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STAGE MAKE-UP

STAGE MAKE-UP
by

YOTI LANE
Director of Cambridge

House Theatre School

THE NORTHWESTERN PRESS

Minneapolis, Minnesota
Publishers

First Printing

Second Printing
Fourth Printing

August, 1950 October, 1951

1954

Third PrintingJune, 1952

September,

Fifth PrintingJune, 1955

Sixth Printing July, 1957

Seventh Printing
Eighth Printing

Ninth

May, 1958 February, 1960 Printing April, 1961 September,

1965

Tenth Printing May, 1963

Eleventh Printing, August, 1964

Twelfth Printing

Copyright, 1950

by

THE NORTHWESTERN PRESS

Made
in U.S.A.

All Rights Reserved

CONTENTS
Preface

Page

10
1

Introduction

PART I GENERAL
Chapter
i
11

General Application
Special Difficulties of the

Amateur

22

in

Beauty on the Stage

"Straight"

29 34

iv

Make-up
Defects

v Dealing with

40

PART II CHARACTER MAKE-UP

vi

"Under
"Over

Forties" Forties"

Male
Female
.

45
51

vn "Under
viii

Forties" Forties"

Male
Female

ix

"Over

55 60 65
70

x
xi
xii
xiii

"Sixties

and Over" Male and Female

Dramatic

Comic
Exotic

74
79

xiv

Grotesque
for

85
Concerts, Variety and

xv Make-up
graphs

Photo-

90

PART IIIANCILLARIES OF MAKE-UP

xvi
xvii
xviii

Hair

Styles,

Wigs and Beards

95
100

Make-up

for Television

Make-up and Lights

Future Developments and Training

104
107

xix

Make-up Charts: Pantomime characters Famous characters

7

114
115

CONTENTS
Casts of famous plays:

Romeo and Juliet Midsummer Night's Dream Hamlet

Uncle Vanya
Berkeley Square

Page 118

121

126 129
131

Hay

Fever

135 137
141

Tovarich

Dangerous Corner
Dinner at Eight Lady Windermere's Fan
Ladies in Retirement
Prunella

143 I46

149
152

Juno and the Paycock The Two Mrs. Carrolls Thunder Rock
The The
Circle

157 l6o 163 165

Street

Barretts of

Wimpole

167 170
172

Will Shakespeare

The Playboy of

the

Western

World

One Act
Back
St.

Plays

The Shewing Up of Blanco Posnet

to

%ero
to

173 176

Michael Comes

Shepherd's Bush

The Rope
Salome

179 180
l82
I8 7

Index

LIST OF ILLUSTRATIONS
(between pp. 88 and 89)

Author as the old nurse in Uncle Vanya and by Oscar Wilde.

as

"Salome"

in the play

Young Theatre Guild

and
as

player as "Harriet" in The Two Mrs. Carrols, a child in The Happy Journey from Trenton to Camden.

Young

player in female impersonation and without make-up.

Vivian Dillon as "Lady Macbeth" and as a lady of the town in When We are Married.

Roy

Sargent as the young "Dorian Gray" and as old "Dorian Gray".

Miller as a statesman (Lloyd George make-up)

Cameron

and

as

toper.

Joyce Tiranti as "Joan of Arc" and as "Eliza Doolittle".

Isobel Siddons as

"Amanda"
light

in Private Lives
r61e

and

as "Ophelia".

Rupert Siddons in
They Also

comedy

and

as "Colonel

Barrow" in

Serve.

Michael

Du

Barry as "Herod" in Salome by Oscar Wilde and as a

gangster.
(a) (b)
(a) (b)

How

television

make-up

is

applied.
for television camera.

Day made up Group from A Merry Death.

Miss Frances

Author making up 15-year-old

girl as

an old woman.

PREFACE
spent a great deal of time for some years past in and demonstrating on make-up to a large number of students, and in helping professional players with make-up problems, I felt it a good idea to follow the suggestion,
lecturing

Having

frequently repeated, that I should write a book.

This is not by any means the first book on stage make-up. There have been a number of books which do help the beginner through the elementary stages, but I have tried to take the subject much farther than that, because through lack of literature for reference, make-up has fallen sadly behind the other theatrical arts. For instance, I have met people who having trained for the stage, found themselves with no prospect of a career because of some facial characteristic which barred them from playing the kind of parts for which they were otherwise suited. Yet make-up, properly understood and applied, could have corrected or much

reduced their
It
is

defects.

hope that by putting down the results of some years of practical work, I may help to fill one of the gaps in the technical literature of the stage.

my humble

Yon
January, 1950.

Lane.

INTRODUCTION
the past twenty-five years tremendous advances During have been made in the arts of stage production, dicor,
lighting and costume. For some curious reason makeup has remained the Cinderella of theatre arts both in practice and in technical literature. The amateur theatre must perforce learn much of its technical business from literature as few amateur companies have a theatre in which to work, let alone rehearse, and make-up is an art in which amateur companies often fail most dismally. There are several handbooks in which a general outline of the art of make-up is

given in a brief chapter, but this is not sufficient for the purpose of educating the student in any adequate way. If or when he graduates from the amateur to the professional stage, he simply picks up traditional hints from older professionals. Many professionals use grease-paint in a purely traditional way, without any real knowledge of why they do this or do that, and the tradition has remained largely unchanged from the time when theatres were lit by gas. So the young actor learns the hard way which is one of the reasons why so much indifferent make-up is seen in companies outside the West End. In the days when lighting in the theatre was not what it Old men had to be is now, types had to be crudely defined. old, and young men had to be juvenile. Even at the present time, play-goers might be forced to the conclusion that no one ever became a parent until he reached the late thirties. Parents of juvenile leads are almost invariably presented as being in their late fifties or sixties. When it comes to grandparents, the actors usually appear to be in the last stages of decrepitude and have at least one foot in the grave. To return to the question of the amateur, this tendency to exaggerate in make-up is accentuated because owing to the enormous interest in Drama in Youth Clubs the amateur player is likely to be very youthful, few of them being over twenty-five and very many in their teens. This necessarily presents problems that are new. White or grey wigs, beards for the men, and plentiful "lake" shadows, may indicate age,

ii

INTRODUCTION
how to make twenty into thirty is much more difficult, and wigs, beards and crimson lake can offer no assistance. Here it is necessary for the actor to go to Nature and come back to his grease-paints with sufficient knowledge to paint a suitable portrait on his own countenance. The actor professional or amateur often gives insufficient attention to the study of the individual, and here existing "text books" conspire with him. For instance, there is really no such thing as make-up for an old man, an old woman, a Cockney, a young girl. The old man who works on a dock shares few facial characters with the gentleman who sits in his Club or
but

leads a leisured existence.

The

old

woman who

has brought

up a family

an outer suburb has lines and shadows on her face not shared by the Dowager in Mayfair. The young girl who works in an office may be a very different proposition from the debutante.
in a small house in

The

actor should observe

all

the time.

He

should develop

an almost photographic eye; observe faces in the streets, in cafes and in all walks of life. Barry Fitzgerald, one of the finest character actors of to-day, and like so many of the older Abbey Theatre Players, a master in the art of make-up, used to spend days studying the types around the Dublin docks before he played his famous part of the Captain in Juno and the Paycock. The late Donald Calthrop, who was one of the most notable character actors on the English stage, also did the same thing. He believed in using as little make-up as possible. He considered that many actors relied far too much on grease-paint rather than on their ability to get into the skin of a part. Without the use of any make-up, he was able to make himself at least ten years older merely by use of his facial muscles. Sara Allgood also used as little make-up as possible in her stage roles, and she had the ability to become an old woman
before one's eyes without the use of grease-paint.
I

have

also discussed this point

film producer. In his opinion far too

with Alfred Hitchcock, the much use has been made of

make-up in character parts and he hoped that the day would come when the use of make-up would be revolutionized along
very different lines. It seems unlikely that any great improvement in the art of make-up can come about until theatrical producers take

INTRODUCTION
than they do at present. Young come to me for a scheme of make-up for a particular part, and after they have mastered it, it is dismissed by the producer as not being suitable for the lights. Few producers ever consider planning of lights in relation to make-up unless they happen to be actor managers,
a great deal more interest in
it

professional players very often

and are playing the leading

lighting I have ever seen

role themselves.

Some

of the best

is

customary with a once famous

actor

who

is

now
The

only seen in the provinces.

lighting
is

in parts dismissed as

He specializes ham by modern standards, and is a master

always good, but
is

of make-up.

always
it is

made
usual

subservient to the

demands of make-up. At the present time, and for some years

past,

must be planned to convey atmosphere. While this aspect of lighting must be considered, it seems to me that on the whole atmosphere is best conveyed by the actor, and his make-up, because in theatre the actor is the
to hear that lighting
vital

instrument, not the stage designer, nor the electrician.

significant that in the film studio, a

It

is

medium much abused

an
art at
all,

as commercial, or dismissed as not being

is

lighting

always

made

to serve the needs of the player,

and

his

make-up, which is as it should be. The cinema has its defects, but neglect of make-up is not one of them. The theatre still
has

many

lessons to learn.

>3

PART

GENERAL
CHAPTER
I

GENERAL APPLICATION

AM

often asked,

"What kind

of people

are best at

In my found this training invaluable in using grease-paints later. On the other hand, I have met professional artists in amateur companies who did not seem able to relate the two mediums. Young actresses ar e usually jnore skilful than young actors Hilar as a straight make-up is concerned, but there is often a subconscious desire to look pretty which gets in the way when heavy character make-up has to be applied.. On the whole the better the actor at least in the beginning of his career the less he cares for learning about make-up. The nervous tension which makes for a high degree of dramatic intensity is not the best state for the high degree of objective observation needed in making-up. Nevertheless, for reasons into which I will go later, it is absolutely necessary that everyone appearing on a stage should know how to apply grease-paints. The first thing one tells students is, "Apply a thin coat ofgrease all over the face, neck, ears and back of neck. Then wipe it off!" This simple direction is full of pitfalls for the beginner. First, he is likely to massage the grease in very thoroughly, instead of applying it swiftly and lightly. Then he does not wipe it off sufficiently and evenly, or else he wipes it off too thoroughly. A^ thin film must be left, with no pockets of
I

make-up?"

There seems to be no general rule for this. teens I was an art student for several years, and

grease in the hollows.

After this preparation

is

over, the basic coat

is

applied by
is,

drawing

large,

thick crosses

on the bony

surfaces, that

the centre of the forehead, the cheek-bones, nose, and chin. This is then smoothed all over the face, down the throat
15

STAGE MAKE-UP
often does one see the

and round the back of the neck, and over the ears. (How amateur actor playing the part of a

pallid invalid with bright pink, healthy ears.)

This must be done quickly and lightly; grease-paint is on, not into the skin. If anything has gone wrong at this stage, if grease has been left too thick so that the surface is slippery, or wiped off too thoroughly so that the surface is slightiy gritty, players should be relendess. They should wipe off the whole thing, and start again because otherwise the make-up will be a failure. Do not put on too thick a coating of the basic paint, or that "Red Indian" look will result if the make-up is "straight", or a mask-like effect if it is "character".

rubbed

Care of Eyebrows.

Never put on make-up

need to pencil their

for the sake of

make-up.

For

instance, in a juvenile "straight"

make-up men do not usually eyebrows unless these are thin and light.
applied

The
brow

pencil
so

may be
the

only

lightly

-to

the

eye-

upwards. Be careful not to draw eyebrows down towards the outer corner of the eye, even if the natural eyebrow grows that way, unless it is desired to create a severe, austere cast of countenance. From the point of view of effect, eyebrows are one of the most important features of the human face. It is a good idea for the amateur to sit in front of a mirror and experiment in drawing eyebrows of various types on his own face; he will then realize how important they are: Thick, straight eyebrows give a stolid expression, "half-moons" make a face look surprised and rather vapid. The eyebrows that reach their highest point above the nose suggest anguish or extreme astheticism. Wide-spaced, flaring eyebrows suggest liveliness,
that

outer

third

flares

character,

and beauty.

For juvenile parts eye make-up should be lighdy used, but a good deal of light or medium blue must be applied before it "registers" under brilliant lights. All make-up is at the mercy of the lighting system. For this reason it is always advisable to have two "final" rehearsals; a "semi-final" for lights in relation to grouping, make-up, and costume, where defects may be studied and removed, and
then a dress rehearsal.
16

GENERAL APPLICATION
Bright lighting tends to minimize the blues and yellows in make-up, and to some extent the pink tones, while accentuating theeflfec^ofjreds, browns, and blacks. A pink-and-white effectthat may seem overbright in the dressing-room may be too pale on the stage, while an eyeshadow for which lake has been used may be much stronger on the stage than might be imagined. (See chapter on "Make-up and Lights".)
Face and Figure.

Another point of great importance is that as bright lights tend to wipe out natural lines and shadows most people look younger on the stage as far as their faces are concerned, but this does not apply to figures, of course. Amateur producers should give some study to this point, the relationship between
the figure

and the

face.

Unless he happens to be particularly tall, a player of sixteen to eighteen will usually look adolescent if he has to play a

however skilfully his face may be made-up. hand if he is playing a character part, say an old man, with a stiff rheumatic walk, he may do it very well. In the same way a very young girl may be unconvincing as
straight

male

part,

On

the other

/woman

of thirty but play old ladies quite convincingly.

.Many

amateur performances are spoiled because of the lack of harmony between the face and the figure, and one sees grotesque effects that suggest an artificial adult head worn on a childish body. Worse still, many amateur producers rely on wigs and beards to create an illusion of age on a young face. If wigs or beards are worn, it should only be because the type of character demands this, the aged effect should be and can be obtained by grease-paints only.
)

for

the other hand, it is very unwise to cast older people very young parts, unless they have most exceptional physical qualifications. This applies most particularly to men. The muscular changes which create an effect of co-ordination in the male between the ages of eighteen and even twentytwo are considerable. Unless he has the suppleness of a ballet dancer, a twenty- two year old will not look eighteen on the stage. This is one reason why plays featuring adolescents are so unpopular with producers. As far as young adult parts are concerned, however, the actor or actress with a slim, supple figure can play youthful parts when quite middle-aged.
b
17

On

STAGE MAKE-UP
There is an adage that no woman under forty can play Juliet, and no really young man be a convincing Romeo. The fact that Juliet was supposed to be fourteen and Romeo seventeen involves such physical and psychic problems that producers have tacitly agreed to ignore the playwright's ruling in the
matter.

