Working in the Theatre: Makeup

Summary

This video script narrates the journey of a Broadway makeup artist who transitioned from a fine arts painting major to a successful career in theater. The artist discusses their experiences working backstage, collaborating with renowned costume designers, and the challenges of quick character transformations. They share insights into makeup artistry for shows like 'A Gentleman's Guide to Love & Murder' and 'The Phantom of the Opera,' emphasizing the importance of understanding skin, coloration, and adaptability to meet the diverse needs of actors.

Takeaways

• 🎨 The speaker's journey to Broadway was unique, starting as a fine arts painting major and transitioning to theater work, where their art background influences their makeup artistry.
• 🎭 Early experience in a theater company in Long Island was likened to 'slavery' due to the diverse tasks performed, which served as an informal college for the speaker.
• 💄 A pivotal moment in the speaker's career was transforming Tracy Bennett into Judy Garland for a Vanity Fair photoshoot, which opened doors to further opportunities in Broadway.
• 👥 Networking is crucial in the industry, as evidenced by the speaker's mentor, John Jordan, who helped establish their presence on Broadway and is now a hair supervisor for 'The Lion King'.
• 🛑 Professionalism is key, with the speaker emphasizing the importance of not causing drama and focusing on doing a good job.
• 🏆 Working with award-winning costume designers like Linda Cho on 'A Gentleman's Guide to Love and Murder' highlights the collaborative nature of creating character looks.
• 🔄 The demands of quick character changes in shows like 'A Gentleman's Guide to Love and Murder' require innovative makeup solutions to maintain continuity and character integrity.
• 💬 Communication with costume and hair designers is essential for a makeup artist to understand the overall vision and translate it onto the actors' faces.
• 👩‍🎨 The speaker's role as a makeup artist involves not just application but also teaching others, as seen with the touring production of 'A Gentleman's Guide to Love and Murder' where they trained the cast.
• 💡 Creativity and problem-solving are vital, as demonstrated by the use of beet juice to dye an actor's tongue for character authenticity in 'A Gentleman's Guide to Love and Murder'.
• 📈 The speaker's career progression includes becoming the production makeup supervisor for 'The Phantom of the Opera', showcasing longevity and growth in the industry.

Q & A

What was the individual's initial educational path before pursuing a career in theater?

The individual initially went to school as a fine arts painting major.

How did the individual's experience working for a theater company in Long Island contribute to their education?

The individual treated their time at the theater company as a form of college experience, learning by doing various tasks and being available for whatever was needed.

What was the significance of the 'Ends of the Rainbow' Vanity Fair photo shoot in the individual's career?

The photo shoot was pivotal as it transformed the individual's career by introducing them to the world of makeup for Broadway shows, specifically transforming Tracy Bennett into Judy Garland.

How did working with MAC cosmetics influence the individual's approach to makeup artistry?

The experience at MAC cosmetics likely expanded the individual's knowledge of makeup products and techniques, which they later applied to their work in theater makeup.

Who is the individual's mentor on Broadway and what role does he currently hold?

The individual's mentor on Broadway is John Jordan, who is currently the hair supervisor on The Lion King.

What is one of the key lessons the individual learned from their mentor about working on Broadway?

One of the key lessons was to not cause drama, to simply do the job well and show up reliably.

What was the biggest challenge faced by the makeup artist for the D'Ysquith role in 'A Gentleman's Guide to Love & Murder'?

The biggest challenge was keeping the actor's lip from being torn or bleeding due to the frequent makeup changes throughout each scene.

How did the makeup artist handle the quick character changes for Jefferson Mays' role in the same show?

The artist managed the changes by using elements such as mustaches, blush, and lip gloss that could be quickly added or removed to transform the character within as little as 17 seconds.

What unique method was used for Jefferson Mays' character to appear as if he had dyed his tongue with beet juice?

Beet juice was used to literally dye his tongue, helping him to embody the character more convincingly.

How does the makeup artist ensure that the makeup for 'A Gentleman's Guide to Love & Murder' is consistent during the tour?

The artist taught every cast member their makeup plot and provided them with face charts to follow, allowing them to execute the designs themselves when the artist is not present.

What is the role of the makeup and hair supervisor for 'The Phantom of the Opera' on Broadway?

The makeup and hair supervisor is responsible for ensuring that the makeup, including prosthetics and special effects, is applied correctly and consistently for each performance, as well as maintaining a well-stocked makeup room.

What advice does the individual give to aspiring makeup artists regarding building a career?

The individual advises aspiring makeup artists to get out there, take on any project without saying no, and to understand that hard work and dedication will eventually lead to paid opportunities.

