piece could be cut out each night without ruining the integrity of the wig. To overcome this, we used a removable hairpiece, but even then, the actor would sometimes get a little scissor happy. All these elements will affect how the wig looks and feels, so should be thought about at this stage.​ WIG AND HAIR DRESSING

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A level of objectivity is important to check for balance and to see the style. The easiest way to do this is to dress the style while looking in the mirror, allowing you to see the style as a whole, rather than its constituent parts. As wigs don’t have a natural oil source, it is important to keep the hair moisturized to avoid a dry, brittle look. Wigs are generally dressed using a dressing conditioner and shine and hold spray are added when the style is finished. Depending on the requirement, different strength products can be used, but overuse of hairspray is often the cause of wigs looking fake on stage. Each wigs, hair and make-up artist has their own preference for equipment and knowing what you like comes with practice. We are always curious to try new tools; however, there are some basic combs and brushes which are very useful: tail comb; wide-tooth comb; paddle brush; airflow brush; teasing comb and afro comb. These are covered in more depth in the glossary. Grips and pins come in a wide variety of shapes and sizes. They serve different purposes and are very personal to the individual technician. When working with a lace wig, it is important to use fine pins, so as to not damage the delicate lace around the hairline. To master the art of wig dressing, you must become comfortable with holding the hair under tension. This allows the dresser to take their time in placing the hair in the best position before the judicious use of dressing pins and clips allows the dresser to let go of the hair. 72

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Fine netting can be placed over the wig while it is being worn, to protect styles which have to withstand a lot of movement, such as hats going on and off. Period styles, from beehives to powdered wigs, are often required to have a lot of height or volume. Adding height and volume starts in the set but can continue in the dressing. Backcombing can add volume without additional weight, but for more height, width and volume padding can be used on wigs or hair. Foam, crepe or synthetic hair are commonly used for padding. They are contained in a nylon net or stocking, formed to the desired shape and fixed securely to the roots of the hair. For larger structures, cages can be made. Constructed from wig lace and modelling or piano wire, their lightweight rigid structure can add large volume and height without too much additional weight. As preparing the performer’s hair to wear a wig takes place during the performance, it is included in Chapter 7.

EXERCISE: TRYING OUT STYLES Buy an inexpensive acrylic wig and experiment with dressing it into different styles. This can be done on your own, or someone else’s head, or by using a polystyrene head block. How many different looks can you achieve with one wig using the techniques above? If you would

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like to work with a wig with a lot of length or volume, experiment with sewing two wigs together. Record your processes by taking notes, images and videos. .

Hair decorations and accessories A resourceful wigs, hair and make-up artist will collect a selection of bows, feathers, fake flowers, beads, antique hairpins and other hair decorations to add finishing touches to a hairstyle. For many historical periods, the hair decorations are a vital part of the aesthetic, so these should be researched carefully. Many period productions will have hats as part of a costume and this should be taken into consideration when designing hair styles.

Dressing a performer’s own hair Sometimes the performer’s own hair has to be set to fit certain design criteria. Heat setting is commonly used but this must be done with care as can be very damaging if used repeatedly. In the 2019 production of ANNA, the lead performer wore in-ear microphones, which conveyed the audio of the performance directly into headphones worn by the audience. The microphones had to be hidden by the hair at all times but could not touch the hair as this would have 74

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caused sound interference. Multiple trials and adjustments needed to be made during performance development to achieve this consistently.

EXERCISE: LEARNING TO CONTROL HAIR Try out different plaiting and braiding styles, such as herringbone and box braids. These are easy to learn from online resources and will teach you good techniques of controlling and manipulating hair.​

FIGURE 4.3  Dressing a wig with ‘finger’ or ‘water’ waves.

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Barbering, cutting hair and colouring Not all wigs, hair and make-up artists are qualified as hair cutters, but it is a very useful skill to acquire. Continuity haircutting is an important part of the job, as a specific haircut will need to be maintained to its original design throughout the run of the show, actors playing military characters may require their hair to be cut once a week, for example. If a show is touring, it is important to have a trained hair cutter on the team, as character haircuts can be difficult for a highstreet barber to replicate. It is easy for the original haircut look to drift away from the design over time, particularly if the performer doesn’t like it. If the performer is prepared to use their own hair,  the colour may need to be changed, either because the hair design has a specific colour requirement or their contemporary lightened or coloured hair will not fit with the aesthetic of the production. Changing the colour of a person’s hair should always be undertaken by a trained professional as reactions to hair dye can be serious. If no one qualified is available the performer can go to a hairdresser’s, but the wigs, hair and make-up artist should accompany them to ensure the desired effect is achieved. High-street hairdressers sometimes struggle to understand a non-contemporary character aesthetic, particularly if the look is not going to be flattering. If you are radically changing the colour of a performer’s hair, this requires some discussion and diplomacy. Although many contracts oblige them to change their hair according 76

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to the design, they will have to live with it for the duration of the show. If they want their hair returned to its original state after the show, some money should be put aside in the budget for this.

Cleaning and storage Wigs should be cleaned regularly during a performance to maintain a high level of hygiene for both the performer and the technician. If the wig is of a type which is hard to clean and dry in line with the performance schedule, doubles can be made to be washed and worn on rotation. Human hair wigs can be washed with generic shampoo and conditioner. Extra care must be taken not to matt the scales of the hair together when washing a wig, so shampoo should never be rubbed in, rather delicately drawn through with the hands or a wide-tooth comb. The lace front of the wig should be cleaned with an appropriate cleaner, glue removed with acetone or specific solvent and make-up residue removed with isopropyl alcohol. Wigs are delicate and can be easily damaged during the cleaning process, so this should always be a task undertaken with great care and attention. Human hair wigs should generally be cleaned on a block to prevent warping and shrinkage. Acrylic wigs are more durable and can be cleaned with gentle fabric cleaners and conditioners. Human hair wigs can have a long and useful life if stored correctly. Wigs should be cleaned, dried, then stored in a WIG AND HAIR DRESSING

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dust-free and dry environment, either hung up or neatly in storage containers. Long wigs should be loosely plaited. At the National Theatre, we store wigs according to colour, length and head size. A wig should never be repurposed for another performer without thorough cleaning. Understudies on production should not share wigs with the cast members they are understudying.

Dressing postiche All knotted hair pieces will need some form of processing to achieve a realistic finished look. Facial hair is often made with a coarser textured hair, usually yak, to more closely mimic the texture of facial hair. In its raw form, yak hair is usually too straight and will need curl adding. Hair can be pre-curled by perming or boiling, or the hair can be permed once the piece is made, but often hot tongs are used to add additional curl and shape. If the moustache is of a particular period style – think Salvador Dali or Lord Kitchener’s moustaches, for example – hair product or moustache wax can be added to maintain the shape. Care should be taken, particularly with moustaches, to tame the hair as much as possible. False moustaches are uncomfortable at the best of times, but a stray hair tickling the nose on stage can be torture for an actor. A well-dressed piece of postiche can become an iconic symbol in itself, just think of the moustaches of Poirot or Charlie Chaplin.​ 78

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FIGURE 4.4  Curling a moustache with hot tongs.

Fact 1: In the 2018 production of Top Girls (National Theatre, dir. Lyndsey Turner), the actor playing Lady Godiva wore a wig 50 inches (127 centimetres) long.