For the purposes of this chapter, therefore, it may be assumed that the producer has been able to select his juvenile leads among players over eighteen and under thirty, and that they have been made-up, or made themselves up to look their best with due regard for the lighting to be used.

How

to use

Powder.
is

needed here about powdering. Amateurs little powder or too much, more usually the former. Powdering must be done very carefully, and for straight roles a light sun-tan powder should be used by males and females alike, unless a very blonde effect is desired. It should be applied very carefully and thoroughly, because it acts as a blending agent between one shade of
are inclined to use either too

A special word

make-up and another, and also prevents "greasy highlights" from being picked up by the stage lights because these make
faces look ugly

and

distorted.

from the stage and quite often players who need repowdering between one exit and their next entrance cannot get to the dressing-rooms and back. The ideal arrangement is to have someone who understands at least a little about make-up installed off stage under a good light' *so that repowdering can be carried out. It is scarcely necessary to remark that many theatres do not have a suitable light for this, but it is well worth while rigging
In
theatres dressing-rooms are remote

many

one up for the purpose. Not only is this light useful for repowdering and retouching, but very often a lightning change of make-up say from health to illness or distress has to be done in a matter of

seconds.
I

once produced a play with an amateur cast playing in

a small hall with a small stage which permitted no space for a "cross" at the back while the curtain was up. The leading

man had
make-up

to

in about

change from a juvenile straight to a "dead" two minutes. He had to do it on the side
iS

GENERAL APPLICATION
of the stage where there was no exit and where the wings were too small to permit a light fixture as the light would have percolated through on to the darkened stage. The difficulty was finally solved by the actor carrying a stick of No. i \ and a box of white powder, and he had to do the

by the light of a hand torch. A few minutes later he had to switch make-up again and change from civilian clothes to a uniform. This was done in the wings on the farther side of the stage. I changed the make-up while he changed his clothes. All this is rather exceptional, of course, but it can happen, and when it does the producer must be prepared to overcome the difficulties. The illusion is often spoiled in amateur shows by people retaining exactly the same make-up when they are supposed to have been shocked, taken ill, or even aged a few years. They remember to change their clothes in the latter instance, but not their make-up. Sometimes make-up need not be changed, of course; lights may be changed instead. Bluejighting will make players look pale and ghostly, while red or rose will make them look glowing. But changes of lighting, except where there is a change of scene, are not advisable in a realistic play. I recently saw a one-act play performed by an amateur company where the curtain went up on a sunset, and there was an interplay of rose, green, and yellow lighting. The effect was more like a transformation scene than a sunset. It was a bit too pretty, and the players looked a bit too pretty. When the rainbow effect faded and the stage was lit by amber lamplight it was immediately evident that everyone's make-up was grey and colourless. If the make-up had been tested in relation to the lights it must have been done in the sunset effect, whereas it should have been based on what the players looked like in the lamplit scene, because they were on the stage all the time, and there was no opportunity for retouching.
necessary change-over
Basic
i i 1 1 1 1 1

Make-Up for Men. No. 9 grease-paint, No. 5. No. \\. No. 20.

medium
brown

blue pencil.

lake liner.
liner.
19

STAGE MAKE-UP
i

carmine No.

3.

Packet of orange sticks. Ochre powder. White powder. Sun-tan powder. Coarse white powder for hair. Cotton-wool.
2

powder

puffs.

Basic Make- Up for Women.

1
1
1

No. No. No.

3 grease-paint (or
5.

No.

2 \ if very blonde).

i\.

1 1

medium
brown

blue pencil. lake liner.

liner.

1
1

carmine No. 2. 1 No. 20. Packet of orange sticks. Ochre powder. Natural powder. White powder. Coarse white powder for
Cotton-wool.
2

hair.

powder

puffs.

Both sexes

will

need a large jar of foundation cream and

soft,

a jar of remover; also plenty of

clean rags.

LIST
i

OF GREASE-PAINTS, POWDERS AND THEIR USE

2\
3

A A A

3^
5

very light flesh tint used for highlighting. blonde flesh tint used for base on fair skins. pink flesh tint used for base for medium tone skins and youthful effects. brownish -pink flesh tint used for florid make-up, or
blending.

A yellowish flesh tint used

A

8 9

with a mixture of 3 for female brunettes, for male make-up mixed with 9, and for old and middle age by itself. dull yellow used for oriental flesh tints. Mixed with 5 for male straight make-up, used for men's cheeks, and for deep sun-tan tones. Important Never
:

use No. 9 by

itself.

GENERAL APPLICATION
20

Chrome.

white stick used for highlighting and lining. A yellowish tint used for undercoating in

oriental effects.

Carmine No. 2. A light carmine used for cheeks and lips by blondes. Carmine No. 3. A strong carmine used by brunettes and for character make-up. Lake liner. A thin stick in dark crimson tint used for lining and shading. Blue liner No. 2. A light blue used for lining and shading and for eye shadow. Blue liner No. 3. A strong blue used for beards and

deeper shadows.
liner. Used for eyelashes and eyebrows. Black liner. For heavy make-up on eyes, brows, or moustaches. Wet white. Used for hands, arms, or fantastic make-up where a flat white surface is required. Liquid sun-tan. For body make-up for Oriental effects. Natural powder. A pink tone used by female blondes. Rachel powder. A yellowish tone used by female

Brown

brunettes. Light sun-tan. An ochre yellowish powder used male make-up. Medium sun-tan. A deep-toned powder used sun-tan or Oriental old age, hands and arms. White powder. Used Talcum powder. Used for whitening or greying Soap. Soap may be used for flattening down thick eyefor for
effects

types. for

hair.

brows. This is most useful for men's eyebrows when highlighting is being used. The soap is applied first and then the highlighting. It may also be used for women's eyebrows if they are too thick. It is far better, however, if women will at least shave away surplus eyebrow when they are preparing to play a part. The highlighting never can look so dainty or natural as a well-shaped eyebrow. Shaving does not necessarily entail removing much actual eyebrow, although to remove some of the lower half may be an improvement. It means removing the hairs that often grow below the eyebrow proper.

CHAPTER

II

SPECIAL DIFFICULTIES OF THE

AMATEUR

THE

difficulties

of the amateur actor are often exactly

opposite to those of the professional in every aspect of theatre work. The amateur rehearses over a far

longer period than the professional, although the total number of rehearsal hours is very much less, and usually plays for one or two nights. The professional seldom has enough time for as much rehearsal as he would like, but usually plays the same role long after it has become stale. As far as make-up is concerned the amateur never gets enough practice, and the professional actor may come to regard it as a tiresome and
inevitable chore.

if

Very few amateur companies do their own make-up, but it is usually undertaken by the producer with the assistance of one or two members who know a little about the subject. This is a grave mistake, and all too often the result of bad organization on the part of the producer. Any
they do

producer who does the job himself rather than take the trouble to train people to do things for themselves is a bad producer. Worse still is the producer who engages an expert to come along and make-up the company on the night. No one person, however expert, could make-up even eight or twelve people to stay looking their best unless it were possible to keep them in a refrigerator for an hour or so before the curtain goes up. No one should be allowed to appear on a stage if he is not capable of making himself up. This is a doctrine of perfection, of course, but it is an achievement in training that the producer should try to attain.
Basic Make-up.

in

should be possible to give a group half-a-dozen lessons applying make-up during the months preceding the presentation of a play. This will at least enable them to apply basic make-up or do a straight one completely. The expert can then carry out the more tricky details.
It

Another problem

is

the

make-up

outfit.

It

is

useful to

have

SPECIAL DIFFICULTIES OF THE AMATEUR

complete full-range box containing one of everything, if the producer can have this, well and good, but it is absolutely essential to have a supply of basic make-up sufficient to ensure that at most only every three members of the cast are sharing. As a matter of fact, once a group are given lessons, most of them will want to buy an outfit of essentials for themselves, and this is the best way, of course. In Chapter i I have made some references to the errors likely to be made by the beginner, such as the tendency to apply make-up with a heavy hand. It should be used as lightly as possible so as not to obscure the play of tiny facial muscles. Another reason for a light touch is that if the base is too thick- it~becomes slippery on the surface, and lines wobble and slide, and eventually run as the base tends to
a

and

melt.

Speed

is

most important, so the wise producer

will

go on

giving lessons until the students have achieved the knack of

quick application. The producer for an amateur group who play in hired halls should learn to expect the worst and be prepared for it. He must be prepared for small dressing-rooms, or large, with inadequate mirrors (or mirror) lit by a single bulb in the centre, which successfully defeats all efforts at a clear view of the faces in the mirror. It is a simple matter to visit the dressing-rooms beforehand, and arrange for the electrician to rig a light in the right place, or better still to run in some extra lights. Each member of the cast should be prepared to bring a mirror of his own. The producer will find it a great advantage if he prepares a time sheet for make-up for the whole programme, particularly if the cast cannot deal with their own make-up, although it is a great help in any case. Here is a sample for a programme of three one-act plays
5.30 p.m. Peggy as old woman. Approx. time 30 mm. Base No. 5. Lake eye shadows. No. 1 \ chin and nose. Lake 20. lines nostril to mouth, highlighted with No. Shadow corners of mouth. Line and highlight chin. Shadow and highlight cheek-bones. Lines on neck and hands. Highlight eyelids. Shadow jaw below ear. Apply No. 20 to eyebrows, brushing the wrong way.
23

STAGE MAKE-UP
Cover mouth with base, draw thin lips with Powder with chrome. Powder hair white.
6 p.m. Jack make-up
as old man.

lake.

Approx.

to

be used, and

time 40 min. Here, list so on until whole cast is

dealt with.

This methodical preparation saves the producer many a headache, and keeps his assistants on the right lines. If the cast can make itself up, then each player should be given the chart of his own make-up. It is surprising how quickly beginners learn self-confidence if this method is used.

Make-up

Rehearsal.

two rehearsals on the stage an amateur group will almost always find that once or twice a year at least he does a request show where rehearsal on the stage is not possible, nor is it possible in many festivals and competitions. My own vdew on this matter is that the British Drama League would help considerably if it refused adjudicators for shows where at least one dress rehearsal on the stage had not been provided. Nothing stands in the way but official apathy and obstruction. This obstruction, when tracked to its source, is generally found to be that the caretaker of the hall does not want the hall used for rehearsal. That is the reason why make-up and lighting for competitions and festivals are more generally bad than good. The connection between lighting and make-up cannot be over-stressed. As a general rule dim lighting exaggerates

As was

stressed in

Chapter

are most essential.

Nevertheless, the producer of

shadows, and bright light tends to tone them down and Light from below is flattering, but not flat effect. naturalistic; light coming down from above creates ugly shadows; much light from the sides of the stage gives a hard, artificial effect and suggests the "picture in the frame" that is the bugbear of the modern producer. It is most important that the lighting and the make-up should not only be in accord with the emotional atmosphere of the play, but should emphasize it. Some amateur producers become fascinated with lighting and make-up for their own sake, and create a fairy-tale atmosphere which has nothing to do with the playwright's intention. As far as a modern naturalistic play is concerned the best

produce a

SPECIAL DIFFICULTIES OF THE AMATEUR

make-up and
lighting are the kind that the audience never
notices, because

th^y~aTeWTn^cc6rd~Witir the emotional tone

of the play that they never obtrude. When the play is not naturalistic the course lend itself to the atmosphere of example of this is the seldom seen Merry The characters are Pierrot, Harlequin,

make-up should of
fantasy.

typical

Death by Evrienoff.

Doctor who
Pierrot
is

is

a burlesque of all

Columbine, and a and "the lady Death". Doctors,

made up with

the traditional white

"moon"

face for

which wet white can be used, "surprised" eyebrows and a Harlequin must as far as large, obviously painted mouth. possible be the personification of exotic male beauty, with
long, languid eyes, chiselled features, hollow cheeks,

and the Columbine must shadowed doll-like as possible. Death should be be made as pretty and given a "death's head" make-up of the kind worn by "Death"
face of one with not long to live.

in The Green Table ballet.

This particular Doctor should be

made

to look pallid,

but yet a secret toper.

Make-up and Emotion.

Another important point

is

that

make-up must be changed

If a character exits and receives a shock, meets with an accident,

in accordance with the events that occur in the play.

or

is

taken

ill

off stage, the

is

make-up must be adjusted accordcompletely neglected, particularly

ingly.

All too often this

who is likely to remain blooming monotonously through all vicissitudes. It is curious that both amateur and professional producers are likely to overdo make-up when it comes to character acting. In a recent West End production, beautifully produced and acted, the mother of a young man in his early twenties was made up, and moved and spoke like someone of at least seventy-five. This is because the producer had a mental file catalogue where individuals have no place, but everybody is docketed as "juvenile lead", "old man", "old woman", and so on. At risk of repeating myself I do implore the producer of amateur groups to study life, study the faces around him, until he knows the lines and shadows associated with various
in the case of the beautiful heroine

age groups.

Very

often this docketing of types

is

not solely the fault of

is

either producer or actor.

The playwright
25

sometimes to

STAGE MAKE-UP
Playwrights seem to have a special weakness for making the mothers of juvenile characters so old that one can only assume that some minor miracle or freak of nature

blame.

contributed to the birth of the child. In the play referred to above this was indeed the case as there were many references to the fact that the old lady was tottering on the brink of the grave, even though her son could not have been a day

over twenty-four.

Aunts also seem to age with amazing rapidity on the stage. Seldom is a juvenile character seen with an aunt under seventy. Make-up will never be a great art until the stock character is booted into the limbo where it belongs. For this reason the plays of Chekov are a mine of delight for the make-up expert. There are no stock characters there.
Students frequently ask, "How long will it take me to make myself up?" In the past couple of years I have had several hundred students pass through my hands, and found that as a general rule three separate lessons of an hour each enabled students to do a pretty fair straight make-up with any necessary adjustments for personal peculiarities. What generally happens is that the end of the first lesson finds most students in a mess and looking and feeling rather gloomy. At the end of the second they are liable still to look a bit messy but feel as if they might be able to do a little better. At the end of the third they begin to get the hang of thing? and feel some confidence. There are exceptions to this rule, of course. Some people do a very good straight make-up on their own at a second lesson. Others quite often do a nice clean character make-up during their very first lesson. There are others, usually highly strung, nervous people, who perspire a good deal, who find great difficulty with make-up.
learn to

Make-up and

the Producer.