What is the importance of having a broad knowledge of products and techniques in makeup artistry according to the script?

Having a broad knowledge of products and techniques allows makeup artists to adapt to various skin types and requirements, ensuring that they can create the desired look for each character effectively.

How does the makeup artist prepare for the transformation of the actor into the Phantom of the Opera?

The artist applies a ball cap and three pieces of prosthetics, ensuring the skin is clean and conditioned to facilitate the application and removal of makeup and prosthetics without damaging the skin.

Outlines

00:00

🎭 Journey to Broadway's Makeup Artistry

The speaker describes their unique path to becoming a Broadway makeup artist, starting as a fine arts painting major and transitioning to theater work. They emphasize the importance of their artistic background in their makeup inspirations and recount their hands-on experience with a theater company in Long Island. The pivotal moment in their career was a call to work on a Vanity Fair photo shoot for the show 'Ends of the Rainbow,' which led to a series of opportunities on Broadway. The speaker also mentions the guidance of their mentor, John Jordan, and the crucial lesson of professionalism in the industry. The summary highlights the creative process of character development in makeup, working with costume designers, and the challenges of quick character transformations, especially for the role in 'A Gentleman's Guide to Love and Murder.'

05:02

🎨 Makeup Artistry and Adaptability in Broadway Shows

This paragraph delves into the practical aspects of makeup artistry for Broadway shows, particularly 'A Gentleman's Guide to Love & Murder,' where the speaker worked with Linda Cho, a Tony Award-winning costume designer. The speaker discusses the process of creating character looks based on script, director's notes, and collaboration with hair and costume designers. They also share the experience of teaching makeup plots to cast members and understudies, ensuring they can apply makeup independently with the help of face charts. The importance of regular checks on makeup application and adaptability to actors' needs and preferences is underscored. The paragraph concludes with personal anecdotes about the learning curve of makeup application and the joy of character transformation through makeup and costume.

10:31

👻 Behind the Mask: Makeup Artistry for The Phantom of the Opera

The speaker recounts their experience as the production makeup supervisor for 'The Phantom of the Opera,' detailing the process of transforming actors into their roles using prosthetics and special makeup techniques. They discuss the longevity of the show and the unique opportunity it provides for makeup artists to work on a global scale. The paragraph highlights the evolution of makeup products and techniques, the importance of understanding skin and coloration, and the need for a comprehensive makeup kit. The speaker also shares insights into their mentorship approach, emphasizing the importance of learning the basics and being prepared for various industry challenges. The paragraph concludes with a look at the collaborative process between makeup artists, costume designers, and directors in creating character looks.

15:36

🎭 Transforming Actors: The Art of Makeup for Character Roles

This final paragraph focuses on the intricate process of character transformation through makeup, using the example of the auctioneer in 'The Phantom of the Opera.' The speaker describes the steps involved in teaching actors to apply their own makeup, ensuring they feel comfortable and confident in their roles. They discuss the importance of skin preparation for the application of prosthetics and the challenges of catering to diverse skin tones and types within the cast. The paragraph concludes with a reflection on the artistry involved in makeup design, the collaboration with sculptors and casting artists, and the adaptability required to cater to a wide range of actors and understudies.

Keywords

💡Broadway

Broadway refers to the theatrical performances and venues located in the Theater District of Manhattan, New York City. It is synonymous with the highest level of professional theater in the United States. In the video, the narrator has a deep connection with Broadway, having seen numerous shows and working backstage, which is their dream job, highlighting the central theme of pursuing a career in the performing arts.

💡Makeup Artist

A makeup artist is a professional who applies makeup on actors or models for various forms of media, including theater, film, and television. The video's narrator is a makeup artist working in Broadway, emphasizing the role's importance in character transformation and the creative process behind the scenes, as seen when they describe transforming Tracy Bennett into Judy Garland.

💡Theater Company

A theater company is an organized group that produces and performs theatrical works. The narrator mentions working for a theater company in Long Island, which served as a practical learning experience akin to college for them, underlining the value of hands-on experience in the arts.

💡MAC Cosmetics

MAC Cosmetics is a popular makeup brand known for its wide range of professional-quality makeup products. The narrator worked for MAC cosmetics for over four years, indicating the crossover between professional makeup artistry in the beauty industry and theatrical makeup, as well as the foundation of skills that can be applied across different fields.

💡Character Transformation

Character transformation in theater involves altering an actor's appearance to embody a specific role. The video describes the process of transforming Tracy Bennett into Judy Garland, and Jefferson Mays into eight different characters, showcasing the art and skill required to create believable characters on stage.

