Hair and Make up Designer

Angel Fox

Evil DeadMake up Crew Every night of tech and production, the make up supervisor and I set a table out with blood packs, masks and make up tools necessary for each production.

Blood and guts galore!Director: Sean ParkerScenic: Paul DenayerLighting: Christine KawalekMake up /Costume Design: Whitney Hardyman

Prosthetics

First a cast is taken from the live actor by painting on four to six layers of liquid latex. This makes the basic shape and build of the mask.

The latex cures on the actors face, it is then removed and tacked to a manikin, where the building process begins

Prosthetics

The build up is made of loose fiber, like toilet paper, and matte latex layered to the desired shape.

The matte latex cures for 24 hours, then the prosthetic is ready for make up. Ben Nye bruise and complexion pallets are used to color the masks

Evil Dead

The chainsaw wound was crafted on a “ham” that mimicked the shape of a neck

It is made of matte latex and toilet paper. The coloring is Ben Nye bruise and complexion pallets and stage blood.

Quick Changes

Shelly’s change consist of paling the face darkening the eyes contouring the face and giving her a blood capsule for her mouth

In this change he is Linda’s body that has been decapitated. The actor is covered in stage blood and has an aspirator attached to him to spray blood toward the audience.

Quick ChangesCheryl started as a simple 80’s inspired basic makeup at the top of the show. The quick change that occurred backstage turned her into a demon in 58 seconds.

An ASM, make up supervisor and I distressed her costume, put contacts in, put eye makeup on her, and slipped the mask on.

Stage Up

The Shemps had two sets of make up, they had to be demons in the second act. I aided in stage up and did a final check of the demons before act two.

Stage up (Above) Intermission( left and right)

Les Liaisons Dangereuses

Director: Greg CarlisleScenic: John SiedenbergLighting: Paul DenayerCostume Designer: Denise Watkins

Research1780’s Pre French Revolution

ResearchI was asked by the costume designer to take elements of the period and simplify them into a caricaturist style.

Renderings

I used a romantic, chocolate, brown wig with side curls and a complex style in the back. I wanted it to be metaphorical of the character to look soft and romantic from the front but calculated and intense from the back.

Renderings

I again used the chocolate brown for a pleasing look for him to look inviting and charming. Rolls and ringlet curls give him a princely look. It is ironic for hi to be attractive when he is essentially a monster.

Wig Progression

The bangs are rolled back for a bouffant look.

The back of the hair is separated in four sections and spun into buns.

Two rolls are added to her hair, one on each side. Strands are left hanging to be curled and it is finished with a rose head band.

Wig Progression

Valmont’s hair is in ringlet curls that are tied back in a loose ponytail. the bangs are rolled back and two rolls are made on the sides of his head framing his face.

A bow is added, in the color of his first costume, and a replacement in act two in another color.

Wig ProgressionRosemonde’s wig (left) has 9 human hair extensions hand painted to match the wig.

The back is in barrel rolls from ear to ear. There is a loose curl on either side of her head, and her bangs are rolled back.

I pulled 3 footman wigs from our stock and styled them with many curls, pulled into a ponytail

Emilie’s wig is curled and pulled back in a flowing, romantic lift with her bangs rolled back and loose curls on both sides.

Accercories

Her bow is made of human hair extensions, manipulated in to a bow, with a clip attached to the back.

Cecile’s bow started as a blonde fluff of bun filler. Deciding that this was not the look I wanted to achieve, I used real hair.

Her hair was curled every night at the top of the show and the bow came in and out during changes.

Accercories De Volanges’ bun cap is in her hair at the top of the show after styling.

Act one hair piece for Rosemonde

Mertuil’s act two head piece favors a bird of prey when her plan begins to succeed.

The Laramie Project

As a first time ASM, a show that housed a cast of 20 people was a challenging experience. Myself and the other ASM needed to have wardrobe experience because of the small wardrobe crew and the large cast.

Director: Greg Carlisle Light Design: Paul DenayerCostume Designer: Ashley CollinsScenic Design: Andy Baker

The Laramie ProjectDuties :• Pre production: line notes• Pre production: blocking notes• Sweeping and mopping before the show• Pre set props in scene cubes• Receive actors• Cue actors an wardrobe• Post show: strike props and lock up shop

An Evening Of Culture

An Evening Of Culture

One Acts

Make Up research for Bez