Producers of student shows

may

sometimes be ruthless,

and after giving a few lessons, during which results will vary between one individual and another, adopt a sink-or-swim attitude and leave the players to make themselves up. The I saw a student perresult may endanger the whole play. formance of a very serious play quite well acted, with one really good make-up, one inoffensive one, one faulty, and three
so preposterous that the audience tittered every time these
26

SPECIAL DIFFICULTIES OF THE AMATEUR

people appeared, and the play suffered in consequence. In this case the producer had severely damaged his own show by permitting such appalling make-up to be seen. When amateur players have to be made-up, the real expert can tell at a glance just what players are going to be a little difficult, either because of facial structure and quality of skin, or through nerves taking revenge by excessive facial perspiration, and those who are going to be comparatively easy. The easy ones are then disposed of and the second group tackled. The ones who perspire should be left until last, and repowdered immediately before they go on. Invariably there are amateurs who complain that make-up brings them out in spots and rashes. This is only partly true, because it is mostly nerves that are the real cause of the spots and rashes. But it will help these people if, after the make-up is removed, they rinse in hot water and massage their faces very thoroughly with soap, leaving the lather on for about a minute, then rinsing thoroughly again with really hot water and finishing off with cold. I have known very highly strung amateurs to come out in a rash at dress rehearsal before any make-up was applied at all, and they are sometimes people whose nervousness is not apparent, even to themselves. Only experience can cure
this manifestation

or retirement.
it

Sometimes these people will stoutly maintain that they would be better without stage make-up, in which case the only thing to do is to try diplomacy and if that fails, but usually
it

does not, to

make

quite clear that

it is

a case of being

made

up or

relinquishing the part.

A SUMMARY OF "DON'TS" FOR AMATEURS

All the points mentioned below are dealt with in various
sections of this book, but

amateurs so persistently make some

or

of these mistakes that the following may be helpful. JBe_sure to carry your basic make-up over to your ears, and if they are at all prominent use extra No. 9 and No. 5 to darken them down. This applies most particularly to men. I have see quite a good revue staged by amateurs seriously marred by bad make-up, and without exception the ears stood out like white jug handles. Don't put black pencil on your eyebrows. If they are
all

27

STAGE MAKE-UP
naturally light use brown;
all

if they are dark do not pencil at except to alter the shape. Get a good space between the eyebrows by applying basic make-up to the inner eyebrow.

your eyebrows are too thick soap them down and put part; do not leave the eyebrows au naturel. Don't leave deep-set eyes without highlighting. Use No. 20 or No. 1^ on the part between eyes and eyebrows. Don't put shadows on the inner eyes near the nose unless
If

basic

make-up or No. 20 on the under

directed.

Don't put patches of rouge under the eyes near the nose. If you are brunette don't use light powder. Don't forget to use plenty of powder, and to repowder between appearances. Don't forget to use wet white on arms and hands. This is most important when evening dresses are worn. For Men. Don't forget to powder your lips.

What Highlighting Means.

for

highlighting is used of course to indicate the need emphasizing or bringing forward a part normally well masked with flesh or naturally shadowed because of the shape of the bone structure. This is most usual in the case of deepset eyes. On the stage they may look like two holes burned in a blanket from where the eyebrows begin to the lower eyelid. When a very light shade such as No. 1 \ or No. 20 is applied from eyebrow to eyelid these ugly shadows disappear and the eyes can be seen more clearly.

The word

28

CHAPTER

III

BEAUTY ON THE STAGE

the time ago heard Miss Edith Evans SOME question of beauty on She considered beauty
I

discussing

the stage.

also

one of the most desirable qualities in an artiste. remarked that one did not now see such beauty

She
as in

former days.
I

Mr.

am in no position to offer an opinion on this point, but Mac Michael McLiamor of the Gate Theatre, Dublin,
Sir

offered precisely the opposite opinion.

At the~ age of ten Herbert Tree's Company. From his memories, the giants of those days were no better actors than modern players, nor were they any better looking. He thought they did, in fact, seem to be better actors and also seemed to be far better looking, but the reason was that
Mr. McLiamor was acting in
everything was sacrificed to gain just those effects. The star thing. The star had the biggest and best parts parts that were designed to display talent, and every bit of stage technique including lighting was planned to that end. Women stars were often chosen for their beauty rather than

was the

and were seldom allowed to look plain. study of old photographs will confirm this. In the modern play beauty is not enough at least, on the stage. It may be on the screen, although Miss Bette Davies seems to be one of the few screen stars who never sacrifice drama for glamour. But on the stage it would be
their acting abilities

possible to

than at present.
stars

make many actresses appear far more What happens is that Hollywood
step towards doing justice to beauty
is

beautiful
steals the

and does that job.

first

The

to

make
This This

the most of good points and play

down

less

good

ones.

means giving an
will

effect

of

harmony and

proportion.

be dealt with in
Illusion

detail in

subsequent chapters.

The

of Beauty.
is

Make-up
movement,

not,

gesture,

can and do create

z9

of course, the only aid here. Grace, illusions of beauty.

STAGE MAKE-UP
is something of which the amateur actor has all too knowledge as a rule. In the past beauty tendefl to be stylized. A study of old photographs again reveals this. Large, luminous eyes and rosebud mouths are so evident in these old photographs as to suggest family likeness. It may on the other hand be suggested that exactly the same thing is happening to-day in the film studios and that "family likeness" is so noticeable that beauty seems to have been stereotyped but this does not apply to the stage. The average leading man is less concerned with his looks than is the average actress. She will find beauty by discovering her own good points, making the most of them with make-up, and disguising bad ones. The business of playing down bad points is rather subtle. For instance A very young actress with a rather plump face can often best disguise this plumpness by drawing attention to other features. If she

This

little

elongates the outer third of her

own

eyebrows, this helps to

give a triangular shape to the face

by making the eyebrows a

very important feature. A good "still" photographer, or even a not very good photographer, can often assist in this matter because nothing is more revealing than the study of some half dozen bad photographs. In straight plays, character should not be sacrificed to pretty-pretty effects. These should be kept for musical comedy. But even in musical comedy it is possible to make the most of the individual's good points rather than to apply make-up and conform to a sort of universal type such as is noticeable among some chorus girls on the
stage.

In amaieur companies where the producer is responsible the make-up, and players being usually completely ignorant of it, there are certain basic factors that the producer should know. If he is called upon to produce glamorouslooking characters in musical comedy, variety turns or even in straight parts, he needs to know what the underlying factors are. They are not always those that create an illusion of beauty in real life, because, for instance, on the stage colouring counts for little or nothing. It can be created. What is important is a certain type of bone structure, well defined cheek-bones, well proportioned forehead, well set eyes, chin not too large, mouth not too large or too small, the face
for
3

BEAUTY ON THE STAGE

Tree of excess fat or muscle.

With a face of this kind make-up can produce its best effects. If a producer is called upon to produce a glamour girl, he has got to look among his group for a face of this type. Not long ago I came across a very interesting instance of this. Press photographers had come along to a dress rehearsal in which a girl playing a glamour part failed to arrive in time, and I had to look among the group for a substitute. The young girl I found had never used make-up in her life. She had mousy colouring, pale eyelashes, practically no eyebrows, and not much colour in her lips. Make-up transformed her so completely that she is now cast as No. i glamour girl in the company.
The Ideal Face.

In actual fact my most remarkable "glamour girl" is not but a boy, whose photograph in a female impersonation is reproduced. Study of this young actor as himself, as contrasted with the impersonation photograph, is interesting. The face has a well defined bone structure, large broad forehead, large eyes, long lashes, small nose, firm chin, and mouth with lips of equal size. In addition all the lines of the face run slightly upward. As I mention elsewhere upward lines always give a pleasing effect. Little make-up was needed in the impersonation photograph. The eyebrows were reduced
a
girl,

by highlighting, the length of the eyes and the nose highlighted.

slightly exaggerated,

The hair worn in this picture is not a wig, but a single long switch. The end was caught up under the turban, the hair then pulled down to form a fringe. The remainder of the hair was drawn back and divided into two halves which were swathed down the sides of the face. The ends were then caught up at the back and secured under the turban.
I mention this in detail since it illustrates the fact that the producer does not necessarily need beautiful wigs or expensive costumes to create beauty on the stage. If he can

find beautiful faces so

tion,

much

the better, but

if

will discover that, given suitable

bone structure

he cannot he as a founda-

make-up can achieve a great deal. As regards male actors, little effort is made to exploit their looks at present, which is rather a pity. An actor may
3*

STAGE MAKE-UP
be subtly made-up to play up his good points and minimize bad ones, without creating an effeminate effect. I have seen most of the well-known stage and screen actors for some years past, and have only known three who could be said to be strikingly good looking, whereas there are scores on both stage and screen whose looks could be immensely improved. Many people regard it as a very good thing that the day of the matinee idol seems to be a thing of the past. They have some idea that male beauty and acting ability are mutually exclusive. Nothing could be further from the truth. Apart from audience reaction an actor with good looks, whether they are due to nature or to subtle work with greasepaints, or, as is more usual, a mixture of both, brings more confidence and conviction to his work than an actor who is secretly worried about whether his physique carries conviction if he is playing the part of a good-looking young man.
his

course. As a proapt to cringe in my chair if there are references in the play to the great beauty of some character. So often when the character makes her entrance she is not beautiful. Sometimes the part is played by a star noted for dramatic ability, and not beauty. I remember seeing a play by a foreign author in which references were made to the heroine being "a beautiful young girl", so many references that the audience had its expectations roused. When the heroine entered, she turned out to be an extremely plain, middle-aged actress noted for her playing of heavy dramatic roles. There were slight titters from the audience. Apart from the fact that there was bad miscasting here, much could have been done with greasepaints to make the star appear more beautiful.

The same

thing applies to

women, of
I

ducer taking a busman's holiday,

am

Form and

Colour.
all

With

make-up

it is

absolutely necessary for the player

to know his

own

face, as I

have

said elsewhere in connection

is

with general make-up.

Nowhere

this

more necessary than

the part calls for beauty. People are too apt to think x>f grease-paints in terms of colour, and not in terms of form. The use of grease-paint is not the art of the tinted photograph;
it is

when

much more

closely related

to the art of the portrait

painter: to

Rembrandt, not

to the miniaturist.
5*

BEAUTY ON THE STAGE

At the same time the limitation of grease-paint in creating effect of beauty must be realized. A beautiful face does not create the desired effect if the body is not slender and graceful. Posture, carriage and movement must be studied even by the amateur, or perhaps I should say particularly by

an

It is unfortunate that while the grease-paints the lure for the amateur that the proverbial carrot has for the donkey, lessons in posture and movement are not sought. In fact they are often unknown. When I give a lesson to a large group of amateurs on how to walk on the stage and sit on a chair, those who watch are usually aghast at the

the amateur.
all

have

this simple feat with even middle-aged, trained actress, however plain, and even without grease-paint, would create a greater illusion of beauty than pretty, slender young things without training are able to do.

inability of their fellows to

perform

minimum

of grace.

Any

33

CHAPTER

IV

"STRAIGHT" MAKE-UP
AS
IJk
I

-**

have said elsewhere in this book, the label "straight" make-up is misleading, because there is really no such thing. All make-up is character make-up to some

extent.

Some

playwrights are extremely explicit in their

descriptions of characters' appearance.

Bernard Shaw even

goes to the length of describing the shape of the ears of a secondary character in a one-act play. At the other end of the scale, Mr. Noel Coward gives practically no description

way

think this is probably for two reasons: one, that the which the characters speak and behave is the surest indication of their physical appearance, and secondly, that life in the theatre from childhood has made Mr. Coward somewhat sceptical of the way in which playwrights' more detailed
at
all.

in

descriptions in such matters are dealt with in production.

is to allow the players In production I made notes of my conception of the physical appearance of characters, and how make-up should be used, but I never impose I find this on the player unless it is absolutely necessary. that practically every player, even the most amateurish, will work out ideas for make-up and clothes and come along with them. Then we have a discussion and work the scheme out in detail, as I say, always encouraging the player to be creative in the matter. This is yet another reason why players should learn to make themselves up. Every process that gives the player scope for creativeness and the exercise of imagination is of value. Psychologically speaking, the play does not begin when the curtain goes up, nor end when it comes down. That is why the conventional "straight juvenile" make-up is so deplorable; its pastel perfection has no relation to the play as a whole.

On

the whole
to

think the best thing

possible.

freedom

be as creative as

Scheme for a Play.

classic,

Let us imagine for a moment that that old childhood Little Women, has been dramatized, and that it is
34

"straight" make-up
being produced.
in the cast, yet their

Meg, who

is

There are four straight juvenile characters make-up should be completely different. beautiful in a quiet way, Jo, who is handsome,

but not pretty, Beth, who is appealing, Amy, who is the glamour girl of the family. In each case I would start by considering any readjustments that had to be made in the players' faces first, so that each should be as good looking as possible in her own way; secondly that each should illustrate the author's conception. Having balanced up any defects, I would see that Meg, who was rather a domesticated type, had a healthy complexion, a little No. 5 mixed with the No. 3 slightly on the pale side
:

she would appear to have eyes that were pretty without being striking, that her face was oval and her mouth

base

that

delicate.