💡Costume Designer

A costume designer is responsible for creating and selecting costumes for performers. The narrator mentions working with Linda Cho, a Tony Award-winning costume designer, to create a vision for the show 'A Gentleman's Guide to Love and Murder.' This highlights the collaborative nature of theater production and the importance of costumes in character development.

💡Sweat Control

Sweat control is crucial for actors to maintain their makeup and appearance during performances. The video discusses the use of different layers of makeup and powder to keep sweat off the actors' faces, especially for demanding roles like the D'Ysquith family, where quick changes are necessary.

💡Prosthetics

Prosthetics in makeup artistry refer to artificial body parts or features used to alter an actor's appearance. The Phantom of the Opera requires the use of prosthetics, as mentioned in the video, to create the iconic look of the Phantom, demonstrating the technical side of makeup for character creation.

💡Tony Award

The Tony Award is a prestigious recognition in the American theater industry. Linda Cho, mentioned in the script, is a Tony Award winner, indicating the high standards and recognition within the theater community, and the aspirations of artists working in this field.

💡Understudy

An understudy is an actor who learns another actor's role in a performance to be ready to replace them if needed. The narrator's experience as an understudy for multiple roles, including Phoebe and Sibella, in addition to playing Miss Barley, illustrates the versatility and dedication required in theater work.

💡Production Makeup Supervisor

A production makeup supervisor oversees the makeup department in a theater production, ensuring consistency and quality. The narrator holds this role for 'The Phantom of the Opera,' indicating the leadership and management aspects of a makeup artist's career, as well as the long-term commitment to a single production.

Highlights

The speaker's passion for working backstage in Broadway shows, stemming from a fine arts painting background.

Adapting art inspiration to makeup, treating faces as a different canvas.

Gaining experience by working as a 'slave' for a theater company in Long Island.

Working at MAC cosmetics for over four years before transitioning back to theater.

A life-changing opportunity to work on a Vanity Fair photo shoot for the show 'Ends of the Rainbow'.

The importance of networking and mentorship in the Broadway industry.

Collaborating with Tony Award winner Linda Cho on 'A Gentleman's Guide to Love and Murder'.

The challenge of quick character transformations within a five-minute time frame.

Innovative makeup techniques to prevent damage and bleeding during frequent character changes.

The role of makeup in character development, as illustrated by Jefferson Mays' character.

Creative solutions for makeup removal, such as using duct tape to remove glitter.

Teaching the cast and understudies their makeup plots for shows without a dedicated makeup artist.

The role of the makeup and hair supervisor in maintaining the quality of makeup throughout a show's run.

Adapting makeup techniques to accommodate actor's specific requirements and allergies.

The meticulous process of creating and applying makeup for 'The Phantom of the Opera'.

The evolution of makeup products and techniques over the years in Broadway.

The importance of a makeup artist's knowledge in skin science and color theory.

Mentoring aspiring makeup artists and emphasizing the importance of education and professionalism.

The unique challenges and responsibilities of being a production makeup supervisor for a long-running show.

Transcripts

[Music]

Growing up in New York, I've seen hundreds, hundreds and hundreds of Broadway shows.

Now working backstage is the absolute best thing that I can imagine.

My journey to Broadway was probably a little

different than most people. I went to school as a fine arts painting major.

I left college a year and a half in to pursue my dream to work in theater.

I still paint. To me when I am doing makeup my inspirations come from art.

I just adapted into a different canvas.

I was working for a theater company out in Long Island for about four years and

I was pretty much a slave for them. Whatever they needed, I was really there to do.

So that was kind of my college experience, and after that I started

working for MAC cosmetics for the next four and a half years.

One day I got a phone call from a friend of mine. He was hired to do the hair and makeup for

a Vanity Fair photo shoot for the show "Ends of the Rainbow' and it was the show

that changed my entire life because I came in. I did the makeup for Tracy

Bennett to transform the blue-eyed blonde-haired British woman into Judy Garland.

From there I have worked on approximately twelve other shows.

I was doing 10 shows a week and as grueling as it was, I was able to meet so

many people in the business.

My mentor on Broadway John Jordan help me get my contacts on Broadway.

He is currently the hair supervisor on The Lion King.

One of the biggest things that I learned was not to be crazy, to go in, do my job

show up, not cause drama.

[music]

A Gentleman's Guide to Love and Murder. I worked with Linda Cho who is the Tony Award

winner for the costumes for the show. She had this very high fashion

stylized version of what 1909 really looked like.

When I'm building a character for a show,

I'm going off of the script, the director's note, and mainly I go off of the hair and costume

designer, because they are the one's creating a vision.