Fact 2: To construct the avatar Alice’s wig for the 2015 production of wonder​.la​nd (National Theatre, dir. Rufus Norris), we used tutu fabric and fine netting made for catching birds for scientific research.

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5 MAKE-UP

Introduction ‘Character’ make-up is hard to define; it can be as subtle as tired shadows under the eyes, or as extreme as ‘whiteface’, such as used in the 2009 production of Death and the King’s Horsemen or An Octoroon from 2018. Character make-up is an integral part of the visual expression of a particular role and would not generally encompass ‘day wear’ cosmetic make-up. Time and budget restrictions usually dictate that any standard make-up is generally undertaken by the individual performer, under consultation with the wigs, hair and makeup supervisor. Performers usually have general coaching in make-up application during their drama training and due to improvements in lighting technology, traditional stage make-up is no longer used as standard. Many performers will use their own personal cosmetics and some do nothing at all. For some performers, the application of their makeup is an important part of the transition from themselves to

the character and they will have certain traditions and rituals associated with this preparation.

In this chapter you will learn ●

The most common make-up materials.

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The most common theatrical make-up techniques.

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Casualty effects techniques.

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How to design a make-up look.

Cosmetic make-up Cosmetic make-up encompasses foundation, blusher, contouring, eyeliner, eyeshadow and lipstick. These products would generally be bought in high-street stores and used day to day by an ordinary person. Relatively cheap, easy to apply and blend, cosmetic make-up is a good tool to start experimenting with make-up design and application – many professional make-up artists, including me, started out by raiding their mother’s make-up box. In the last few years, items which would have previously only been available from professional make-up suppliers, such as colour correction pigments and contouring powders, are now easily found on the high street. In theatre, actors usually supply and apply this type of make-up themselves if required. They would have a make-up consultation with the designer and make-up supervisor to decide what intensity 82

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and colour palette is appropriate to the character. If you do have a budget for make-up, it’s advisable to have a discussion with your performers about what make-up they wear in their everyday life, as they will often have a good idea of what shades and textures of foundation work best with their skin. It’s part of the job of a make-up artist to make the performer feel comfortable and finding a base make-up they are happy with can go a long way towards this. However, some cosmetic make-up techniques, such as spray tanning, do fall within the creation of a character look and are undertaken by the wigs, hair and make-up team. In the 2016 production of Sunset at the Villa Thalia, the characters were on holiday and needed to be given fake tan lines. The actors were spray-tanned wearing their swimsuits, to achieve the appropriate effect.

Specialist make-up Most commonly thought of as ‘face paint’ water-based makeup is available in cake, cream or liquid form and can be activated, diluted and removed with water. This is available in a broad range of colours, is easy to apply and remove, and is generally hypoallergenic. It can be used to cover large areas, such as in body painting, and can also be used for fine, painterly detail. The principal drawback of water-based make-up is that it sweats and rubs off easily. It can also crack and flake off if applied very thickly. MAKE-UP

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Oil-based make-up, traditionally known as greasepaint, is often thought of as theatre make-up. It was used when performers needed to apply strong bases and definition as a default to counteract harsh theatrical lighting. When I was a child, my mother was in an amateur dramatics group and had a box of greasepaint which I remember opening, the smell of it was both strange and glamorous. Oil-based make-up can come in a broad range of colours, is blended easily and used to great effect for dramatic changes to the shape and expression of the face. Oil-based make-up does not dry and needs to be fixed in place with translucent powder, which is then brushed off. This type of make-up needs to be removed with an appropriate remover to prevent skin damage, particularly important if the look is being applied many times over the run of a show. Alcohol-based make-up is the newest addition to the group of specialist make-up, coming from the film industry in the late 1990s. It is soluble in pure alcohol, such as isopropyl alcohol and has a delicate, watercolour-like quality, which can be built up in layers to give remarkable realism, particularly for effects that are mimicking something under the skin such as a tattoo or bruise. Once the alcohol evaporates, it leaves the pigment on the skin, creating a very durable effect, which cannot be immediately sweated or rubbed off. This can also be used on teeth and hair and many make-up companies have formulated palettes which provide a good range of appropriate colours for different tasks. This make-up type can also be applied with an airbrush. Alcohol84

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based make-up palettes are quite expensive and the makeup artist must be cautious when using alcohol around the performer’s eyes.

Tattoos and tattoo coverage Due to the increasing popularity of tattooing in our culture over the last twenty years, the modern make-up artist is frequently called upon to both apply and cover tattoos. Covering tattoos can prove a challenge due to the nature of the costume being worn and the physicality of the performance. The industry has for years used heavily pigmented make-up products, initially designed for medical use in covering scars and birthmarks, building up layers of colour to attain the best coverage without giving the area a ‘masked out’ look. New, latex-based products are being introduced, which are much more durable and easier to apply. To create tattoos, an airbrush stencil or rubber stamp can be used; however, the most convenient method is to use printed transfers. These can be bought pre-made, ordered bespoke or printed on a home printer using specialist paper. They are applied with a damp cloth and, depending on the performer, can last for several days. Large tattoos can be cut into sections and applied like a jigsaw puzzle. If a fullbody tattoo is required, it may be more time effective to use a partial body suit, supplemented with applied tattoos. We used this method for the character of Billy Bones in the 2014 production of Treasure Island. MAKE-UP

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EXERCISE: DIRTY DOWN Make-up isn’t always about making something look pretty. Theatrical make-up artists use a combination of powdered make-up pigments or water-based make-up, body lotion, natural oils and glycerine to create a range of mud, dirt and grime effects. Make your own dirt mixture and dirty down your hands. Be aware to not make the application too pretty and even, really work the dirt into your knuckles and fingernails.

Stage make-up for film In a large venue, such as the National Theatre’s Olivier Theatre, the make-up team needs to consider the visible legibility of make-up to the whole audience. During the technical rehearsal period, we sit in different places in the auditorium and look at the make-up in different lighting states. As the make-up is part of the narrative, we need to ensure that is communicated to all 1,000+ people in the auditorium. In the last ten years, we have had to consider that the make-up design will not only be seen on stage but may also be broadcast in HD at the cinema. At the National Theatre, we endeavour to

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design make-up with this in mind from the beginning so only very minor adjustments need to be made for the filming. The popularity of live streaming theatre both in cinema and now domestically will only see an increase in the need for this type of design work,

Bald caps Bald caps are a useful tool in the radical transformation of appearance. They can be used for comic effect, to create dramatic transformation or as part of an ageing make-up. Partial bald caps are often used under a thinning wig to give the impression of a receding hairline. Bald caps can be made of vinyl silicone or ‘cap plastic’ and can be bought off-the-peg or made-to-measure. The preparation of a performer’s hair under the bald cap is vital to the success of the finished look and the resilience of the piece. Hair needs to be smoothed down as flat as possible using a product that will not be disturbed once the performer starts to sweat. Traditionally cake soap was used for this as it could be smoothed over the hair and dried to a flat finish. However, soap is a solvent and once an actor begins to sweat (which they definitely will under a bald cap) liquid soap does not help in keeping something stuck to a hot and sweaty head. Gaf Quat, which is a thick treacle-like substance and is basically undiluted hairspray, is now more commonly used.