Beth, the semi-invalid, would be pleasing in a quiet way, with nothing very outstanding or spectacular. Jo should be striking and distinguished: a good forehead, breadth across the temples, well marked, flaring eyebrows, long eyes with dark lashes, high cheek-bones, a striking mouth but no pink and white here more No. 5 than No. 3 in the base. Amy, of course, would have No. 2\ base, pink cheeks, eyes looking starry and delicately shaded, a dainty nose, a cupid's
;

of application is: First of all apply base, No. o\ for extreme blondness, No. 3 for medium, No. 3 and No. 5 mixed for brunette. Then eye shadows shading on lids, shadow in blue between inner corner of eyelids and eyebrow, dark line on the very edge of the eyelids where the lashes
:

bow mouth. The routine

grow. Brown is used for this unless the type is brunette. Triangles at the outer corners of the eyes; Carmine dot inner corners of eyes. Highlighting with No. \\ or No. 20 between eyelid and eyebrow if the player's eyes are at all deep-set. Straight line of No. 1 \ down nose (unless the player has a large nose), blue shadow under nose, blue shadow under lower lip. Carmine high up on cheeks and shading away on temples and on to ears. Then eyebrows, first of all shaped in relation to the character, and also with an eye for the best effect. They must not be thick. If the natural eyebrows are thick or uneven in shape wipe them out with No. \\ or No. 20 and paint on new ones (not too thinly).
35

STAGE MAKE-UP

A
the
ing,

dab of carmine
if it is not,

lips

in centre of chin. If it is desirable that tinted, put the carmine on after powderlook should

powder, and then put a on the lower lip. This last touch of brilliantine in any case always helps, but do not forget that lips must be greased before applying greasepaint on them. Powder very thoroughly and carefully. If we go back to our imaginary Little Women cast, Meg would have "natural" powder (not too light in tint), Beth the same, Jo light sun-tan powder, Amy pale pink powder. Wipe the surplus powder off eyebrows and eyelashes. Apply mascara to lashes. In the past it was customary to heat black greasepaint, jab a hairpin in the mixture and apply it to the tips of the eyelashes. This was done for several reasons. It was a heritage from the days when stage lighting was not what it is now, and before there were really good eyelash cosmetics. It does give a starry eyed effect, but it is troublesome and messy. The amateur will find it a difficult job, and the
but put
it

on

first,

slight application of brilliantine

who employs it nightly will find that in the long hot application is not good for the eyelashes. Artificial eyelashes are, of course, very much more effective. "Starring" is still used by old-time actresses, particularly on the variety stage, and female impersonators often use it to give the exaggerated effect their performance needs. Normally it is not necessary, however.
professional

run

this

Modern Trends.
forgotten in relation to straight

make-up must not be make-up for the stage. Pinkand-white is no longer popular. If an actress is naturally of very blonde complexion, and a "porcelain" lady effect fits the part, then use No. i\ base, carmine No. 2 and pale pink powder; but if the part calls for an out-door girl, use a No. 3 base and a slight suggestion of No. 9, both mixed in with the base, and on the cheeks. It must be remembered that the
trends in normal out-door

Modern

sun-tanned blonde type can be very effective. In that case use a light sun-tan powder instead of a pale powder. If she has dark brown hair, use a No. 3 base, and No. 9 or sun-tan powder if desired. If she is brunette, use a No. 5 base with a little No. 9 mixed in, and No. 9 mixed with very little carmine for the cheeks, and a light sun-tan powder.
36

STRAIGHT
The
effective.

MAKE-UP

red-haired woman will find two types of make-up If she has an extremely blonde skin, use No. i\ base, but mix a little No. 9 with carmine for the cheeks. Use a light powder. If the player has red hair and brown eyes, she will look best with a base of No. 5 with very little No. 3, and she can either have a bright colour-mixed No. 9 with carmine or very little colour. For this use a very little carmine

No.

3.

is at the mercy of the stage lights, and also, of course influenced by the colour of the costumes, producers must watch the total effect. Extreme blonde make-up or definite sun-tan make-up, looks well with white, or pastel blue, or turquoise. For wine shades, yellow tints and sun-tan effects should be avoided unless the character is exotic. Greens call for pinkish make-up with a fair amount of carmine on the cheeks, otherwise the effect is likely to be rather ghastly. Mauve and purples also need pinkish make-up. Scarlets need a "strong" make-up, that is, either definite pink-and-white, or definite sun-tan. Yellows need the same. If strong blues or black is being worn, sun-tan should be avoided, and make-up should be clear and strong in tone. For pink costumes make-up should also be either a definite but delicate blonde or a definite but not too bronzed sun-tan. Players should always make sure that their individual make-up is checked under lights by the producer. If the producer forgets, ask him to give it "the once over", make any adjustments necessary, and then ask for a check-up again. Never alter a make-up after dress rehearsal and appear with an unchecked make-up on first night. I have seen this done with disastrous results. First nights, whether amateur or professional, are hectic affairs, and the most amazing slips can go unnoticed until the player is on the stage.

As make-up

Treating Skin Blemishes.

"""A spot or cut on the face often gives a young player a great deal of worry in case grease-paint gets in and causes blood-poisoning. The best thing is to paste a small piece of

medicated sticking plaster over the affected place. Cut the edges of the plaster into some sort of irregular shape so that it is not a hard square or circle. Then cover it over with base when making-up.
37


STAGE MAKE-UP
Never forget that make-up does not finish with the face. Even straight make-up must be carried over the neck and throat or any other part that is exposed. For instance, the ears should not be neglected. The carmine used on the cheeks should be smoothed up to and over the lobes of the ears, and as I have mentioned in another .chapter, pale ears on a colourful face, or red ears on a pale one, are
not desirable. Some people have outstanding ears. This is generally a masculine rather than a feminine blemish, but if you are playing a part where the ears are exposed, it is well to examine them critically. Unless they lie flat to the head it is a good idea to fix them there with a little sticking plaster. If the arms are exposed, arms and, of course, hands should be treated with wet white, which is not necessarily white, because it can now be bought in numerous shades from dead white to deep sun-tan. Do not wear nail varnish

unless

it

is

definitely in the part.

Straight

Make-up for Men.

base of straight make-up for a man is a mixture of I assume 9, with the No. 5 predominating. that the player will read the chapter on dealing with defects, and next rectify them on his own face. The two most frequently found are eyes too deep set, and slightly outstanding

The

No. 5 and No.

ears.

The

ears can be put into place with sticking plaster, the

above the eyeball to the eyebrow. Most juvenile leads will be improved if they mask the thickness of their eyebrows with No. 5, or No. 20 if the growth is really strong. There are a few men with beautifully proportioned eyebrows, but they are rare. Thick eyebrows overshadow the eyes and make them look smaller. Unless the nose is large, it is improved by a line of No. 1 down the centre. Sometimes rather large noses are also improved by it, not of course the Roman nose, but the nose that inclines to be broad. The eyelids should be shaded with blue, and a thick line drawn with brown along the edge of the eyelid immediately above the lashes. A triangle is drawn at the outer corner of the eye. Make-up is not applied under the lower lashes. Most eyes look better if a blue shadow is applied in the corner between eye and eyebrow. Stage light?
eyes high-lighted with No. 20 from
38

STRAIGHT

MAKE-UP

wipe out natural shadows, and grease-paint has to restore some of them. A carmine dot on the inner corner of each eye. A blue shadow under the nose, and coming down towards the mouth. A blue shadow under the lower lip. Some blue on chin and jaws where the natural beard creates a blue tint. No. 9 is used to suggest colour on the cheeks, mixed with a little carmine if a really bright colour is required. Carry this colour up and over the lobes of the
ears.

Use No. 9 for the lips, or No. 9 with a mixture of carmine. Sometimes a little lake is effective. This depends on the lights. When powdering do not forget to powder over the lips. Powder very carefully with light sun-tan powder. Remove surplus from eyebrows. Use mascara on the eyelashes. The fresher make-up is the better it will look. A straight juvenile make-up can be done in ten minutes by an experienced actor, and the amateur should learn to do it in fifteen. Where adjustments have to be made it will, of course, take longer. Do not scamp it; only practice will enable you to do a thoroughly good job quickly. Also do not forget the hands. They should be in character. If your make-up is pale, your hands should be pale; if it is a healthy looking sun-tan, your hands should look tanned also. There are liquid make-ups for the purpose.

39

CHAPTER

DEALING WITH DEFECTS

"Mongolian" Eyes.
fessional

These
than

are

rare,

and

rarer

in

pro-

although striking, or pretty in real life, any director would be well aware of the difficulty of making them up, but I have come across them among amateur players. The space between the
stage
circles

elsewhere,

because

eyebrow and eyeball

almost
flat.

is flat,

and the eyeball

is

therefore also

above the eyes is highlighted the eyes appear to sink in further still, and if the eyeball is shaded with blue the eyes look like slits. The only thing to do is to create an illusion of modelling where none exists. Shade lightly with blue above the inner corner of the eye, and carry this shadow above the eyeball out towards the outer corner of the eye. Put very little shadow on the eyeball itself. Draw a dark line as usual above lashes, and keep the triangles at the outer
If the space

corner high and delicate. Keep all the eye make-up thin and If the eyebrows are not a good distance above the light. eyes, cover them with base and draw others above them, using brown on a brush or orange stick. If these false eyebrows look bluish, touch them lightly with No. 9. Sometimes people with Mongolian eyes have very scanty natural eyebrows set high. In this case, if it is a man playing a character part, artificial eyebrows of chopped cripe hair may be applied, making them thin or thick as required for the part. Apply the crepe hair fairly thickly, then clip it down to the depth required and finish off with brilliantine. This trick is only necessary when the stage is small and the audience near. For all ordinary purposes grease-paint eyebrows are all right, but they must be powdered.

MALE
Deep-set Eyes.
this defect.

great

many male
to

If they

happen

players have to fight have thick eyebrows, these have

to be skilfully thinned, but not so much as to give an effeminate appearance. A fairly heavy application of No. 20 is then
40

DEALING WITH DEFECTS

applied from underneath the eyebrow down to the eyeball. The eyebrows, of course, should be plucked from underneath so that what remains of them is as high as possible. Very little make-up is applied round the eyes and never underneath except in character parts. In some cases the eyes are so deep-set that even this treatment is not entirely satisfactory. Sometimes it helps if the player wears a moustache as this distracts from the two-holes-burned-in-a-blanket appearance so often seen in amateur players of this type. In this type of face the wearing of a Short, Broad Face.

moustache should be avoided at

the face look
still

all costs as it serves to

make

Here the forehead and chin should be highlighted, that is, a much lighter make-up should be applied. The nose should also be highlighted by running a stick of No. 1 2 straight down the centre. Make-up should be darkest on the sides of the face from the cheek-bones to the
shorter.

The cheek-bones may be highlighted also, but this has be done very skilfully. The shading at the sides of the face can be aided by a light application of blue at the temples,
ears.

to

down
but

this

the cheeks by the ears and fading out down on the neck, has to be done very carefully and should be done
times at rehearsals with lights before actually being

many

worn while playing. Sometimes people with short, broad faces have an extremely large forehead and a rather small chin. In this case the forehead should be powdered in a darker shade and the chin in the lightest possible shade. Long, Narrow Face. Make-up should be darkest on the forehead and chin, light on the nose and cheeks, this light make-up should be carried right across to the ears.

Small Nose. The nose should not only be highlighted, but powdered in a much lighter colour than the rest of the face, and the use of moustaches should be avoided. Large Nose. Here every effort must be made to make the rest of the face as important as possible. Darker make-up is used on the nose and it is not highlighted. A Fat Face. Here the nose should be highlighted with light make-up on the portions of the face near the nose, and on the chin and forehead. Dark make-up with the aid of a little blue at the sides. The eyebrows should be made import-

ant, the lines being

Hollow Cheeks.

Make-up

drawn out
41

well over the temples.

round the eyes should be as

STAGE MAKE-UP
be made to avoid dark shadows. An all-over, even, light make-up will help to give a plumper effect. Thick Eyebrows. These need to be plucked very skilfully. Where Feel the shape of the bone structure underneath. eyebrows are naturally beautiful they only grow along the edge of the bony structure above the eye and their shape is conditioned by the moulding of this structure. But where eyebrows are thick, they seem to have run wild and have little shape. The best thing is to take a black pencil, draw a fairly heavy line along the edge of the bone structure. Then clip away all the hair above and below this, and taper off the outer third of the eyebrow. Having clipped, a shape will emerge and then the surplus eyebrows should be plucked or
light as possible; every effort should

A good width must be maintained between the two eyebrows. This in itself is a considerable aid to good looks. Great care should be taken not to pluck the eyebrows
shaved.
excessively.

Large Mouth. It is very difficult to reduce the apparent of the mouth, and the best thing is to make some other feature of the face noticeable. Here again, well-shaped, flaring eyebrows help. Flesh coloured make-up can be applied right over the lips and a thinner mouth drawn in, but this needs a good deal of skill and the artiste must be extremely careful to avoid smearing. A shadow should then
size

be applied under the lower

highlighted.

lip.

The

chin should be somewhat

easily disguised by an where the double chin is most noticeable, shaded off with No. 9. But this shading must be taken down the neck and right up to the back of the ears, as otherwise it looks as if the actor were wearing a chin-strap. Here again there should be rehearsal of this

Double Chin.

This can always be

make-up
:

application of dark

blue,

effect

with

lights.

Nut-cracker

Face.

This

is

one of the most

difficult

of

types of faces to beautify.

so.

Like Jack Hulbert

Many actors do not attempt to do they may make it part and parcel of

If it is necessary to disguise it, make-up should be darkest on chin and forehead. The eyes should be highlighted as they are usually deep-set. The eyebrows should be brought well out across the temples to give breadth,

their stage personality.

42

DEALING WITH DEFECTS

and make-up should be light on nose and cheeks. Dark shading may be used under the jaw and actually brought up around the chin.
FEMALE
It is far easier to

deal with all kinds of defects in the face

artificial

of a female artiste than in that of a male because the slightly does not necessarily have to be avoided. Deep-set Eyes. The natural eyebrow can be entirely obliterated with flesh coloured make-up and an artificial eyebrow drawn above the natural one and taken well out on

temples in a slightly upward direction. Half-moon shaped eyebrows should at all costs be avoided. The outer third should never be drawn downwards but taken out in a flaring line. It should scarcely be necessary to advise actresses with thick eyebrows to pluck and to thin them. Narrow Temples. Just as deep-set eyes are a common defect in actors, insufficient width across the temples often spoils an otherwise attractive female face. Here the eyebrows should be plucked and thinned, the outer thirds obliterated with grease-paint, and artificial ones drawn in a good flaring line. Insignificant noses should be made as importSmall Nose. ant as possible. They should be firmly highlighted with No. i J; the basic make-up should be light and the powder light. A blue shadow applied underneath the nose helps to improve the shape. Small Mouth. This is always a difficult problem because of the danger of smearing when lips are drawn over the natural mouth. At one time it was possible to obtain liquid make-up for lips. If this can be bought it is the most satisfactory make-up for enlarging a mouth and is applied like paint with a brush. Large Nose. The make-up should be as dark as possible. The nose should not be highlighted. The eyebrows should be made important and a light make-up applied across the chin well out towards the ears. Double Chin. Dark make-up should be applied from the ears down the jaw line and blue may be used where the double chin is most marked. In treating this defect it is very necessary to study it under stage lights before the actual performance.
to the

43

STAGE MAKE-UP
Large Chin.
carried

An application of carmine under the jaw and

to the actual chin line with a

up on

dark foundation
size

on the chin

itself

and dark powder, reduces the apparent

A very light make-up should be used on the carmine should be applied. The slight customary application of carmine in the centre of the chin should be left out. Slightly darker make-up on the cheeks near the ears reduces the breadth of the face and makes the chin look
chin.

of the chin. Small Chin.

