2. Evil Dead Make 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.
Bloodand gutsgalore!
Director: Sean Parker
Scenic: Paul Denayer
Lighting: Christine Kawalek
Make up /Costume Design:
Whitney Hardyman
3. 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
4. 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
5. 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.
6. 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.
7. Quick Changes Cheryl 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.
8. 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)
11. Research
I was asked by the costume
designer to take elements of
the period and simplify them
into a caricaturist style.
12. 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.
13. 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.
14. 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.
15. 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.
16. Wig Progression
Rosemonde’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.
17. 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.
18. 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.
19. 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 Denayer
Costume Designer: Ashley Collins
Scenic Design: Andy Baker
20. The Laramie Project
Duties :
• 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