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Once the hair is prepared the bald cap is attached with a flexible adhesive, usually latex-based to allow for the movement of the performer’s head and neck. The cap can be pre-coloured to match the performer’s skin tone or makeup, meaning only a small amount of make-up needs to be applied to blend the cap to the skin. When colouring caps, be aware that even the most perfect skin is not an even tone and if you don’t add some colour variation, they will look like they are wearing a swimming cap no matter how good your edges are. Whenever you are glueing something to someone, make sure you have the correct remover and plenty of skin and hair cleansing products. Bald caps are challenging to wear for a performer, they can be hot, restrictive and uncomfortable. A full bald cap is difficult to apply and keep in place for the length of a performance. If it is possible to use a half-bald cap, with a hairpiece at the back of the head, these are much more comfortable to wear, easier to apply and generally look better as you don’t have to manage the difficult area at the nape of the neck. If a bald cap needs to be used, it is advisable to practice before getting to stage, ideally on the performer if you can, so they can have time to work in it, but if not on yourself or a friend, so you develop an efficient and effective technique. When we designed the make-up for Benedict Cumberbatch as the Creature in Danny Boyle’s 2011 production of Frankenstein, through a process of trial and error we created a bald cap in several parts. We hid the joins with hair pieces and prosthetics, allowing the 88

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performer a greater range of motion and more security that the cap would stay on throughout a very physical performance.

Casualty effects Casualty effects are frequently used in theatre and often there isn’t time to apply a complicated prosthetic. Great results can be achieved using light and shade to create the illusion of a wound or burn. There is a huge range of products available from bruise powders to fake blood which dries to a scab. Finding good reference material is an important – and a slightly macabre – part of the job, and you should look carefully at the make-up on stage to judge if it looks right to the audience. Make sure you have a range of skin tones in your reference library, we use a broad range of casualty effects colours and blood to create the most authentic look for each performer. It is interesting to consider that some real injuries will look fake if recreated in make-up, such as a perfectly round black eye. I have given myself black eyes playing sports in the past which have looked straight out of a joke shop. The make-up artist should use their professional judgement when working from reference material. Fake blood is a very useful tool in the make-up artist’s arsenal (at the National we buy it by the gallon). But care should be taken to select a good-quality product, especially if using blood around the face, eyes and mouth. It may be tempting to use food colouring but be aware that it stains the skin. MAKE-UP

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EXERCISE: MAKING A WOUND WITH BRUISING You can experiment using any make-up products you have, water-based, oil-based or even cosmetic makeup. You will need enough colours to mix a palette of reds, yellows, blues and greens. Build up your layers of bruising, working from light to dark colours. If you are making an open wound, leave a lighter space around the wound area to fool the eye into believing that area is raised where the skin is broken. If adding blood, you can experiment with using food products, but be wary of using food colouring as it can stain the skin.

Teeth, eyes and nails Changing the teeth, eyes and nails of a character can be hugely transformative, but special care should be taken with these sensitive areas of the body. Contact lenses can be ordered online or made for a project, but the wearing of contacts should be discussed with the actor early in the design process, as this is a very invasive thing, particularly if they don’t wear contacts as part of their daily life. Coloured contact lenses will restrict the vision of the wearer, so the 90

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set design and the performer’s action on stage should be risk assessed for reduced vision. False teeth are generally made by specialist companies to fit perfectly over the performer’s teeth and not restrict their speech. Again, this would have to be discussed with the performer at an early stage in rehearsals as it will have an effect on the way they speak and perform. Specialist tooth make-up or ‘tooth enamel’ can be bought to discolour and black out the teeth. This is easier for the actor than wearing false teeth, and it is cheaper for the budget, but care should be taken if the performer has crowns or veneers as these can be potentially discoloured. If as a make-up artist you are applying colour to the teeth, make sure you have also brought a toothbrush and toothpaste to remove it, no one wants to have to travel home with blacked-out teeth.

Prototyping and face charts Often the performer will not be available for many make-up tests before they go on to the stage. If you are working with a leading performer, the director will be very reluctant to let them out of the rehearsal room for anything, so you may have to grab a few minutes here and there. To prepare for this, you can use face charts to plan the make-up shapes and overall look, sometimes working on a two-dimensional chart can clarify a design in a way that working on a face cannot. It is also a very quick and easy way to express multiple ideas, I often sketch on face charts when talking to a designer to MAKE-UP

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FIGURE 5.1  Make-up face chart.

establish a rough idea of what they are looking for, working these up into a more detailed design or prototype later. You can prototype make-up either on yourself or using a standin for the performer. This will help you experiment with any shapes or application techniques. If you are making decisions about colour at this stage, it is important to work with someone with a skin tone similar to your performer. If you have digital manipulation packages, you can use a photograph of the performer as your face chart, taking down the opacity of the image or outlining their features. You can also over paint corrections or additions to photographs of your prototype make-up. You don’t need expensive apps 92

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or programs to do this, in the past I have used a good oldfashioned photocopier and it works just as well.​

EXERCISE: BRINGING A DESIGN TO LIFE Design a make-up look using a face chart and try out elements of the design on yourself. Photograph your experiments and make notes of what you would do differently.

Skincare The skin is a make-up artist’s canvas and it is important to have a good understanding both of the skin and the products you are putting on it. It is professional courtesy and health and safety best practice to make every effort to research products and prepare for any potential skincare issues. There will be instances of performers having reactions to certain products or applications, but the severity of these can be reduced with swift and well-informed action. If a performer has a strong sensitivity or allergy to a product, it is likely that they will be aware of this, which is why it is important to discuss the products you plan to use with them during their design consolation. Skin reactions are commonly caused by the incorrect removal of make-up products and by adhesives. Performers MAKE-UP

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often hurriedly tear-off beards and scrub their faces to rush for a train (or to meet friends in the pub). While this urgency is understandable, it is much easier to prevent a skin issue than deal with one when it flares up. Make sure you have all the correct removers for your performer and if you can’t be there to help them at the end of the night, make sure they understand the best way to remove their make-up and the consequences of removing it in haste. These steps may seem like overkill, but you will both be glad of it when the run finishes and the performer still has skin on their face. Cleaning make-up products and tools regularly, especially in between performers, can go a long way to prevent skin reactions. Although it is part of their job, it is important to be sensitive to the fact that wearing heavy make-up can be hard on a performer. I once worked on a production where I had to paint an actor’s face bright green. The production ran for a year and although he removed his make-up carefully, he always had a slight tinge of green. At the end of the show, he threw away all his towels and bedding, which had gradually become greener and greener as the year went on.

Fact 1: In the 2017 production of Pinocchio (National Theatre, dir. John Tiffany), the ensemble cast wore make-up inspired by Italian religious wooden statues. A layered texture effect was created to mimic paint peeling off old wood.

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Fact 2: For the 2009 production of The Cat in the Hat (National Theatre, dir. Katie Mitchell), the make-up design had to faithfully represent Dr Seuss’s original illustrations. We used free brush strokes to recreate the pen and ink drawings and plaited horsehair for the Cat’s whiskers.