No

larger.

Beautifying Hands.

Fingers

may

be made

to look slender
sides

by the application of crimson lake along the

fingers

of the

Gracious use of the hands and care in gesture is far more important than any make-up in giving an impression of beauty.

from the

tip to base.

GENERAL HINTS

and outward, or do so with the aid of make-up, the general effect is pleasing. That is, as stressed previously, the eyebrows should be long and flaring. The eyes should appear to run slightly upwards at the corners. The hair line should be well off the temples. As mentioned in the chapter on hair and wigs, the hair line can be altered by use of flesh tinted
the lines in a face run upward,
to

When

can be made

appear

to

base.

If desired hair

an

effect of
this

doing
face,

may actually be shaved in order to give a larger forehead or wider temples, but before careful study is necessary not only of your own

but of faces that are well known for beauty. Roman Nose. Unless this suits the character it should be toned down by the use of a slightly darker base and darker powder. Some other feature the eyebrows or the mouth should be made important in order to distract attention from

the nose. Prominent Eyes.

If eyes are inclined

is

to

be prominent

little

used should be most marked at the corners of the eyes, so that an effect of increased length make the eye look less prominent. Small Eyes. A good deal of make-up should be used, particularly at the outer corners of the eyes. Fussy hair styles should be avoided. The space between eyes and eyebrow should be highlighted.

make-up

is

best;

and what

44

PART

II

CHARACTER MAKE-UP
CHAPTER
VI

"UNDER FORTIES" MALE

is the problem of the very young actor trying appear mature. True, there are a number of star juvenile leads who go on playing juveniles until they are about fifty, but by that time they are generally so expert in appearing youthful that advice is scarcely necessary. However, in case it is needed here are a few general hints. Concealing a double chin or sagging jaw muscles is done by applying medium blue from ear to ear, and carefully shading off in a V-shaped shadow under the chin. This, when carefully done, cannot be detected from the front even when the actor plays in profile. Bags under the eyes can be fairly well concealed by a heavy application of base, but it is a good idea to use rather heavy make-up on the eyelids, lashes and at the corners of the eyes. When a defect cannot be entirely covered it is best to accentuate some other feature. Some lips develop drooping lines at the corners these should be well covered with base. If the lips are thin they should be made fuller by lining them with carmine. Eyes are usually improved by highlighting with No. 20 between the lid and the eyebrow, unless the face is inclined to plumpness, in which case a heavy shadow is better. On the whole, however, the actor who keeps his weight down can go on playing "under forties" until he is at least

ON

the whole the problem of the portrayal of "under

forties" to

fifty.

The young actor who wants to look a few years older should avoid such obvious aids as a beard or moustache. Fine lines can be applied which create an illusion of maturity although they are impossible to detect. The first lines that appear are those from nostrils to half way down the cheeks,
45

STAGE MAKE-UP
and the two
eyebrow.
little lines

on the forehead at the top of each

shadows also appear at the corners of the should be done with an orange stick dipped in blue (not lake). The highlighting should be done with No. i\ not No. 20, and blended in with the base. Lip shadows should be made with a blue liner. Young faces are soft, so if the jaws and chin are highlighted to make them appear
faint

Very

mouth. The

lines

more bony, this helps to suggest maturity. If the actor's cheeks are boyish and soft they should be shadowed slightly with blue, and this can easily be blended in with the blue used
for beard "replacement". A fairly strong shadow under the lower lip also helps. Transverse lines across the forehead, or at the corners of the eyes, should not be used for any character supposed to be under thirty-five.

Character and Personality.

should be remembered but how seldom it is that are over thirty should have something in their feces to suggest their occupation and personality. An outdoor man should have a fairly strong tan or a bright colour, an indoor man a pallor. Elyot in Private Lives should not have exactly the same make-up as, say, Geoffrey in The Two Mrs. Carrolls, even though he may be, and often is, played by the same juvenile lead in Repertory Theatre or on tour. To some extent therefore all make-up is character make-up. A change of hair style is often of great assistance in helping to make a personality clear cut: a side parting and sleek hair for the fashionable man; a short haircut, with the hair combed straight back and no brilliantine, for the outdoor man; a centre parting for rather stolid, unimaginative types, and longish hair, with a centre parting and no grease, for artistic
It

those

who

characters.

Skin tones also have a good deal to do with age in youth and white or a pale skin, even though there may be an overlay of sun-tan. With the years pale feces become more pale, pink becomes a bit more pink. Eye make-up is most important in connection with age. Slight shadows under the eyes, and a fine line from the inner corner of the eye in a half-moon shape, add a few years.
:

there should be pink

46

UNDER FORTIES

MALE

Slight alteration in the hair line is inevitable between twenty and forty. If base is used to suggest hair receding from the temples twenty can much more easily look thirty-five. In the beginning of this chapter I mentioned blue shadows under the jaw to disguise signs of age. Oddly enough this blue jaw shadow can also suggest maturity in the very young actor whose jaw line is still soft. When applying this shadow, carefully study the planes of the jaw do not simply run the shadow round in a half oval. Also, do not forget the blue for beard replacement, for this helps tremendously in achieving a few extra years. It should be remembered that facial structure is a very different thing before forty and after the forties. In the beginning of middle age facial muscles begin to sag a little, but they are still active, so that lines are soft, and shadows, not furrows, are to be looked for. That is why No. if is better than No. 20 for highlighting for under forties. But in advanced middle age and old age these small muscles have shrunk, and so has the fat that covered them so that both highlights and shadows have become much more accentuated.
;

Sculpture

and Make-up.

The actor who is really interested in make-up can learn a great deal from studying sculptured portrait busts. Here he can see the lines, shadows and planes without the softening
of colour. Most museums and galleries sell postcard reproductions of famous busts, and a small collection of these is very useful to the actor. collection of family photographs is also useful, for here the actor is pretty sure to find faces of his own physical type at all ages. Recently, after a show, the mother of a young actor of twenty-three came to me in great excitement because her son, who had been playing a man of sixty, looked "the exact image of his Uncle Albert".
tints

The
I

reason was, of course, that in making

faint lines

had followed the

the satisfactory result old man, but he looked like his own Uncle. The importance of following these natural lines cannot be exaggerated. It is worth trying the experiment of first of all trying to add a few years to your own face by putting
traditional lining

up the young man on his face with great care, with that he did not merely look like any

and shading without reference

47

to the natural

STAGE MAKE-UP
lines,

and then cleaning

off

and

starting again,

carefully

following them.
first

The

contrast between the artificiality of the

effect of the second method is amazing. of these lines cannot be found until the effort is made. For transverse forehead lines, raise your eyebrows. As the lines appear, draw them in with lake on the tip of an orange stick. Then frown heavily and you will find the vertical lines between the eyes. These vary enormously between individuals. Drop your jaw, and you will see where the furrows are going

and the natural

Many

to

will find the

be between nostrils and chin. Droop your lips, and you shape of lines and shadows at the corners. Screw up your eyes and you will find the crowsfeet at the corners.

in all these lines, start all over again and study the width of the highlights between the lines. These highlights have certain definite positions and should not be applied haphazardly. The lines and highlights should be strongly marked. Powder will tone them down as required. Remember that black should never be used for lining, but always blue or lake, or a mixture of both for subtle touches. Powder should be ochre and not sun-tan, unless there is some special reason for the latter.

Having drawn

Expert versus Individual.

Having reached this point in reading this chapter, the beginner will probably ask, as he usually does at lectures and demonstrations, "Can anyone ever make himself up as well as an expert can do it for him?" The answer is both 'yes', and 'no'. Let us take the 'noes' first. I have a large group of players, and out of that group I have a small number of leading players who play principal parts. I use these players for many demonstrations and lectures on make-up because they happen to have the type of faces that lend themselves well to the purpose. I can truly say that I know their faces better than I know my own, and I could without doubt make them up better than I could make myself up, and much better than they could make themselves up. But in actual practice it is impossible to do this prior to going on the stage because of the time element. A good make-up takes from twenty to forty-five minutes, but no make-up will remain perfect and unblemished for longer than an hour even under the very
48

UNDER FORTIES
best conditions.

MALE

What happens before a show where people cannot be trusted to do their own make-up is that everyone does his or her make-up up to a point. Then I inspect it, pass those that are all right to be finished by the actors or by one of my assistants, and complete the two or three most difficult ones myself. I am always aware that those I have done are better than those I have not done, but there is no solution. If a theatre company, professional or amateur,
employed experts to do make-up so that it was done perfectly, an expert would be needed to every three players, which would be completely uneconomic. Therefore it is clear that the actor must become a master of make-up. To do that he must start by really getting to know his own face. The old idea of "emoting" before a
mirror has been discouraged in recent years, so that many do not really know their own feces at all. He must start by doing that. There is an intermediary stage in amateur or little theatre companies when it is possible to let everyone make everyone else up. Inevitably, as time gets short, the individual wants to concentrate on his own affairs, and the standard declines, but it does help the novice to become accustomed to his
actors
tools.

actor does become accustomed to doing his of course, he would take it in very bad part if anyone else offered to do it for him. The professional actor

When an

own make-up,
would be

furious at the

mere

idea.

Heor

she

will accept

suggestions, of course, particularly

on glamour because they realize that only the most objective scrutiny can really pick out the subtle good points to be played up, or tiny defects that can be toned down. Nevertheless the stage actor who goes on the screen always takes some time to become accustomed to being made-up by someone eke.
Make-up and
It
is it

s.

d.

may be asked, if film studios follow this method, why not done in the theatre? One answer is s. d. Studio overheads are so colossal that the additional cost of make-up men is comparatively small. Only the biggest theatrical companies could afford the expense. Also a film takes weeks to make, while a play may run for years. Further, it must be d 49

STAGE MAKE-UP
remembered that the
film
is

a far more rigid

medium than

the stage; the camera always has the last word. The stage has a much greater variety of lighting, and the individual

much more scope with make-up. The stage actor can, however, borrow many useful hints from the studio. He can make a scientific approach to his
has should work out his make-up for each part in and then chart it, so that he does not rely on his memory or the inspiration of the moment. This is particularly useful for the player in repertoire or a stock company, where he has perhaps two or three different parts in a week. It is also, needless to say, of immense value to the amateur who may only get a chance to don make-up half a dozen

make-up.

He

great detail,

times in a year.

50

CHAPTER

VII

"UNDER FORTIES" FEMALE

End stage the young actress is seldom cast a part older than her years. Many stars go on playing young girls well into middle-age, and are usually more convincing about it than any young girl could be. In her early forties Elizabeth Bergner was by far the
the West
for
finest ingSnue

ON
is,

figure

London had seen for years. A slim, childish of course, essential to such roles; without it, make-up

can do little. If a player has a slim figure and a face free of excess fat, it is a simple matter to achieve a youthful face. Make-up round the eyes should be slight, a dark line above the lashes, a slight triangle at the corners of the eyes, a carmine dot at the inner corner and a little blue on the eyelids. Highlighting with No. 20 is usually called for as it banishes all shadows from above the eyes. If the role is really childlike make sure that the eyebrows do not looked plucked or made up. Unless the player is dark the eyebrows are best touched up with a mixture of chrome and brown. If the artiste has narrowly-plucked brows, they should be made a little thicker with these paints. Carmine should be applied on the cheeks, shading off to the temples, and then all along the jaw line to soften it. Shade this off very carefully into the basic make-up on the face, and smooth it down under the jaws. If there is any suggestion of a double chin shade this with blue. It will not show if done properly and shaded off delicately on the neck. Incidentally, No. 3 is the best base for this make-up and it should be applied very carefully under the eyes and round the mouth. If the lips are not naturally soft and full, this should be adjusted with carmine. If the lips are a little heavy they should be thinned off with the base. When the role is that of a really young girl the lips should be powdered along with the rest of the face, so as not to look made-up. A sun-tan effect is not desirable for this rejuvenating make-up, because pinkish tints look more youthful, so use a pinkish, natural
J*

STAGE MAKE-UP
powder.
to

On

the other hand, study what the lights are going

make-up, because a doll-like appearance is to be avoided. If any toning down is needed, finish powdering with light sun-tan. Watch this make-up very carefully between scenes. It has to be kept very fresh.
to this
Illusion

do

of Youth.

In
parts

many instances well-known players continue to play of women from, say, thirty to forty-five, when the players
fifty

are actually anything from

to sixty.

It

is

scarcely neces-

sary to say that comparative slimness, backed

up by

exercises

and massage,

is

called for.

Make-up has

to

be smooth, and

heavy as far as the base is concerned, and the eyes highlighted. Pink and white effects are best avoided, and emphasis should be laid on eyes and mouth, and also on hair style, which should be striking and dignified, not juvenile. Little carmine should be used on the cheeks, and the base should be a mixture of No. 5 and No. 3 unless the artiste is blonde. The base will, of necessity, have to be heavy so as to hide hollows or sagging. The eye make-up will be as usual, with pretty heavy highlighting. Shade carmine from cheeks to temples and along and under the jaws, and shade under the jaws with blue. Powder heavily with a light sun-tan powder. Artificial eyelashes will help considerably, or if
these are not available, the old device of "starring" each lash with black grease-paint held over a candle and applied with a hairpin makes the lashes look thick and dark. In repertoire and little theatre the problem is seldom how to make an actress look young, but how to make a young girl look thirty to forty, because in the first place ordinary straight make-up takes years off a player's apparent age. Roughly, the rule is that the more No. 5 is used in the base and the mixture of lighter paint left out, the less youthful

the player's appearance.

up

Lines are drawn with an orange stick, and for characters to forty blue and not lake should be used. These lines should be invisible from the front, and should be highlighted not with No. 20 but with No. i\. The first faint lines that appear on the human face are transverse on the forehead, with a tiny vertical line from the inner corner of each eyebrow. Some women, but not all, have a faint line from nostril to
52

UNDER FORTIES
mouth
of the
at

FEMALE
shadows at the corners

an

early age.

There are

faint

lips in

most

women

over twenty-six.

