Role: Properties Master, Hair and Makeup design.
Playwright: Henrik Ibsen
Directed by: Kirk Everist, Beardsley Theatre, 2013
Reflections on the project:
I was first brought on as Properties Master, which ended up involving a lot of food. Being a period piece, we didn’t want anything to pull people into the modern world, so a lot of our props had to be altered to look older. Ulfheim’s game bag was a lot of fun to make, with a lot of fur and fake blood and mud. Like wise with his dogs, we made a special, extra long leash. One end was held by Lars, the other was held offstage by the two Assistant Stage Managers and my props assistant. The biggest challenge was a special request of the director. He wanted paper lilies that could be picked apart each night. This meant making at least 40 lilies per dress rehearsal and performance, so we made as many as we could in one sitting, and then made the rest day of.
Hair was a little simpler. I already had knowledge of doing hairstyles from this period, so it was simply a matter of picking styles that matched the characters. For Maya, we did a birds nest bun at the back of her head, with certain strands of hair curled and placed in a way that could be easily removed, so she could have the disheveled look she needs in the second act. Irene got a more formal, classic pompadour, with intricate braids and similarly placed hairs designed to come down for the final scene. The deaconess had virtually the exact same hairstyle, but it stayed the same throughout the show. And finally, the men were generally left to their own devices, slicking back their hair for the period. But we had Rubek part his hair differently in the second act, removed what grey we had sprayed in the first act, and tried to give him a younger, freer look.