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6 PROSTHETICS AND STAGE EFFECTS

Introduction Stage effects have always been a large part of the work of the wigs, hair and make-up department. Any theatre which stages Oedipus or King Lear will have to spend time strategizing about the best way to create gruesome on-stage blindings, never mind the buckets of blood needed for Titus Andronicus. Prosthetics have been in use for many years – you couldn’t stage a production of Cyrano de Bergerac (written in 1897) without consideration of his formidable nose. However, the changes in lighting, audience and directorial expectation and the increasing use of film, both integral to the performance and external in the form of live cinema broadcasts, have dramatically changed the approach to producing prosthetics for theatre. The materials and techniques used for prosthetics in theatre are now much more in line with our peers in television and film.

The materials used have developed from foam latex and liquid plastics, both dangerous to process, to silicone products, which are much safer to work with and give a more real looking light-absorbing surface. They are also more skin like in their texture and flexibility. It is important when designing prosthetics to be mindful of the limitations of the performance. How long will you have to prepare the performer for the stage? How active will they be during the performance? Will there be time for checks during the performance or do they never leave the stage? The wearing of prosthetics can be uncomfortable and intrusive to an actor’s performance, so it is crucial to have a good discussion with them about the realities of wearing prosthetics at the design stage.

In this chapter you will learn ●

How prosthetics are created from start to finish.

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The application of prosthetics.

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Blood and stage effects.

Making prosthetics Lifecasting The lifecasting process creates an exact copy of the area of the performer’s body where the prosthetic is going to be worn. 98

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This is usually the face and head, but any body part can be cast. If making a small prosthetic, a discreet area such as an eye or ear can be cast but it is generally better to cast the whole face as you get a better idea of how the prosthetic will sit in balance with the rest of the features and if additional effects make-up will be needed to complete the look. Casting can be a difficult and uncomfortable process for the performer. As the make-up artist, you need to be extremely well prepared, with appropriate assistance to ensure the performer is as comfortable and confident as possible before you begin. Casts are traditionally taken using alginate, more commonly associated with dentists taking casts of teeth. Alginate is easy to prepare and safe to use; however, it cures (dries) extremely quickly, limiting the time available to apply it to the area being cast. This is particularly challenging when making a cast in two parts, such as a whole head or arm. The alginate cast can only be used once to make a plaster positive cast and must be cast immediately as it is prone to shrinkage. A silicone substitute is now available, which does not shrink and can be used to take multiple positives for the ease of creating different sculpts.

Filling the cast Once the lifecasting process has created a negative (an imprint of the shape), it needs to be filled with plaster or PROSTHETICS AND STAGE EFFECTS

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resin to create a positive cast; this will be a perfect copy of the part of the body which has been cast and on which the prosthetic can then be sculpted. The filled positive cast will be used to create all subsequent copies of the prosthetic, so must be durable and well made. Care should be taken at this stage to fill any small holes and to make sure the plaster has no rough areas.

Sculpting The sculpting of the prosthetic is a very important step in its later success for both the wearer and make-up artist. The sculpt has to contain all the relevant design elements, be they realistic or fantastical, to sit well on the performer’s face. The sculpt cannot be too thick as this will in turn make the prosthetic thick, difficult to attach and cumbersome to wear. The edges of the sculpture have to be blended down and the texture has to marry well with the surface of the cast. Any mis-sculpting at this stage will be hard to rectify in the prosthetic piece itself. The performer also has to be able to articulate as easily as possible while wearing the prosthetic, which may necessitate the prosthetic being made in several overlapping parts. It is at this stage that the decision to divide the parts would be made. A hard modelling material, such as modelling clay, is usually used for the sculpting, allowing work to continue over several days and for a high level of detail to be achieved. 100

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If a small prosthetic is being made, which will not be affected by the contours of the wearer’s face, this can be sculpted onto a flat surface rather than a body cast. These are commonly used in the creation of small scars, wounds and bullet holes and are known as flat moulds. The fine edge of the sculpture is surrounded by a rim of sculpting material. This will create a flashing (a border) which will protect the edge and make the piece easier to apply.

EXERCISE: CASTING AND SCULPTING You can experiment with prosthetics sculpting and casting using plasticine, latex and plaster of Paris. These are all affordable materials and widely available from craft shops. Follow the steps above and refer to the resource list for additional guidance. Ensure you have a good release agent at each stage you are adding another material – petroleum jelly will work fine for this.

Casting Once the sculpt is finished, the casting process begins again to create the mould itself. Silicone, resin or plaster is poured over the sculpt and removed once hardened. PROSTHETICS AND STAGE EFFECTS

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FIGURE 6.1  Releasing a silicone prosthetic from a mould.

The mould is then thoroughly cleaned in preparation to make prosthetics. At this stage, you should check you have everything clearly labelled, as moulds and casts can start to look the same, particularly if you are making a lot of similar pieces.​

Making the piece A release agent is then added to both sides of the mould before the prosthetic material is mixed and poured in. The different materials and mixes will depend on the specifics of the prosthetic, so it is not helpful to get into too much detail about this in this guide. 102

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FIGURE 6.2  Adding blood to a prosthetic piece.

The sculpting material is then removed and the prosthetic is made by pressing the prosthetic material between the positive face cast and the negative sculpt cast. The two sides are left attached until the prosthetic material has been cured. Once the prosthetic is finished it is carefully removed from the mould, taking care to preserve the delicate edges around the main body of the prosthetic. The silicone can be pre-coloured to match skin tone to some extent, but additional detail should be added at this time to be more efficient during application. Hair can also be punched into the prosthetic at this stage too.​ PROSTHETICS AND STAGE EFFECTS

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Application The performer’s skin must be prepared properly before the application of the prosthetic, although the performer should also be encouraged to have a good skincare regime during the course of wearing the prosthetic. Prior to application, the skin must be clean of all products and oils. It is important to prepare the make-up space to ensure the artist is as comfortable as possible during the application, which can take several hours. Make sure the heating and lighting are optimal, the chair is comfortable for the performer and you as the practitioner. Make sure there are drinks and snacks, entertainment and if the performer is working through a mealtime, that they have food available. You must have a clear plan of action before you start the application and have each stage of the prosthetic laid out in order. The application time will speed up with repetition, but you should plan to make it as fast as possible, while still being thorough and safe. Check regularly that the artist is comfortable and encourage them to give you feedback as they work in the prosthetic. It will take several attempts to get the application consistently good, so a good communication between artist and performer is vital. Once the prosthetic is attached, the surface should be blended with the surface of the skin, adding colour as necessary. This can be done by hand or using an airbrush. 104

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Removal and aftercare Specialist prosthetics adhesives will have their own remover. It is important to have the correct remover for the adhesive you are using, as using the wrong solvent will create difficulty removing the piece and may cause irritation for the person wearing it. Ensure you leave yourself enough time to remove prosthetics as fast removal can also cause pain and irritation. Work gently from one side with a brush or cotton bud, checking in with the performer that they are not uncomfortable. Ensure you have a good range of cleansing products, moisturizers and towels or flannels. Before you start a prosthetics application, always check the situation regarding shower availability and water supply at the venue, and make sure the performer is aware of the options before you start. There is nothing more disheartening than being covered in glue and then being told there is nowhere to wash it off.

