The original 1992 film was a cult classic. With a fan base such as the film’s, does that effect your design direction?
When I’m working on a design for something that is pre-existing, whether it be in film form or stage form, I like to be able to do my own design. But I do love giving little nods to the previous incarnation of the show. In my research, I chose color palettes for each of the two characters of Madeline and Helen, based on the color palettes of their makeup and costumes in the original movie. I wanted to honor the work that was done, but also make it my own.
What was your starting point for the design?
Research is always my starting point. I started pulling together pictures of glowing modern makeup. I was looking at modern editorial makeup, Instagram makeup, plastic surgery faces and then moving into more dramatic and colorful editorial. The regular world of Madeline and Helen in the beginning is much different than the immortal magic world of Viola. So that had to be reflected in the makeup.
Were there any challenges in designing the show?
The first was making Madeline and Helen look different. They each have multiple phases of their look. For example, Madeline goes from glamorous star, to looking haggard and aging, to taking the potion and looking perfect, to then looking airbrushed and shellacked when Ernest makes her over after the big fight. With very little offstage time this was quite a challenge to tackle. It was also a challenge to make the Immortals look immortal when they have to change back and forth between Immortals to ordinary people in the scenes. Luckily the show is made to be campy and over the top so I was able to get away with more looks than I would normally have in a show.
Can you talk about Megan Hilty’s makeup as Madeline?
Madeline starts glamourous. She is a star and so her makeup reflects that. Her skin is glowing and perfect. Her makeup overall is a little less dramatic than Helen’s. I used Meryl Streep’s color palette from the film, of warm browns and peaches and oranges. She is supposed to be a classic beauty — with maybe a few nips and tucks. Then she needs to look a little haggard prior to taking the potion. This was a little difficult to accomplish but we used the Jones Road foundation sticks to draw in some aging. When she has to change back after taking the potion, the lines easily wipe away into her regular foundation and she touches up.
How about Jennifer Simard as Helen?
With Helen, I went more dramatic. She starts off with a natural normal makeup. Not plain, but not beauty, just natural. When she comes back in for her book launch, she has taken the potion and we go very dramatic with dark smokey eyes, strong cheek contour and highlight and a red lip. I pulled inspiration from Goldie Hawn in the original movie and from ON STAGE JOE DULUDE II + DEATH BECOMES HER Joan Collins and Kate O’Mara from Dynasty. I wanted her to be that rich powerful woman that comes back to destroy Madeline.
Can you talk about some of the unique makeup aspects?
For both ladies, after the big fight and Madeline has her loose untwisted neck and Helen has her shotgun hole in her, Ernest makes them over using spray paint, shellac and whatever other home improvement items he has. So, there is a lot of reflection and perfection in the makeup. Everything gets more intensified. Eyes and contour become more defined. We use balms and highlighters on the skin to get more a reflection and lips get super glossy.
Also, when they are in the graveyard visiting their graves, we needed to reflect that they’ve been around for a while and maybe haven’t learned all the skills they need to keep themselves looking good. I cut eyebrows out of vinyl and mounted them to wig lace. We back it with double-sided tape and the ladies put them on themselves, so each night they are in different places which adds so much comedy to the effect. Then they do really bad patchy blush and stipple over their lipstick with a white cream. It really works great.
What went into that design for Viola Van Horn played by Michelle Williams?
For Viola, I looked at pictures of Grace Jones and editorials that had strong graphic shapes and color. I also wanted her to get more dramatic and intense as the show went on. She starts off with perfect skin. We then add a smokey extended eye, contour, beautiful lip, all using purples and pinks. She also has this element of crystals and beading to her costumes and I wanted that reflected in her makeup. She starts out simple with just a few crystals on her face, then we add crystals over her eyebrows. Finally for the Immortal Ball we add another lace piece of crystals to the center of her forehead. Each time we do a crystal addition, the eyes go more smokey and winged out and the lipstick gets darker.
Any products you couldn’t have done the show without?
I’m grateful that we have had access to so many products from so many lines. There are elements of each that really made the makeup work including: MAC (our sponsor), Charlotte Tilbury, Fenty, Jones Road, Armani, Skindinavia.
What did you enjoy most about working on the show?
It was the challenge that I enjoyed the most. After having designed for over 21 years for theatre, I love when I am given a show that pushes me. I think as a designer you always have to evolve and change. If you don’t, you end up stagnant and doing the same thing over and over. I’m really proud of the work I’ve done for this show and I hope the makeup reflects that.
Words Michael DeVellis
Photos Matthew Murphy, Evan Zimmerman