I'm there to figure out what they're really looking for because they

understand the clothing but I'm there to figure out exactly what their faces should look like.

[music]

We had one character played by Jefferson Mays, originally.

He played eight characters throughout the show and his changes happen between five minutes

and they came down to about 17 seconds.

[Dialogue: Remembering the climax of the play...]

My biggest challenge for the D'Ysquith role was trying to keep his lip from not being torn apart

or bleeding because every scene would be a change and he would have to reapply makeup and then

take it off and reapply makeup or it's the removal of glue from a mustache.

[Dialogue: Shot herself. In the temple. Shot herself...]

Because the role is so demanding anyone who is in that track always seems to be a huge sweater.

There are different layers of makeup and powder that we've used that help keeping

sweat completely off their face.

The D'Ysquith family role changes 8 different times, 8 different characters

with seventeen different times that he is changing into those roles and it can be

as easy as a mustache being applied. Or there's blush and lip gloss that's added

for certain characters. They're tiny elements that are added or taken away.

For each of those characters that we've designed for.

Though he has a very basic plot that he goes off of.

There is a part of the show where Jefferson would stick

out his tongue. He had this idea.

He now has his dresser go out by him beet juice and the beet juice dies his tongue.

It really helped him find that character as well.

[applause]

One of the times that I see a character really come to life is with Miss Barley.

We change her lips.

They are glittered. It's the only thing that is shiny in the entire show.

Now that the show is running on tour

when she comes off stage we take a piece of duct tape and she pretty much kisses

the duct tape. It removes a lot of glitter.

It was really the easiest and quickest way to do it

[music]

For a show like Gentleman's Guide, there's no makeup artist as on staff each night.

So I went in to teach every single person

their makeup plot, and even understudies or swings.

They all get face charts that will help them go through the looks when they

can't really have me there to help them.

It really plots out exactly where the makeup belongs.

These are the original face charts from the Broadway production.

Each cast member gets a copy of and that's what they execute these designs with each night.

Lot of times they hang them right on their mirror so it gives them a good reference to go off.

[music]

The makeup and hair supervisor that's on the show

does keep in check with making sure that everyone is fully stocked with makeup.

I do pop in probably every other week or so.

I just take a quick look at the show make sure that everyone looks good.

If there's ever a problem or something is going on I may contact the actor and

get them a tip or trick to help them get back to where we want them to be.

[Music]

Adapting to an actor no matter what they have a requirement about is definitely my goal.

I want to make sure that they are taken care of and knowing if they're allergic

to latex so making sure that lashes to be applied and they're not gonna have an

issue is always a very big question that I always ask when i'm meeting with an

actor to find out what they're about.

Catherine currently plays Phoebe D'Ysquith in A Gentleman's Guide to Love & Murder.

When doing Catherines makeup I'm all about the contours and creating these smoky eyes.

It gives her definition and helps her performance.

I really love blending these colors and making sure that the eyeshadows look really smooth.

Because you have actors that are an inch away from her that we want them to be in

the moment, but then we also need to make sure that in the last row, they can see

it exactly the same way when I'm doing this.

It's really just beautiful.

It was a learning curve though. I will say that.

Mostly I think the eyes are the trickiest thing.

I think I get nervous when precision is involved.

But I definitely feel more comfortable now then when we started for sure.

When I first started the show I was in the ensemble, and I played the role of Miss Barley.

But I was also understudying both Phoebe and Sibella

so I had to learn all of those makeup tracks.

It was definitely a challenge, but really fun to get to play with all of those different looks.

Miss Barley with the glitter and like apple red cheeks... that was just an extreme, really fun look.

The final touches when you're preparing to be a a new character when

you get into makeup hair and costume.

Everything comes together. Just having all of those elements working so

beautifully together is a real treat.

That's the whole look.

It's the eye details that I haven't nailed.

[music]

Most shows they don't really give you a budget, but they don't tell you yes or no about it either.

Something like Gentleman's Guide, I was there to execute the look and whatever

that look cost is what we went for.

I think that just having so many different people around me in the business and

going through costume designers sketchbooks, seeing all different ideas of

what people had are really the inspiration that derives my looks that I do for shows.

The best advice that I can give it an aspiring makeup artists is to get yourself out there.

To never say no to any project. I think I''ve done more

free events in my entire career and now that I am getting paid for them

there's a reason behind it. You know, I pounded the pavement and I made sure

that I put my time in to get where I am now.

[Music]

I'm the production makeup supervisor for The Phantom of the Opera on Broadway and

and all the other companies in the U.S.