On-skin prosthetics There is a wide range of special effects make-up products which can be applied directly to the skin to create casualty make-up effects. These can be made of latex, silicone or gelatine. They are relatively easy to use and are much more affordable for productions with a limited performance number. They are, however, less durable than a cast prosthetic, will take longer to apply and will not have the same quality of PROSTHETICS AND STAGE EFFECTS

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FIGURE 6.3  Daniel Walsh as Boy and Jamie Ballard as Tiresias in Antigone.

continuity which can be achieved by using cast prosthetics. Pre-made and direct-applied prosthetics are often used in combination, which is how we created the Creature make-up for the 2011 production of Frankenstein, to add a variety of tones and textures to a look.​ 106

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Blood and stage effects We use the term on-stage effects to denote anything the performer has to activate themselves during the course of on-stage action. This is usually blood, but can be vomit, poo or even brain matter. On-stage effects are a source of excitement and terror for us as, although we carefully design and make the effects to be as consistent as possible, the outcome of each effect is ultimately at the mercy of the performer. There are many ways we undertake stage effects, for example in Angels in America (2017) the character Roy Cohn was required to step away from his hospital bed and saline drip, causing a cannula to pull from his arm and blood to flow from the needle entry point in his arm. A complex system of tubing and valve release bags was concealed in the actor’s costume and the technique was practised in the rehearsal room. Our most commonly used stage effect is a pressureactivated bag, which can contain any liquid. They are prepared by the wigs, hair and make-up artist and activated on stage by the performer squeezing them. We usually use them for blood effects and they can be made in any size or shape to suit the project. Blood bags are very effective and can be engineered to achieve certain specific results; however, they can be unpredictable. When I was working on Emperor and Galilean in 2011, we made a blood bag which was handed to an actor backstage for him to use as part of the PROSTHETICS AND STAGE EFFECTS

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FIGURE 6.4  Making a blood bag for on-stage activation.

action. The effect worked perfectly night after night, then one performance, for reasons which are still a mystery, the effect went off and the blood arced four feet in the air, covering three Roman centurions and the two front rows of the audience.​

EXERCISE: CREATE A ‘BLOOD’ PACK Pressure-activated bags can be made very simply and effectively using clingfilm and sticky tape. Cut a square of clingfilm and several short strips of sticky

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tape. Create a circle with your finger and thumb about two centimetres across and push in the clingfilm to make a bowl shape. Fill the clingfilm with whatever liquid you are using – fake blood, water and baby food are a few we use. Twist the top of the cling film to form a tight ball with the liquid inside. Secure the ball with sticky tape. Squeeze to burst.

Fact 1: It took two make-up artists 2.5 hours to turn Benedict Cumberbatch into Frankenstein’s Creature for the 2011 production of Frankenstein (National Theatre, dir. Danny Boyle).

Fact 2: Cate Blanchett had to apply her own prosthetic wound on stage, using sleight of hand, for the 2018 production When We Have Sufficiently Tortured Each Other (National Theatre, dir. Katie Mitchell).

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PROSTHETICS FROM THE VIEW OF THE PERFORMER: INTERVIEW WITH JAMIE BALLARD Jamie Ballard has performed in several productions at the National Theatre, including two in which he had to wear heavy prosthetics. In the 2011 Jonathan Kent production of Emperor and Galilean, he played Gregory, a man persecuted for his religious beliefs, flayed, blinded and eventually rending his own skin on stage. In Polly Findlay’s 2012 production of Antigone, he played Tiresias, a blind prophet of Apollo who foretells the dire consequences of King Creon’s actions.

What were your initial thoughts about playing such prosthetic-heavy characters? In Emperor and Galilean I saw the stage direction, ‘He begins to tear at his wounds, ripping flesh and spilling blood onto the ground before him. The crowd scream in horror’ in the text and knew I wanted to do that. It was such a dramatic moment in the play. I wore prosthetics over my eyes as if I’d had them cut out, my back was whipped and bloody and there was a prosthetic on my chest which I could tear into on

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stage. It had to be so carefully constructed to make sure it tore in just the right place at the right moment, for the make-up team to make that possible was just incredible. I read the part of Tiresias in Antigone, it includes ten minutes of intense dialogue and I thought, ‘I’ve got no idea how to tackle this and it terrifies me, so let’s do it.’ I spoke to director Polly Findlay and we discussed that he’d been blinded from an acid attack, then I started to look at Gary Oldman’s character, Mason Verger, in the film Hannibal, and approached the make-up team with that idea. I thought you’d all say, well, no, but you were very positive about trying to get there. It was so cool that you guys were as excited as I was about the project. I feel like both characters were a very collaborative process with myself, the director and the make-up team.

How did you develop the characters knowing you would look so different from rehearsals? With Gregory, I was rehearsing without the chest pieces and I actually still have scars from digging my nails into my chest in the rehearsal room.

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Tiresias was blind, so I wore a blindfold in rehearsals, that was really useful in regard to how I negotiated the space and how I interacted with the other characters. Wearing the blindfold and knowing what we were working towards in terms of the final look really helped me to develop the character.

How did the prosthetics feel during your performance? The first time we did the full stage effect of me tearing into my chest in the technical rehearsal of Emperor and Galilean, Andrew Scott [playing the emperor Julian] was absolutely horrified, which was great. During the show, it was an extraordinary thing, because I could only just see out of the prosthetics on my eyes, but I would see people in the front row not expecting it at all and they would absolutely be just on the point of vomiting. The prosthetics on Antigone were on a level I’d never experienced before. I had to shave my head and I had one eye partially covered by a prosthetic piece, then I wore a white contact lens in the other eye and both upper and lower lids [were] glued open. It helped feeling facially pulled, it was a wonderful

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feeling to feel warped and to know that’s what other people were seeing. When I walked on stage, the other characters had a sense of ‘holy crap, what is this?’ Then when Tiresias is explaining the truth of what is going to happen, of what he’s envisioning, which is so horrendous, it gave it weight because it felt like there was no reason this man would lie. This is a man who has been absolutely destroyed and he’s just coming to help and to see the audience being physically revulsed by it was really interesting. Some of them were shielding their eyes like they couldn’t look directly at me. I loved that part, I loved the point from the half-hour call, you putting the make-up on me and having my eye open, having to put in the eye drops, until going on stage. The part was only ten minutes on stage, but it felt, as an actor, that this is [the reason] why I went into this.

What advice would you give to other performers who wear prosthetics? The face casting in alginate is quite scary, not being able to move and having your breathing restricted, so you’d have to prepare for that.

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In general, I feel like the prosthetics can be a wonderful ally, it can help alter your whole appearance and create a total transformation. Going into this business, as a kid you dream about playing these roles where people would say, ‘Oh my God, I can’t believe that’s the same person.’ That’s the stuff the make-up team enables.

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7 STAGING

Introduction ‘The smell of the grease paint, the roar of the crowd’, goes the well-known phrase. But there really is a magical moment in the theatre, when you walk into the auditorium for a new show and see the set for the first time. The set has previously only existed as a collection of designs or a tiny model box, filled with balsa wood furniture and tiny two-dimensional people. But when you see the thing in full, human scale, brought to life by the ingenuity and expertise of your colleagues, it really is special. For all the care that is taken in the design and construction of a piece of theatre, the real proof of everyone’s work and when the project coalesces into a unified vision is the moment it goes on stage. It is the most challenging part of the job, but also the most intensely rewarding.

In this chapter you will learn ●

How a show is staged.

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Backstage vocabulary and etiquette.

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Preparing the hair for a wig.

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Putting on a wig.

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Note taking and continuity.