Up to the age of forty characteristic make-up is a matter of slight and skilful shading rather than lining. If the actress is very youthful it will be helpful to shade under the jaws from ear to ear with blue. This makes the jaw line appear
stronger and
face.

more

clear cut,

and adds

several years to the

under the eye also adds to the effect, hollow the cheeks a little, unless the player as does shading to face. naturally thin A shadow may also be applied has a between the inner corner of the eye and the eyebrow. Mix a little lake with the blue for this.
faint blue

shadow

Look
It

at Life.
is

most important

to study faces in order to get this

type of make-up exactly right. The average student seems to be strangely unobservant. Not long ago, while lecturing and demonstrating make-up to a group of adult students, I was asked why I put a blue shadow under the model's lower

then asked the students to look at faces around them saw such a shadow. They all admitted they did, but said that they had never noticed it before. Every one who wants to be an actor, to do a convincing make-up and play a part convincingly, should first of all train himself to be observant. If he does not, all stage technique, including the application of make-up, will continue to be a meaningless box of tricks, which he will use automatically, and thrill neither himself nor the audience. When portraying a woman of thirty to forty consider the make-up in relation to her character and environment. This is the age when temperament and occupation begin to leave their mark on the face. If the character is bad-tempered, irritable, domineering, or frustrated, timid, or indolent; in fact, whatever the characteristics, they will have etched lines and shadows on the face: the fine vertical lines at the inner eyebrows that denote bad temper, lines at the corners of the
lip.

to see if they

usually thin lips that are pressed together in irritation; the mask-like face of the tyrant, the many fine lines and
lips,

shadows that denote frustration; the double chin, and the furrow from nose to mouth in the indolent.
53

STAGE MAKE-UP
play a most important part in female character often neglected. An actress, amateur or professional, usually wears her hair in a current style which

Hair

styles

make-up and are

happens to suit her, and leaves it at see someone playing the part of a

that.

How

often

do we

typist or

shop assistant

with a coiffure that obviously illustrates the art of the hairdresser. True, the typist or shop assistant may be able to wear her hair that way once in a while, when she has come freshly from the hairdresser, but how much more convincing
is

the hair style that looks as

if

the actress

had done

it

herself

with only enough time at her disposal to be neat and simple. A fortyish make-up is helped by a touch of grey at the sides and in front. This is done by applying a little brilliantine and then carefully powdering with coarse white powder. If the powder is used carefully and not too liberally, the result
is

absolutely natural looking.

Mote.

One

of the most important points to

remember

must not end at the face. Necks show age much more quickly than faces. Hollows and shadows should be worked in from below the ear, and right round the throat, not forgetting the collar bones if evening dress is going to be worn. Most of us have seen a play in which a certain female character desires a romance, or even meets with one, in the early autumn of her days, and there are references to her slightly fading charms. I have frequently seen such parts played by a young actress whose only concession to the role was to use a little less carmine than the ingenue. Generally, young actresses are most unwilling to look middle-aged on the stage, and despite every effort on the part of the producer, they try to evade adding a few years. The result is unfortunate because their part loses conviction, and that is the only thing that matters on the stage. Such young women may have careers elsewhere, but they are not actresses, because they cannot escape from the narrow bonds of their
in connection with this
is

make-up

that

it

own

personalities.

54

CHAPTER

VIII

"OVER FORTIES" MALE

actual age of the actor portraying middle age is not very important as far as make-up is concerned. A man of forty does not walk like a man of sixty as a rule, nor does a youngster of twenty walk like a man of forty. Stance and gait are therefore at least as important as grease-paint. On the other hand everyone has incipient lines on his face. They can be discerned at seventeen, and as the years pass they become clearer and more deeply marked. Their depth will be conditioned by the nature and type of the character portrayed. These lines are found at the outer corners of the eyes, crow's feet. They run horizontally across the forehead, and vertically from the inner corner of the eyebrow. Many people, but not all, have lines from nostrils to within about an inch of the outer corners of the mouth. There are further lines, even though very slight, from the corners of the mouth downwards. There are lines just in front of the ears, across the throat, and in men who lead an open air life, across the back of
the neck.

THE

Before drawing these lines with grease-paint it is most important for the player to study the lines on his own face. Having found the lines, draw over them with crimson lake liner. Do not use the liner itself for this, but the tip of a fine orange stick which has been dug into the blunt end of the liner. The lines are of medium thickness for the forties and heavier as the age is advanced. When the lines have been drawn dig an orange stick into No. 20 grease-paint, and draw this across the top of the horizontal lines on the forehead, on the inner side of the vertical lines from the inner corners of the eyebrows, and on the top edge of the crow's feet at the corners of the eyes. Repeat this also on the top edge of the lines at the corners of the mouth, and rather broad here to suggest slightly relaxed muscles. Also draw a broad white line on the outside edge of line from nostril to mouth. The outer side of this white line should later be blended into the basic make-up. All the
5J

STAGE MAKE-UP
facial lines are treated in this

way. The crimson lake suggests

it

the line, the white band above or beside resultant sag of the muscles or skin.
Shadows.

suggests

the

In
first

this

chapter

for the purposes of preliminary study.

have deliberately put discussion of lines In the actual

making-up for a performance, naturally the application of a base comes first, shadows second, and lines last because the latter tend to run and smudge in heat. The tone of base for middle age falls roughly into two categories, the outdoor and sedentary types. The playwright will have clearly indicated which category should be chosen. He will also have indicated the condition of the character. The basic application consists of a mixture of Nos. 5 and 9 with a predominance of No. 5 except for extremely sunburnt
types.

Eye shadows should be applied in the corners above the inner eye and along the eyelids. This is done by applying lake and medium blue and blending them. Shadows should be made deeper and stronger as old age advances. When
age
is

to

be suggested, or
all

illness,

there are shadows under

the eyes.

shadow under the lower lip, and and bright lights wipe out all natural shadows some of these have to be put back again even in the young. For middle age the shadow under the lower lip is fairly strongly marked. The jaw line sharpens as age increases so that the young player portraying an over forty will need to apply the purple shadow under his chin from ear to ear. Shadows are also made to suggest hollowed cheeks. Then medium blue is applied along the jaws where the shaven beard
People of
ages have a
since

grease-paint

creates a dusky tinge. Grease-paint wipes this out so grease-paint

it back. It also serves the useful role of helping to blend the shadows on the cheeks with the shadows under the jaws. If a little colour is needed in the cheeks use No. 9 carmine should be reserved for rubicund complexions or

must put

alcoholics.

should be outlined in a very litde crimson lake, powder them when powdering the face, otherwise the effect is very artificial.
lips

The

and do not

forget to

56

OVER FORTIES
Age and Lips.

MALE

For middle age a young player will often find a slight change of mouth helpful. Full lips may be made fuller, thin ones "wiped out" with base, and thinner ones drawn. The lines and shadows I have mentioned are to some degree inseparable from middle age but they are elementary. Every face holds more lines and shadows than those mentioned, and it is for the individual actor to examine his own face with extreme care and mark them in. This may make all the difference between a really telling appearance with genuine

and a conventional stage character. matter what age is being portrayed be careful that the total result is not drab. This happens when actors use black or brown pencils; do not trouble to mix blue with lake, or worse still do not correct dark lines with highlights. The highlighting with No. 20 takes time but it is indispensable if a flat, drab appearance is to be avoided. I have already mentioned the need for speed in make-up. No one who cannot apply paints quickly should be allowed to make-up either themselves or other people if an elaborate make-up is required. Speed is most important, particularly in a warm atmosphere. An elaborate make-up may take nearly forty minutes even in the hands of an expert. Practice makes perfect; the novice should attend make-up classes if he can, and also experiment on himself and his friends in
individuality,

No

his spare time.

happens that an actor is called on to portray a not only old or middle-aged but who has marked characteristics quite different from those possessed by the actor. The general rule is that a light surface stands out and a darker one recedes. The illusion of a jutting chin is achieved by use of a light-coloured base, much lighter than that used on the rest of the face; a bulging forehead by the same method; a prominent nose by highlighting the bridge and applying a darker tone on each side of the nose which throws this highlighting into greater prominence.
It often

man who

is

Receding Features.

to slope

For receding features the rule is reversed. A chin appears back if the make-up is much darker there than on
57

STAGE MAKE-UP
receding forehead is suggested by is used for the face itself. When making-up for character parts it is most essential to be relaxed. Let your facial muscles sag, and whatever your
the rest of the face. darker make-up than

age you will notice that you immediately look years older. Paint in the lines and shadows as they then appear. I have mentioned elsewhere in this book how several excellent character actors could assume old age simply by allowing both their facial and body muscles to sag. It is most necessary
for the young actor to remember this, otherwise, however good his make-up, the result is an old head on a young body. Sometimes character parts demand marked characteristics. The toper, the dope fiend, the aesthete, the professor. If you are portraying such characteristics try to get your inspiration from life; do not simply use the make-up of
tradition.

For instance,
varieties

all

topers

do not have red noses; there are

in

these

types.

Some

are

curiously

pallid

with

bluish

lips,

some have a red

flush across the cheek-bones

and

Others are a dull red all over. Unfortunately, real life suffers no lack of topers, and a visit to a public house will provide the actor with all the material he needs for a convincing toper make-up. Dope fiends are not always pallid. When under the influence of the drug they are sparkling, bright-eyed, and flushed. ^Esthetic individuals are not always pallid either, nor are absent-minded professors.
Highlighting.

the upper part of the nose.

not be afraid to experiment with make-up, but do not any experiments on a first night. If you have a new and tricky make-up, do it several times over during rehearsals, or
try

Do

even in private.
that every rule
is

It

is

said in connection with stage direction

to

made

be broken, and

this

holds a good

the matter of highlighting with No. 20. When you are sufficiently proficient you may find that under certain lighting or on a small stage you get a more natural

deal of truth.

Take

effect by using No. i\ for middle-aged roles and reserving No. 20 for real old age, but this is something that can only be learned by experiment. The same applies to tones of powder. At present ranges
58

OVER FORTIES
to

MALE
it is

are extremely limited, but once they are plentiful

well

have a variety not only

for use in certain varied parts,

but

for different types of lighting

and

different sizes of stage.

Professional actors are extremely scrupulous about retouching their make-up between each act or, if possible, between each scene. Amateurs frequently overlook this, yet Acting is a highly emotional business, it is most necessary. and under stress of emotion people perspire freely. It is a common sight to see an actor so covered in perspiration after a big scene that he looks as if he were emerging from a shower. This calls for immediate repairs to make-up, and is yet another reason for every actor being expert in it. The novice may get help from a veteran before curtain up, but after that he has to depend on himself.

59

CHAPTER

IX

"OVER FORTIES" FEMALE

WHEN

playing the part of a middle-aged woman, it is and go to life for hints on what and what not to do. The make-up must be in line with the actual character portrayed. One of the greatest differences in appearance between the middle-aged and the young woman is lack of confidence and of tension, unless the individual happens to have an assured position in her own right so that prestige and achievement have compensated for loss of youth. If a young actress, made up to look middle-aged, continues to move with all the confidence and thoughtless speed of a girl, the make-up is meaningless. A line from the nostril to the corner of the mouth is one of the most usual in middle age, but it is not inevitable, and if the actress cannot find such a line faintly etched on her own face she should leave it out. Shadows at the corners of the There lips, slight perhaps at forty, deepen with the years. may be very faint horizontal lines on the forehead and vertical ones between the eyebrows, and these should be deepened as the character leaves forty behind. They should not be highlighted with No. 20 except for fifties to sixties. Use No. i| or No. 5. There will be crow's-feet at the outer corners of the eyes; again, do not highlight with No. 20 for any character under
best to forget stage conventions

fifty.

forty.

There may be suggestion of sagging chin muscles at This is done by lining immediately under the chin and highlighting below the line.
Smart Middle Age.

For the forties line with blue and lake mixed, with more blue than lake, and as age advances increase the lake. If the character is beautiful, or the smart type who uses make-up, shade the eyelids with blue, draw a dark line over the lashes and triangles at the outer corners of the eyes. Work in a triangular shadow in the corner of each eye between
60

OVER FORTIES

FEMALE

eye and eyebrow, and a faint shadow under the lower eyelid near the nose. The cheeks should be shadowed a little to suggest hollows. Some carmine should then be worked in on the cheeks. The foregoing has been written for the actress's consideration. Naturally, the base comes first in the practical application. For brunettes the base is No. 5, but for blondes work in some No. 2| as well: contrary to stage tradition, the blonde woman, if she leads a healthy life, does not turn yellow with the advancing years. But if she has a natural colour it is likely to become a bit hard and set. After applying the base, work in the shadows above the eyes, under the eyes, on the cheeks and under the chin. Also put a strong shadow under the lower lip. Mouths change with age, usually becoming thinner or fuller. The change should be made in accordance with the character. Cover the natural lips with the base and then draw new ones. Unless the character is the type of woman who uses lipstick, in which case carmine No. 3 should be used, colour the lips with No. 9, and do not forget to powder them. Powder with rachel or natural powder; sun-tan is to be avoided unless there is a specific reason for its use. The lines and shadows mentioned are elementary, and as I have already said, study of middle-aged faces and a few photographs will help. Above all be quite clear about just what you are going to do before you start your final make-up because unless you know exactly, the result will be a daub, and not a make-up.
If

you have

to

embody
or

characteristics that are foreign to

your

physique, remember that light and dark ones recede. I have dealt with this at some length in the chapter on "Forties to Sixties" Male, and the same rules will apply for actresses.
disposition
surfaces stand out

own

Ageing Beauty.

Sometimes a young
of an ageing beauty
detailed make-up, but

actress

is

called

upon

to play the part

This is a highly not really difficult. First of all make the necessary adjustments. Highlight your eyes if they are deep set. If you want to make them look large, draw a
is still

who

fascinating.

it

is

61

STAGE MAKE-UP
heavy
line above the lashes, and rather long triangles at the outer corners of the eyes. Put a carmine dot on the inner corner of each eye. Unless your nose is naturally perfect

shade it at the sides, and highlight it with No. i \ down the middle. See that the eyebrows are thin and carried well out on the outer third. After that, shadow and line as already
directed.
is meant to look heavily made-up, see secured by high, hard colour on the cheeks and carmine No. 3 on the lips, which should, of course, be

If the character
is

that this effect

left

unpowdered.
It
is

scarcely necessary to say that hair styles play

an

enormous part in suggesting age.

The young

are likely to

favour plain, simple styles, the forties and over (if they are fashionable) very elaborate ones. If they are unfashionable
their hair
is

likely to

be badly groomed and dowdy.

styles

Time

was when long-haired

shingled locks of youth. very young frequently display rolled or coiled hair, while their mothers are still at the short bob era. Nothing looks more ageing than a hair style that was chic ten years previously. Slightly powdered hair is a very good device for suggesting age. Naturally blonde hair responds particularly well to this and the result looks like realistically faded hair. Other successful artifices are blonde wigs that look peroxided, or red wigs that look as if henna has been used. In such cases, however, it is essential to have wigs that fit extremely well. The period when there was always a laugh in presenting an old woman whose blonde or red wig came off in some hectic scene has gone by, so avoid any wig that looks like a

suggested age, as against the Now the situation is reversed, the

wig from the

Touth
to

front.