And look. This is the wax that I will be using on the Phantom tonight.

I dig my finger in here, take this out and I blank out his eyebrow.

We officially opened to the public in 1988,

so that's twenty eight years already past. We're now in our twenty ninth year.

I was doing a show in another theater with a woman and she said to me,

"Oh, I know somebody who wants to work with you."

So she said, "Come and go to the theater and meet my friend."

I didn't have a clue who the first one was so went over to the theater with her,

and the guy said, "I like your work and I'm doing this show;

it's Phantom of the Opera and I want you to come and work with me.

You have two weeks to make your decision." And because I was just finishing school

and I had student loans, I said, "I'll take the job!"

So Vinny, I'd like to see what ball caps you have today. and these are my

These are my Phantom caps?

Yep.

I like to check them to make sure that they're not too thin, for one, and that they're big enough

and pliable enough so I can put it on the head.

Sometimes if they don't have enough elasticity they will break, they will rip when I put them on.

I cast it like this and it's perfect.

Most makeup artists on Broadway don't stay with the show.

They set up the shows and then they go off and do other things.

But Phantom of the Opera happened to be one of the most fabulous shows

that employs makeup artists all over the world.

You have to have a makeup artist there, because it involves prosthetics, ball caps, and special paintings.

And the actor cannot do that by him or herself.

I'm taking this and I'm taking these.

I use many different products.

Back then, we used a lot more pancake, which is water based, and now we use everything.

Airbrush... Some makeups already come with everything in it, which means

that you don't have to put a primer on first; it might already have it in it.

And we have things like anti-shine; we didn't have such a product back then when I started, that I know of.

[Music]

Makeup artists need to be able to understand the skin, understand the coloration.

You have to be able to cancel the colors that you don't want and put the new colors over it.

You have to have a library at your house as well, because if you get called in the middle of the night

to do something, you have to know how to.

If you don't know how to, you pull the books out and you read them

because the word is "cosmetology" and it's a science of the skin, the hair and the nails.

[Music]

My first job in makeup was I was working in a salon and it was a salon where a lot of celebrities

would come to get their hair done.

And one day, another hair stylist, Stanley James, said, "You want to come to work with me today?"

and I said, "I can?" He said, "Yes, grab your bag."

and I grab my bag and I look back, and I've been working ever since.

[Music]

When I mentor young people, which I do very often, I make sure that I give them the basics.

I teach them what they need to know for this business; even as much as how you enter the door.

The door man, when you see him there, you don't just walk by, you have to speak to him.

[Music]

And when you get down to your room you make sure you say, "Hello, everyone. How are you today?"

We're always very pleasant.

[Music]

My first advice to them; go to school, study.

They have a lot of information on YouTube today, but I still think the classroom is very important

because when you get out here, you still have to deal with personalities and people

and not everybody is smiley, happy-go-lucky.

You have to be prepared spiritually and mentally so that when the time comes,

you meet upon a rough patch, you have to be able to handle the situation without being panicked.

This helps to speed up the process of the makeup if I prep all of this before he sits in the chair,

then by the time I'm ready to use it, it's tacky enough.

The makeup could be designed by either the costume designer; they could say,

"This is what I want with this character.", or it could be that the director said

he sees it a different way, and then it's for you then to be able to give them the colors that they want.

So if you're working, let's say for example, on one of our auctioneers,

they said, "We want the auctioneer to look kind of like gaudy, like dark eyes...",

you have to give them the dark eyes and the dark cheek and the sunken bones, things like that.

You come back in and you sit down and you apply it on the actor's face

and then you have the actor then clean it off and then we do it so that the actor can do it by himself eventually.

We go through the makeup process for a couple times before they actually have to go on stage

and then they can practice their make up when they're off stage

so when they go on, they feel more comfortable in their role.

And then, that might be all the person sees of you until you come back again to replenish the makeup room.

[Music]

To transform the actor into the Phantom of the Opera for the night,

I apply a ball cap and three pieces of prosthetics.

We make sure the skin is clean and is conditioned because we use glues, so that when we remove it,

the person has to come in the next day; we do the same thing over and over and over

so you want to make sure that you have good cleansers for the skin and things like that.

[Music]

Chris Tucker did the sculpting, he did the casting and he sent me the pieces. They're blank

and then I have the interpretation of different colors for how Chris wants him to look on stage.

There've been fifteen Phantoms but there are many understudies and all the actors, as well,

so that's a lot of people.

We've had black Phantoms and we've had black Carlottas.

Different people, different skin. We have Asians in the company, some Spanish, things like that.

You have to be able to to basically understand the color and this person's skin.

[Music]