The tech and previews Depending on the theatre and the type of production, the actors will have a set rehearsal period before the show goes on stage, at the National Theatre this is generally six weeks. During this time, wigs, hair and make-up and the other production departments will have fabricated the technical elements of the show: set, costumes, props and so on. At the end of this rehearsal period, the production goes into ‘fit up’ where the set is constructed on stage. This is followed by ‘technical rehearsals’, a period of several days when the show is run scene by scene, often repeating until the director is happy with all staging, lighting and other technical elements. This is the first time the performers will have seen each other in their looks and the designer and director will have seen them as a whole vision. We often receive notes at this stage, when the look of a character does not fit with the context or work with the style of other characters, or the performer feels their character’s aesthetic is too restrictive for the nature of their performance. This can be frustrating, particularly when there is a heavy workload, but it is an important part of the design process and will always make 116

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the finished work better. If the actor has specific movement requirements or a particularly restrictive aesthetic (such as a large prosthetic), we would have tried to address this during the rehearsal period. Technical rehearsals are also when the performers will be trying their on-stage effects for the first time and we have to work with them to establish the best way to prepare them. It is also the first time the backstage staff will have spent any length of time with the acting company, so it is a great opportunity to establish a good rapport. Quick changes form part of technical rehearsals. Some changes are very time restricted, occasionally taking place on stage or with members of staff hidden on the set. In the 2012 production of She Stoops to Conquer, for example, several members of the Wigs, Hair & Make-up and Wardrobe teams hid in a wall cavity on the set to change the costumes and wigs of six actors in forty-five seconds. Some moments backstage are like a finely choreographed dance piece, and you need to have a good understanding of who is standing where and doing what. Once the technical rehearsals are complete, there will be a dress rehearsal, this is the first opportunity all the elements of the performance will come together in real show running time. It is the moment when the technical changes are put to the test and it can be quite challenging. After the dress rehearsal, the show is then ready for previews. Previews are a continuation of the development of the production, but it is the time when the team gets to test what they have made in front of an audience. The preview STAGING

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audiences understand that the show is still a work in progress, and this is usually reflected in a reduced ticket price. Once the director and designer see how an audience is responding to the production, they may make changes to the script, staging and aesthetics throughout the preview period. This is also an opportunity for the backstage staff to really finesse how they undertake their tasks during the show. At the end of the preview period – at the National Theatre, this is generally six performances – there will be an opening night or ‘press night’. This is when the production is officially complete, and the press is invited to watch and review it. The production seen on press night should be the one which all audiences will see and no more changes can be made after this.

Backstage etiquette and vocabulary Some vocabulary used in the theatre is esoteric and can be hard to understand for the uninitiated, I have heard the nightly announcement, ‘Standby to page the upstage curtain for the pussycat beginners’ on one show, which is not a run-ofthe-mill phrase. I am including here a few key phrases which are useful to know for anyone in a backstage environment. I have also included some good general practices, which are mostly common sense but which are always worth thinking 118

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about in the very fast-paced, sometimes chaotic, backstage environment. Time management is very important in the theatre, the countdown to the performance starts thirty-five minutes before the start of the show, or ‘curtain-up’, this is known as ‘the half ’ and will be announced (or ‘called’) via Tannoy by the stage manager. Twenty minutes before curtain-up, the stage manager will announce ‘the quarter’, ten minutes before ‘the five’ and five minutes before, ‘beginners’. This is when, in theory at least, the performers should be fully ready and in a position to start the show. In reality, it can be when they are making a last-minute dash to the toilet and realizing they had left a vital piece of costume in the dressing room. As a wigs, hair and make-up artist, the half is when we prepare the actors, so good pacing of work during this period is essential to ensure everyone is ready on time. Sometimes a performer will be required to either take a hidden position on stage before the audience enter, or to already be inhabiting the stage space as the audience sit down before the show starts proper. This is a ‘pre-show’. After curtain-up, the actors will be called via the Tannoy for their ‘cues’. The backstage environment is always dark and backstage staff are usually dressed in black to avoid being accidentally visible to the audience. Extra care must be taken when the curtains are being pulled back or ‘paged’ to allow for a performer to enter or exit. It is crucial to understand where you need to be as part of the backstage team. Not only will you have to be in place STAGING

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for your particular job, but it is vital to not get in the way of other staff, performers and sometimes large pieces of moving scenery. Continuity of practice (which we will cover later) is an important factor in this, but also the ability to orient yourself. The backstage positionings are referred to as ‘stage left’, ‘stage right’, ‘rear stage’ and even ‘under stage’. The latter two are fairly straightforward, but stage right and left must always be thought about as the orientation of the performer on the stage, looking out to the audience. This can be disorientating when working in a new building and more than once I have had to imagine myself standing on stage to remember which direction I should be heading. On extremely rare performances, usually when working with actors flying on wires, you may be called to the ‘flys’. This is the large open space above the stage where the lighting rigs sit and where the scenery can be flown in and out. If it is necessary to go into the fly, it will only be with appropriate safety equipment, training and support from the stage technicians. During the show, the stage manager is ultimately responsible for the smooth running of all elements, so if there is an unexpected event or emergency, they should be the one notified. I was working in the Olivier Theatre on the 2012 production of Timon of Athens when Simon Russell Beale, playing the lead, slipped and dislocated his finger on stage. The stage manager was responsible for stopping the show, informing the audience, preparing the understudy Paul Dodds to go on stage, and ensuring Simon Russell Beale got to accident and emergency. 120

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The full span of performances is called the ‘run’. At the National Theatre, the run is generally between two and five months, but it can be a little as one night. For commercial theatres, runs can be indefinite – at the time of this book’s writing, Agatha Christie’s The Mousetrap has had a run of seventy years. Once the run is over, the performance team will start the ‘get-out’, this is when all elements of the show are taken apart and either packed away in storage, recycled or disposed of. The get-out can be particularly challenging when working on a touring production and a military-like plan of action is needed to guarantee a seamless transition from one venue to the next. At the National Theatre, we often reuse wigs and materials, so the get-out is a time for careful cleaning and storage.

Wigs, hair and make-up during performance The majority of the work of a wigs, hair and make-up artist is undertaken just before and during the performance. Makeup and prosthetics are covered in detail in previous chapters, so here we will touch upon preparing the performer for the show, quick changes and other elements which are only pertinent to the time of performance.​ The performer will have their wigs, hair and make-up call either in their dressing room or a designated workspace. STAGING

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FIGURE 7.1  Dressing a textured acrylic wig.

It is best practice to prepare this space before they arrive, ensuring all tools, equipment and surfaces are clean and well laid out. This allows the wigs, hair and make-up artist, and the performer to work in a peaceful, hygienic and organized environment. When working on someone’s face and body, you should keep the environment as clean as possible, wigs, hair and make-up artists often use paper roll, towels or linen to lay out their equipment and make-up products. This also allows for speedy removal if a setting out a quick change backstage. If you are working in a performer’s dressing room, be mindful that this is a personal space as well as a working space. Knock on the door before entering, read the energy 122

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of the room and take care with personal belongings to help foster a good working relationship. The performer should also be considerate that the dressing room is the wigs, hair and make-up artist’s working space too, and keep the space tidy and professional. This can be a tricky conversation to have, but I have encountered some truly gruesome dressing rooms, full of half-eaten sandwiches and dirty teacups. This kind of behaviour is unprofessional and should be (tactfully) addressed. A performer will have a prescribed time before or during a show to work with the wigs, hair and make-up artist. Both parties should stick to this allowed time slot, as everyone has other duties to carry out during the show.