Age.

A few

years ago there were several plays, firmly

embedded

where the heroine lived a whole life during the course of the play and was seen in youth, middle thirties, fifties, and seventies or even eighties. Several of these plays still survive. They are traps for the inexpert as far as make-up is concerned. It is best to practise the make-up beforehand, and to go backward rather than forward if the final appearin repertory,

ance

is

not to resemble a

mummy.
62

OVER FORTIES

FEMALE

Master the "eighty-ish" make-up, and when you are quite sure it is both effective and a neat job of work, see how much of it you can delete to get the "fifty-ish" period. Having
established this,

work out the

is

thirties.

You

are almost certain

to find that there

effect of the thirties

not

sufficient

difference between the

So you will have to than an ordinary juvenile. For this use a light base, No. 2 if you are blonde, No. 3 if brunette. A fair amount of carmine
light the eyes with

make-up and the final straight juvenile. get to work to make yourself look younger

on the cheeks, the usual blue shadow on the eyelids, highNo. 20, use only a slight dark line above the eyelashes, and slight triangles at the corners of the eyes; very light make-up on the eyebrows, carmine No. 2 on lips. The reason I suggest practising this make-up scheme in reverse is that the hardest lesson for anyone to learn about make-up is not to overdo it. If you start on the juvenile straight you are likely to use too much, so that you then have
to

make

the

woman

in her thirties older than she should look,

and by the time you come to the very old woman, she is likely to look like nothing human. I have seen this happen in a play of this type which had a very long run in the West

End

not

many

years ago.

Age and Skin

I

Tints.

earlier in this chapter that blonde women do not always become yellowish with age, but on the whole brunettes do become much more swarthy as the years advance. This is particularly evident in the Latin races, in gipsies and among some Jewish women. To obtain this effect, mix a little No. 9 and a very little blue with the No. 5 base. Never use black, brown, or grey to suggest age. This is often done, particularly by amateur enthusiasts, but the result is always

remarked

drab and
black,

you there is no true and an appearance of blackness, brownness or greyness, is not obtained by a simple application of these colours. That is why Europeans made up as coloured people can never appear entirely
lifeless.

Any

painter can

tell

brown or grey

in the

human

skin,

convincing.

In the chapter on old age

have remarked that

it is

no

use having an old face and a young figure. This also applies to the forties-to-sixties group, and is something that young
63

STAGE MAKE-UP
even on the West End stage. were a fanatic on the subject, could retain the same weight after forty as before it, and most women either become a little plumper, a great deal plumper, or much thinner. If playing three periods, youth, middle age and old age, it is a good idea to pad a little for middle age, and use every possible device to look as thin and flat as
actresses often prefer to ignore,

No woman,

unless she

possible in old age.

In dealing with this matter of stage "ageing" as a whole do not forget there is only one kind of really good make-up, and that is the kind that is not noticed. When an audience draws a hissing breath, audible throughout the house, because it is staggered by some elaborate make-up, the actor or actress may congratulate themselves on being good showmen but poor artistes.

64

CHAPTER X

"SIXTIES

AND OVER" MALE AND FEMALE

when men wore beards, make-up for old age From the age of, say, thirty-five, men wore beards to mark maturity, and these grew grey and white and long, and longer, to mark the passing of time. Lear was usually presented with a white beard down to his waist. Now, a beard has to be a comparatively slight affair,

INwas

the days

relatively simple.

even for Lear. Also, dramatic critics are beginning to remark on undue ageing on the stage, such as those parents mentioned earlier in this book who look old enough to be their children's grandparents. It is certain that make-up has to be a much more subtle business than it has been in the past. I have already pointed out that lining must be done over the actual lines that are to be found even on very young faces, but the shading which is also necessary to suggest old age has to be applied as a result of study of some general charStudy the shapes of the shadows on the faces of acteristics. men of sixty and over. There are triangular shadows under the cheek-bones because the skin and muscles have sagged. There are folds of skin from nostrils to mouth and down to below the chin, which in turn has sagging muscles and skin underneath. There are lines on the neck and throat, and round the back of the neck as well. Do not forget the back of the neck. How often does one see amateur actors who are very aged in front and very young when they turn their backs.
Eyes
in

Age.

base is No. 5 for both sexes. For the very old, eye shadows should be done with a brown liner, and applied under the eyes as well as above the eyeball, but not over the eyeball. This should be left unshaded to accentuate the effect of deep hollows above the eyes, and there should be no lining above the eyelashes, no triangles at the corners cf the eyes. The lines across the forehead, and from the inside corners of the eyebrows, should be drawn in with an orange stick dipped in lake. Here, where heavy lining is needed,
E
6j

The

STAGE MAKE-UP
crude if instead of lines being drawn not easy to do and will call for some practice. If you examine the lines on a face you will notice that these lines are in actual fact thousands of minute lines; just as a pattern of embroidery is made up of small stitches, so the lines we see on a face are actually composed of a mass of tiny lines. Using the orange stick lightly, and working as quickly as possible, make a chain of very tiny strokes instead of drawing a line. Once you have learned how to do this it will not take any longer than lining in the ordinary way. The lines from nostrils to corners of the mouth will be heavy and need not be stippled. There are several lines down the cheeks but you will only be able to place these correctly if you have studied old faces, and also secured a few photographs or drawings of old people. The same remark
the effect will be
stippling
is

less

used.

This

is

on the cheeks. should be outlined in lake, and the fold of flesh above the line from nostril to mouth should be highlighted with No. i \. Above this will be a triangular shadow running from under the cheek-bone right up to the inner corner of the eye, with light pouches beneath the eyes. Then there are lines immediately under the eyes, and crow's-feet at each outer corner. I have mentioned that brown shadows should be used above the eyeball for extreme old age, but people about sixty and a little over usually have a loose fold of flesh between the eyebrow and eyeball. To simulate this, highlight between eyebrow and eyeball with No. i \ or No. 20, and then draw a fairly thick line of lake at the point where the eyeball enters its socket. The inner corner of the eye is then shadowed with a triangular shadow in lake. There is another triangular shadow extending from in front of the ear along the cheek-bone, but it ends before it joins up with the one previously mentioned (which goes up under the eye) and another falling fold of flesh separates them. This, too, should be highlighted.
applies to the shadows

The

nostrils

Skin in Old Age.

The skin sagging from the corners of the mouth calls for further highlighting, particularly where it creates jowls on the jaw-bone. Then there is a heavy shadow under the iaw66

"sixties and
bone.

over" male and FEMALE

is meant to be a hale, healthy, shadows must be tinted very carefully so that the result does not look ghastly. Some No. 9 and a little carmine should be mixed in with the lake and blue. Experiment will soon show how much to use. The natural mouth should be wiped out with the base, and the chin should be slighdy highlighted so that the mouth looks sunken. Thin lips should then be drawn on with lake, mixed with No. 9, according to lights. Downward curving shadows should be applied on the corners of the lips. The nose should be highlighted as well as the chin, and the sides of the nose shaded so that it stands out, the idea being that it is literally skin and bone. To further thjs effect the temples should be shaded and a slight shadow made over the eyebrows so that these appear to overhang. The eyebrows should be brushed the wrong way with No. 20, so that they look white

When

the subject

sixty-ish person, these

and bushy. Be careful not to overdo all this; use the lining and shading mentioned for any character from sixty onwards, but make it heavier for the more advanced ages.
If the character ought to have a bright colour, give him one, with carmine mixed with No. 9. Use a little No. 9 for other characters unless they are meant to be very ill or
decrepit.

Use white powder for the face, powder fairly heavily, and Powder lips with ochre powder, and powder the hair if grey or white is needed. Before powdering apply some brilliantine. Do not use the same powder for face and hair.
carefully.

Coarse talc

is

best for hair.

As already mentioned, in this make-up it is most important not to forget the neck and throat; line these, hollow them, and powder. Then the hands: shadow along the fingers with lake and between the knuckles, and up along the hand in lake mixed with a little blue. Highlight the knuckles and shade the bone around them. Then powder with white.
Old
Ladies.

For old

ladies the general procedure

is

much

the

same

stress is altered slighdy, particularly since stage old ladies are frequently called upon to retain a pleasing
67

except that the

STAGE MAKE-UP
appearance. When this is so, it is best to do the forehead with a light hand, and not to whiten the eyebrows. But do highlight above them. Shade between eyebrow and eyeball but leave the eyeball unshaded. Highlight under the eyes to create pouches and put shadows and lines under these pouches, but stipple the lines and crow's-feet at each outer corner of the eyes. Otherwise the shading is the same as for the male, and so is the highlighting; if it be a nice, pretty old lady, leave the lips a little fuller than for a decrepit one, but be sure to shadow them at the corners. Never generalize about make-up for old age. Always remember that in the theatre rules are made to be broken. For instance, some "old" characters may have to have plump cheeks so that furrows with a great deal of highlight between cheeks and ears will be required. Again, a large, flabby mouth may be needed. There will always have to be a relationship between the actor's own face and the face portrayed; naturally, a roundfaced young actor is going to find it extremely difficult to look like a cadaverous old man. In fact, some young actors and actresses never do look convincing in aged parts. Bone structure is extremely important here. A study of photographs of the late Sir Frank Benson reveals how little make-up he needed for old parts because of his magnificent bone structure, while the more round-faced Stanislavsky needed much more make-up and never looked so convincing, despite his magnifilines

cent art.

should modify aged be pretty old ladies, but do not ignore that little word "meant". Far too often young actresses do all they can to evade make-up which sacrifices
to

I have mentioned that make-ups if they are meant

women

prettiness.

It

is

not always the ravishingly pretty

girls

who

have been admired from babyhood who do this. Usually it is the girl of moderate endowment by nature, who has done her utmost to make the best of herself and has succeeded, or maybe, not exactly succeeded. She is so self-conscious on the point that she cannot bear to sacrifice the effect she has created, even for the sake of art. Good-looking young men seem positively to delight in parts which make them look ugly,

and again, others who are not

roles that call for

so good-looking dislike playing

It
is

ravaged

faces.
68

a pity.

SIXTIES
Retouching.
I

AND OVER

MALE AND FEMALE

close attention
is

to retouching

have remarked elsewhere on the need for make-up between scenes. This

particularly

being portrayed because movements of lips and eyes often cause heavy make-up to smear. When this happens wipe off the smear very carefully, retouch the
necessary
old age
is

when

lines
It

and powder again.

should scarcely be necessary to remind both actors and make-up will not create a convincing effect of old age unless the figure helps also. Apart from differences in stance, gait and posture, actresses should also remember that
actresses that

an

"uplift" brassiere

and the

latest roll-on corset are likely to

detract from the best aged make-up.

One

last

word, ancients, before you leave your dressinglips.

room; powder your

69

CHAPTER

XI

DRAMATIC
and therefore makeup, should of the play, but the craze for so-called "naturalism" has had an unfortunate effect on make-up in some ways. It has been carried to its most extreme conclusion
physical appearance,
fit

OLD-TIME
the

actors were very conscious of the fact that

mood

in

American films, where young men of dramatic good looks seem to be eschewed and every effort made to create stars who are "folksy", and "just like Joe round the corner". Now and again a foreign star seems to slip by, such as Conrad Veidt, who had good looks and an innate air of drama, but he was a rare exception.

The

results that are often

English stage shares this paradoxical prejudice, with a great handicap to the playwright's

intention. In one modern West End play the male lead was supposed to be someone "men loved to hate", because of his success with women. The unfortunate actor playing this part had to explain this, but no amount of explanation made it plausible. He had not the natural appearance to suggest such a character, and he had not used make-up to help him. Certain facial characteristics naturally suggest drama: straight, well-marked eyebrows, or wide, curving ones with a satirical twist; a well-modelled nose, a firmly chiselled mouth,

strong cheek-bones.

With the exception of the

nose,

make-up

can create or amplify these characteristics. The nose is not particularly important if there are compensating features. For instance, Orson Welles has a very small nose but his other features are so full of dramatic quality that one feels impending drama from the moment he steps on the stage. In Shakespeare's plays convention still holds to a great extent; no one has yet dared play Hamlet in a Hollywood
sun-tan, or

Lady Macbeth with

but in

outdoor

girl,

many

the make-up of a healthy of Shakespeare's other tragedies

drama

is

often sacrificed to pretty-pretty effects in make-up,

particularly

by female

characters.
70

DRAMATIC
Mtaral
Pallor.

the other hand, sometimes ghastly effects may be overdone. If an actor or actress has an unusual natural pallor this presents a problem in itself. For some time I had a leading man whose face was startlingly pale, so that the usual pale make-up for a dramatic part produced a very ghastly effect. On the other hand, if very much No. 9 was used, the light tone of his skin threw up the orange in it, and the result looked artificial. I was not working with him long enough really to solve the problem, and as he was a professional and responsible for his own make-up, his subsequent appearances continued to suggest that he was in very ill health. I always heard comments from the audience to this effect. The natural tone and quality of the skin does, of course, influence make-up a great deal. A skin with coarse pores never takes such a smooth make-up as a fine complexion, and a player with a very dry skin is the bane of the make-up

On

Both these defects will improve after suitable treatment. Dramatic make-up should not be confused with heavy make-up. It is well known that for a dramatic role emphasis of make-up on eyes and mouth is helpful, but it should not be overdone.
expert.

yet

The villain with the flashing eyes is likely to arouse giggles, how often we have him with us in suburban and repertory
I

have remarked elsewhere in this book that not be applied to eyebrows. If the brows are naturally light a brown pencil should be used. If they are naturally very dark they do not require make-up unless touches are needed to alter the shape.
productions.

black pencil should

Sinister Characters.

sinister,

dramatic character

is

far better suggested

subtle pencilling of the eyebrows, a slight

by upward touch on
very slightly

the inner ends, or a fine line that makes one very,

higher than the other. An upward tilt at the outer corners of the eyes on either men or women or a slight quirk at one corner of the mouth suggests an intriguing character. But all these touches should be so slight that the audience will not notice them and identify them. Not all dramatic effects are sinister. An effect of extreme, wide-eyed simplicity can be equally dramatic when it offers a
71

STAGE MAKE-UP
contrast, such as Ophelia, Sonia in Uncle Vanya, and the heroine in Trilby. For characters of this kind eyebrows should be toned down, whatever their natural shape may be, and so should lips. Eyes should be made important, but the make-up must be subtle. If you study the face of a very young child you will notice that the eyes and forehead are the outstanding features, and seem larger by contrast to a small nose and chin.

good

Beards and Drama.