Wig application How the wig is applied is dependent on what the wig has to go through during a performance. If the role is very physical, involving water, dance, fighting, flying on a harness and wearing hats or headdresses, the wig will have to be fastened very securely. If the wig needs to be taken off quickly, or put on during a quick change, this will influence how it is applied. The first step is to secure the performer’s own hair. If the wig has been made for the performer, this would be a matter of recreating how the hair was secured during the fitting process, which is why record keeping is important. The underlying principles for preparing the hair are to STAGING

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establish a solid base to attach the wig to the head and to maintain the shape of the wig style. Hair can be plaited, wrapped or pin curled and secured with grips, whichever is the most appropriate for the performer and style. The hair is then covered with a stocking cap, which is also pinned in place. If the wig has a strong parting, it is good practice to part the performer’s hair underneath in the same place, this will allow the wig to sit on the head in a more realistic way and if possible, allow for some of the actor’s skin to be seen through the parting at the hairline. Some performers will have a very particular way they like to have their hair prepared for a wig, often this is the way they have been taught at drama school and what they are comfortable with. Try to accommodate this if possible, but if you have to use another way, make sure they understand it is for a good reason. Putting a false head of hair on someone and expecting them to go out and be comfortable in front of a room full of hundreds of strangers is a big ask, even for an actor. It is a big part of the job of a wigs, hair and makeup artist to get them to a place of relative comfort with this strange part of the job. Depending on the nature of the performance, it may be necessary for the performer to wear a microphone and mic pack. The mic pack is often worn on a belt around the waist, but it is sometimes necessary to place the small battery pack under the wig. The cable is then hidden in the hair and the microphone is generally concealed at 124

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the hairline. The wigs, hair and make-up artist needs to work closely with the sound department to ensure this is attached securely without compromising the design of the hairstyle. The head is now ready for the wig to be applied. Each wigs, hair and make-up artist will have their own particular way of wig application, but fundamentally you should start by checking the wig is straight on the head, this is best done by holding the wig at the ear points and moving on the head, checking in a mirror as you go. A wig should never be handled by the delicate lace at the front, as this can very easily tear and stretch. The wig can then be secured with pins, ensuring a good attachment is made to the hair underneath. If the wig has to be removed quickly, place the pins so they can be easily found in the dark. If additional securing is needed, glue can be used on the wig lace around the face. Specialist adhesives are available for wig lace but double-sided tape can also be used and is particularly useful for backstage changes. At the end of a performance, the wig glue should be carefully removed to prevent damage and skin irritation. The wig should always be placed back on its block and stored carefully. Cleaning the lace and pinning it flat to the block immediately is ideal to keep the wig in the best possible condition. I have had the experience of a wig being set on fire by being carelessly left touching the powerful naked bulbs around a dressing room mirror, not by me I hasten to add! STAGING

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EXERCISE: WORKING UNDER PRESSURE Use a model (I regularly used my mum when I was a trainee) to practise securing the hair under a stocking cap and pinning on a wig. Practise slowly at first, making sure everything is secure and your model is comfortable. Try to work neatly and methodically. Once you are confident, try timing yourself, how quickly can you do the work to a good standard?

Continuity and record keeping Maintaining continuity throughout the run of the show is important both for the aesthetic of the production and the smooth running of each performance. Photographs are taken at each stage of design development, with the final styles and make-up looks being recorded in the show ‘bible’, which can be used for reference by staff working on the show, but also serves as a resource if the production is revived at a later date. At the National Theatre, all show bibles are stored at the National Theatre Archive, which is accessible, by appointment, to the public.

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Each member of staff working on a production keeps careful records of what, when and where they have to carry out their tasks before and during the performance. For example, when and where you have to stand backstage to wait for a performer to change, in what order their costume and hair need to be changed and what equipment you will need to carry with you. These are called plot notes or show notes, and they are also stored in the bible. These notes are particularly important if anyone has to fill in for you at short notice and is unfamiliar with the production.

EXERCISE: CREATE A BIBLE As you are developing your make-up designs, get into the habit of keeping detailed records. Try this out with a play or film you like. Make a list of the characters, the performers playing the roles and the make-up and hair elements they will need. Add images and descriptions of how you will achieve each look. If you are working on a real project, add a timeline of work you will need to do and keep a record of any money you have spent. You can do this digitally or in hard copy.

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Fact 1: In the 2008 production of The Hour We Knew Nothing of Each Other (National Theatre, dir. James Macdonald), the cast of 22 had over 800 character changes.

Fact 2: In the 2013 National Theatre Live broadcast of The Audience (Gielgud Theatre, dir. Stephen Daldry), the wigs, hair and make-up artist was required to change Helen Mirren’s wig on stage four times, in front of the live and international cinema audience.

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CONCLUSION

When people find out I work as a hair and make-up artist the very first question they ask is, ‘Have you met any famous people?’ The second is usually, ‘What can you do for me?’ which requires a much more diplomatic answer. Working in film, theatre, television, fashion or media may seem, to the outside eye, to be extremely glamorous and it does have its moments. I remember coming on stage to take a bow with the company at the end of the National Theatre’s fiftieth birthday event and seeing the Olivier auditorium filled with over 1,000 people standing and cheering – not a usual day at work for me. However, working in this environment requires huge commitment and stamina. Its often long and antisocial hours can cause you to miss important personal events, such as birthdays and weddings. The environment can often be stressful, with people working under huge time pressure and mistakes having very noticeable consequences. As a mainly project-based freelance career, there can be a lot of searching for your next job and uncertainty about the future. It requires constant learning and research to keep up to date with the latest trends, materials and techniques. But it is also incredibly rewarding; it’s a hands-on creative practice which facilitates the telling of wonderful stories.

Working as part of a creative team from the first designs to the last day of the performance, you are constantly meeting new challenges and using your and your colleagues’ ingenuity to come up with new ideas. You are supporting performers in their moments of transformation and transcendence. A lot of the time it feels like play and there are moments, such as the blood bath fight rehearsal for the 2014 production of King Lear, where everyone involved was wearing paper decorator’s suits and the rehearsal room looked like a crime scene by the end of the day, when you can’t quite believe someone is paying you for this. It is important to be open to experiences and ready for challenges, but always make the job your own, develop your areas of interest and support your colleagues along their journeys.

INTERVIEW WITH GIUSEPPE CANNAS I spoke to Giuseppe Cannas when he was Head of the Wigs, Hair and Make-up department at the National Theatre, about his work and his hopes for the future of the industry.

How do you feel the Wigs, Hair and Make-up department fits into the theatre-making process as a whole? It’s an interesting department because we are, in a lot of ways, a hybrid. We are a workshop-based team, 130

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producing the wigs and prosthetic elements of the shows, but also working with the performers backstage. It’s unusual in our industry for one team of people to cover all these processes. We are also a hybrid of technicians and creatives, a duality which sometimes does not sit easily together, but that dynamic tension can be where the best work comes from. Traditionally, the Wigs, Hair and Make-up department has been a sub-section of the Costume department, which has sometimes led to a lack of understanding of our work within the wider production and creative teams. At the National Theatre we are an independent department, giving us the ability to really be present as a project develops and to support the project in the most effective and creative way.

What are the challenges and exciting opportunities for the industry right now? I think the kind of people coming into our industry now are very exciting. Thanks to the connectivity of social media platforms such as Instagram, there’s more recognition of the work we do as an art form in itself. The next generation values their creative practice and understands that they should be recognized as skilled artisans. The challenge is to strive for recognition CONCLUSION

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while still serving the larger narrative and aesthetic ambitions of a production and supporting the performers in their work. One of my personal challenges has been to stay creative as my career has moved from someone who makes work, to someone who facilitates others. It’s been a difficult transition as we all come into this industry to manifest our creativity, but I’ve come to understand that if you have an open mind and stay curious, you can bring your creative mindset to any job. There are many versions of yourself as a creative person, and it’s exciting to explore them. The expectations of audiences and creative teams are always changing and it’s a challenge for us to keep learning and developing our skills. We have a lot of young, visually literate audience members and directors and designers coming from the worlds of film and fashion. It’s important we can meet their expectations while still keeping within the restrictions of time and budget.

What are your proudest moments? There are many individual projects I have been proud of during my time at the National Theatre, both productions I have project managed, such as The

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Ocean at the End of the Lane in 2019, and wonderful work undertaken by my team, such as Follies in 2017. The ambition and creativity of the work we make have evolved so much in the last few years, I can’t wait to see what more we can do. The work we have done collectively to support the National Theatre’s live cinema broadcasts makes me particularly proud, taking the work on stage to an international cinema audience without distorting the quality of the performance has been a real achievement.

How is the National Theatre and in particular the work of the Wigs, Hair and Make-up department evolving to support a greater diversity of cast members in productions? The discussion around casting diversity is long overdue and we are, as an industry, now running to catch up. I have been lucky enough throughout my career to work with a really broad range of performers and have always thought it only fair that everyone should be supported equally in their stage aesthetic. Unfortunately, the training in our industry has not supported this philosophy and not recognized the

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cultural importance of hair and skin, which has led to a lot of ignorance and misunderstanding. Thankfully the tide is turning, and we have had a lot of support at the National Theatre to open up some honest conversations about hair cultures and give our staff training with industry experts.

What are your hopes for the future? I think there’s a growing appreciation of work-life balance in the creative industries, the previous culture of ‘The show must go on at any cost’, is being replaced by an understanding that if you want to get the best work out of people on a long-term basis, you have to take good care of them. There’s a time to really focus and work hard, but you need to give people downtime if you want to avoid burnout. I hope there can be a greater democratization in theatre-making. Thankfully the culture around hierarchies in making creative work has been challenged over the past few years and we are moving towards a more collaborative and respectful professional environment.

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GLOSSARY

Drawing mats  A pair of hardboard squares with interlocking fine metal teeth. These are used to securely hold loose strands of hair during the wig-making process. Dresser  Member of the wardrobe department responsible for performer’s costumes during a show. Dressing (hair)  Action of styling the hair or a wig. Foundation  The base of a wig, usually made of lace (nylon net). Kit  Any tools, products and equipment required for a project. Knotting  Pulling strands of hair through the bars of nylon lace and tying it around itself to secure. In America, knotting is more commonly called ‘ventilating’. Knotting hook  Wig-making tool used to add hair to a lace foundation. Life cast  Taking an impression of a performer’s body part to make a prosthetic. Pin curl  A specific method of curling hair, winding the hair around the fingers and securing. It is commonly used for setting hair or preparing the performer’s own hair under a wig. Plot/show notes  Individual record of a wig, hair and make-up technician’s responsibilities for each production. Postiche  False hair, usually in reference to facial hair. Press night  The official opening night of a production. Reviews will generally come out the day after.

Previews  The first few performances of a new production, when the show is still in development Prosthetic  A false body part, often a wound or scar. Re-fronting  Removing the front hairline of a wig and replacing it with a new one. Setting  The action of placing the hair or a wig in rollers to give the hair movement. Show bible  Reference document of production and running information. Spirit gum  Specialist adhesive commonly used for gluing wigs onto skin. Stocking cap  A fine nylon cap generally worn under a wig to contain the performer’s own hair. Tech/technical rehearsal  The period when a production moves from the rehearsal room to the stage. Toupee  A hairpiece which leaves the natural hairline of the wearer exposed. Toupee tape  A strong, double-sided tape used to stick toupees to skin. Understudy  A performer who can cover for another cast member in an emergency. Sometimes they will have their own role in a production, sometimes they will be on standby. Weft  A strip of hair twisted around three strong threads, these can be attached to the head individually, or sewn together to make a hair piece. Whipping  The process by which pieces of wig lace are sewn together using a knotting hook to construct a foundation. Wig block  A head-shaped form, usually made out of cork or foam and covered in canvas. The block is used in both wig construction and a base to put a wig on when styling. Wig lace  A fine nylon net, with a hexagonal pattern. Comes in a variety of thicknesses referred to as ‘denier’. A wig foundation is

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constructed from wig lace, and strands of hair are knotted into the lace to construct a wig. Wigs, hair and make-up artist  A skilled technician, who can work alone or as part of a team. The wigs, hair and make-up artist can work freelance or as an employee. Wigs, hair and make-up designer  A role more common to film than theatre, the designer will be responsible for the whole aesthetic of a production, they are part of the creative team and will work closely with the director and other designers on a project. Wigs, hair and make-up supervisor  The wigs, hair and make-up supervisor is the project manager for a production. They will creatively liaise with the designer (who is often designing the whole project) and arrange all logistical and staff requirements for the show. Wigs master/mistress  An older and rarely used term to denote the head of a wigs, hair and make-up department.

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LIST OF CREDITS

Figure 1.1 © Cameron Slater, 2021 Figure 1.2 © Cameron Slater, 2021 Figure 2.1 © Helen Casey, 2021 Figure 2.2 © National Theatre Figure 2.3 © w  onder.land a new musical created by Damon Albarn,   Moira Buffini and Rufus Norris music by Damon Albarn, book and lyrics by   Moira Buffini Director Rufus Norris Set Designer Rae Smith Projections by 59 Productions Costume Designer Katrina Lindsay Lighting Designer Paule Constable Photograph © Brinkhoff/Mögenburg, 2015 Figure 3.1 © Helen Casey, 2021 Figure 3.2 © Helen Casey, 2021 Figure 3.3 © Helen Casey, 2021 Figure 3.4 © Cameron Slater, 2021 Figure 3.5 © Cameron Slater, 2021

Figure 4.1 © Cameron Slater, 2021 Figure 4.2 © Amadeus by Peter Shaffer Director Michael Longhurst Designer Chloe Lamford Choreographer Imogen Knight Lighting Designer John Clark Photograph © Marc Brenner, 2018 Figure 4.3 © Cameron Slater, 2021 Figure 4.4 © Cameron Slater, 2021 Figure 5.1 © Helen Casey, 2021 Figure 6.1 © Cameron Slater, 2021 Figure 6.2 © Cameron Slater, 2021 Figure 6.3 © Antigone by Sophocles, in a version by Don Taylor Director Polly Findlay Designer Soutra Gilmour Lighting Designer Mark Henderson Photograph © Johan Persson, 2012 Figure 6.4 © Cameron Slater, 2021 Figure 7.1 © Cameron Slater, 2021

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