There is no doubt that beards or moustaches add to the dramatic appearance of some characters, but on the other hand an actor needs a very definite personality to survive the wearing of a beard. Monte Woolley is one of the few bearded actors, but Mr. Woolley shares with Alfred Lunt the ability to act with the back of his neck, and there is little doubt that he would be equally impressive without his beard. Practically no modern roles necessitate a beard and they are better left alone. Young actors often favour a moustache for dramatic roles. It gives them a feeling of confidence because it can create a dashing, masterful effect, and it suggests maturity. Provided it also improves their looks it is permissible. A moustache makes a rather long face look less long, but an actor with a face inclined to broadness, who has a short nose, should avoid moustaches unless he is playing a villainous or cheap character. Hair styles are important in female dramatic roles. Fluffy styles should be avoided, and sleek ones cultivated. Hair drawn straight back, either without a parting or from a centre parting, is more suitable for a really dramatic role than curls or pompadours. Fringes should be avoided unless the character seems to call for it. I always think Frou-Frou should be played with a fringe, and Nora in A Doll's House, because in both these characters the drama comes from the conflict between the individual and her background. On the other hand, Mrs. Danvers in Rebecca achieves a dramatic effect by the contrast between a luxurious background and the stark simplicity of her appearance, plus make-up that creates an impression of a ruthless, sinister character.
In
the Past.

In the old days of melodrama, the villainess was invariably dark and handsome, and the heroine blonde and pretty, and
72

DRAMATIC
so everyone
to the other

knew where they were, but now we have gone extreme and there is, as a rule, far too little

differentiation
actresses'

between female characters. We do not "type" appearance so completely as Hollywood does, so

all

that nearly

brunettes look like

sisters,

and

all

blondes like

reproductions from a single design, but there is a tendency to uniformity. This is all the more unfortunate because most modern plays are based on characters rather than plot. The

melodrama not only had a strong

plot,

but the characters

were clear cut both in behaviour and appearance. Now, we have practically no plot, and many juvenile leads seem to have a passionate desire to look like each other rather than to
develop individual characteristics in acting and appearance. In a dramatic role prettiness should be sacrificed to art every time. This was always true, but never more true than to-day when prettiness has become standardized, and like much else, can be bought at Woolworth's, so that it is almost a relief to see a plain face with character either on stage or off. A plain face without character is another matter.
Gossips and Shrews.

For dramatic character

instance,

parts,

other than leads, certain

characteristics are associated with certain peculiarities.

For

a gossipy woman seems associated with a long, pointed nose, a malicious woman with sharp, observant eyes. Leave out the blue shadow under the nose for the former, and draw a white line with No. 20 from base (that is between the eyes) to tip. For the latter effect draw the eyebrows in a bit over the nose, and shadow the inner corners of the eyes, between eye and eyebrow, and leave out make-up at the outer corners. A prominent chin suggests stubbornness. Use a lighter base for the chin than for the rest of the face. Shadows under the eyes are not becoming, but they suggest illness or grief. One of the most irritating and amusing aspects of make-up on the modern stage is that the heroine goes through all sorts of emotional upheavals and tragedies with eyes as dewy and unshadowed as those of a child. In drama make-up should be adjusted between appearances to conform with the emotional demands of the play.
73

CHAPTER

XII

COMIC

THE day
value
if

has passed

when a

red-nosed comedian was sure

of getting a laugh, but there are certain facial char-

which seem to have an evergreen laughter they are not overdone. nose that looks slightly upturned is one of them. Almost any nose except a Roman one can be made to look as if it turns up. The extent to which a retrousse effect is desired determines the grease-paints used. A dark base for the top part of the nose, No. 5 and No. 9 mixed, or even No. 5 alone. If a good deal of No. 9 is used the end of the nose is treated with No. 5. If the base is No. 5 the end may be covered with No. 1^ or with No. 20 for a rather exaggerated effect. The sides of the nose should be shaded with a mixture of No. 9 and blue, but fade this out as you come towards the nostrils. If the nose is to be red or pink in addition to being retrousse^ mix in a little carmine. Shade with blue under the nose. fat face with a complacent expression such as Oliver Hardy uses with such effect is often useful for comedy parts. face that is not naturally fat may be made to look a good deal fuller if light make-up is used on cheeks, a darker make-up from the outer corners of the eyes and across the forehead. Careful use of No. 1 \ to lighten any natural shadows on the actor's face will also help the full-cheeked effect, also highlighting under the chin with lines to suggest the sagging jaw line of a fat man. These lines should be highlighted with No. 20. No. 1 \ under the eyes where most people have hollows will also aid the illusion. If the character is to be a middleaged, fat man, or woman, also apply lines as directed in the section dealing with this, but leave out shadows. Just as a fat jolly face is calculated to put an audience in a mood for laughter, so is a thin, miserable-looking one such as is so well exploited by Stan Laurel. Unless the actor's (or actress's) eyebrows are naturally thin, and are at their highest point above the nose, it is best to cover the natural
acteristics

74

COMIC
eyebrows with base and then draw new ones with a brown Start these quite low down near the outer corners of the eyes, and bring them up in a slant to well above the nose. Line from nostrils to near the corners of the mouth, using the grease-paints already indicated for middle age, or old age, as required by the character. Unless the natural mouth is thin, cover the lips with base, draw thin, straight lips, and draw a downward line at each corner of the mouth.
pencil.

Comedy Types.

Never draw very thick, heavy lips for a comedy part, because a thick heavy mouth always suggests brutality. Despite the success of George Robey, thick eyebrows do not, on the whole, suggest a comedy character. It seems probable that the comedian should endeavour to create a face which will inspire the audience to laugh with him, rather than at him, a face that suggests benevolence (Hardy, the late Sydney Howard, and Max Miller) or one that suggests pathos (Laurel, Chaplin, Bobby Howes) so that the audience is instinctively on the side of the weak and helpless character, and ready to laugh with him when he scores against bigger and more powerful characters. This rule does not seem to apply to comediennes. Zazu Pitts is the only woman who, in comparatively recent years, has risen to success by exploiting misery. Gaiety and pertness seem to be the qualities that audiences demand in a woman who makes them laugh, or an exaggerated heartiness which There is, of is usually accompanied by some excess weight. course, the comedy of misplaced dignity, poise and seriousness, which the sisters in Arsenic and Old Lace exploited with such
telling effect.
Pertness.

If a pert effect
desirable.
It
is

is

required,

certain facial structure

faces look pert.

is

difficult to

make long

The

eyebrows should appear fairly straight, and the eyes should be made outstanding. The nose should appear retrousse if it is not so already; the mouth be painted to look generous. If the natural chin is at all receding it should be highlighted, and if it is rather large it should be darkened down as directed in the chapter dealing with defects. A receding chin suggests
75

STAGE MAKE-UP
and neither of these charwith pertness. Comedy effects with make-up should always be in strict accord with the author's intentions, and never exaggerated except with the full knowledge and approval of the producer. In the case of revue, opera or for variety turns, broad effects are, of course, in accord with the material handled. At one time portrayals of foreigners led to wild exaggeration in acting and make-up. Audiences were all too familiar with the stage Frenchman, Russian or Irishman. These creations largely belong to the past, although the wildest exaggeration in accent, acting and make-up is still seen
pathos, and a large one strength,
acteristics goes well

quite often in portrayals of Irish

comedy

characters.

The

cannot be laid at the door of English actors alone, since a number of Irish actors who have been in England for many years seem to give English audiences what they believe such audiences enjoy, the stage Irishman.
for this
Irish

blame

Comedy.

In a book on make-up published some years ago there special section for Irish comedy character make-up. Any actors or actresses who followed such directions would scarcely be allowed on the English stage to-day. The most striking difference between the English and Irish physical appearance is that the Irish, whether from rural or urban districts, usually have very white skins and a colour in their cheeks, although this does not apply to characters in O'Casey plays, which are set in the slums of Dublin. Tradition seems to play a large part in make-up for Shakespeare plays, whether comedy or drama. Comedy characters usually have heavy make-up which proclaims their type, even in the tragedies. It seems probable that, on the whole, fairly heavy make-up is appropriate to the settings and general atmosphere of Elizabethan drama. Plumpness is often associated with Elizabethan comedy characters, a factor not sufficientiy stressed by many actresses, either professional or amateur. One seems to see so many a Mistress Ford and Mistress Page, who do not look sufficiently pneumatic to be merry wives. It is quite an easy matter for even a slightly-built actress to create an effect of lavish curves with some skilful padding and make-up that suggests a plump,

was a

76

COMIC
The make-up already described for making a face look plump applies here, with carmine for the cheeks and lips, and the conventional straight eye make-up.
healthy, cheerful face.
Shakespeare's Clowns.

The greatest effort should be made to keep make-up for Shakespeare comedy character straightforward, telling and simple, and very strictly in line with the author's intention as revealed by study of the play. Do not attempt startling or subtle effects. Only one of the comedies lends itself to those, that is, Midsummer Night's Dream. The "Dream" is, and probably always will be, the supreme opportunity for flights of imagination in decor, costume and make-up. Since it is not a realistic play, a complete scheme relating decor, costume and make-up is worked out in advance by the producer in first-class professional productions. The absence of such a scheme in other productions, professional or amateur, is often painful. I have seen amateur productions in which quite effective, extremely simple settings have been well done, but the costumes were gathered together without any coherent plan, and the make-up was usually deplorable. Why should fairies have pink and white faces, blue eyes and
curls ?

One of the most important points in the play is the contrast between the mortals and the fairies, and in this make-up should play an enormously important part. It should not be
of the realistic, straight juvenile type. The label, "little people," is surely misleading. The difference between a stage fairy and a human character should not be one of inches
alone.

In these days of austerity it seems most unlikely that we have a spectacular London production of A Midsummer Night's Dream in which imaginative make-up would show what it could do, but any producer of the play, whether professional or amateur, could try to work out some scheme of make-up which would be in accord with the author's intention. At the same time it will not be of much use if the costumes are of the conventional type usually available for hire. In my experience almost any costumes made by the enterprising and artistic members of an amateur group are more interesting and more effective than hired garments.
shall
77

STAGE MAKE-UP

Many years ago, in a Benson production of "The Dream", each fairy was dressed to look like some particular flower, so that each costume was an individual design, and presumably the make-up was related to this design. If it was not, it seems a pity. The idea is one that might be utilized by amateur producers. Certainly the conventional Christmas tree fairy with tulle skirts and pink and white cheeks was not what Shakespeare had in mind, because this conception is purely Germanic, and of a much later date than the Elizabethan age. This conventional fairy is therefore not only historically incorrect, dull and hackneyed, but it contains no quality of comedy, fun or mischief. Mr. Henry Kendall in Sweeter and Lower is the only wearer of a white tulle skirt who has conveyed these qualities to me.
Clowns
in

Tragedy.

In the tragedies the make-up for comedy characters needs to be handled carefully. As a rule the comedy make-up and acting of the grave-digger in Hamlet is too exaggerated. In a recent London production the audience began to laugh immediately the curtain went up on the grave-digging scene, in the same way that an audience begins to laugh immediately some well-known comedian appears, before he has done anything. In the instance mentioned the exaggerated comedy make-up was largely to blame, and it inspired the audience to a mood of smiles and laughter which was still dominant when the "Poor Yorick" speech began, so that one was aware of the Hamlet making a real effort to change the mood of the audience, but he was unable to do so quickly enough, although he did the Yorick speech magnificentiy. Behind him the grave-

looked rather like a farcical comedy character. he should not have been remarkable in any way, let alone in a farcical make-up, and that the Hamlet should never have had the task of subduing the audience and changing its mood. This is an outstanding example of how necessary it is for a producer to keep a stern and expert eye on make-up.
digger
still

It is scarcely necessary to say that

78

CHAPTER

XIII

EXOTIC
The Harlequinade.
Pierrot's face should look as

much

like

a mask as

possible.

applied with a sponge or a shaving brush, and remember to carry it on round the neck and on to the ears. Lightly line the eyebrows and exaggerate their length, giving them an upward tilt above the nose, so that the
expression is slightly surprised. If it be a light comedy part, use blue eye shadow with a red dot in the corner of each eye

Wet white can be

do

line

dipped in carmine then a dark and a triangle of black at the corner of each eye; lake for the lips, and a couple of beauty spots in black. If your Pierrot is a tragic figure, mix lake with
this

with an orange on the edge of the

stick

eyelids,

the blue shadows.

Harlequin.

art usually has to assist nature.

little

This character has to look as glamorous as possible, and Base is No. 5 mixed with a

No. 9. Shadow the eyelids in mixed lake and blue, and put in the shadows from eye to eyebrow that normally appear on the human face. If the actor's face needs to have any natural irregularities adjusted, see chapter on "Treating Individual Defects". Highlight the nose. Unless the eyebrows are good, wipe them out with the base and paint flaring swallow wing ones that come well out on the temples. Line the edge of the eyelids carefully to simulate long thick eyelashes, and put rather long black triangles at the corner of each eye, and a carmine dot on the inner corner of the eye; shadow under the nose, shadow under the lower lip (in blue), blue under jaws from ear to ear. Shadow cheeks slightly and highlight cheek-bones. Unless the mouth is naturally well formed, wipe it out with base and draw a new pair of lips in carmine. Powder well with sun-tan. See your powder is thick enough to harmonize the shades of the various greasepaints used.
79

STAGE MAKE-UP
Columbine.

Columbine must have all the beauty of a Dresden china Study the face and then set about balancing up any irregularities (see chapter on "Treating Individual Defects"). Having noted the defects, use a No. 2| base and then make any shadows or highlights needed for beautifying. Use blue for the eye shadows, black line on lids for long eyelashes, and triangles at corner of eyes. Use carmine No. 2 for cheeks, carrying the colour well up on the temples. Eyebrows must be dainty use a brown pencil. Unless the actress has a rosebud mouth it is best to cover the lips with the base and paint a suitable mouth.
figure.

Hands.

These three characters are sure to use their hands a good hands must be beautiful. Pierrot's should be covered with wet white, and unless he has naturally tapering fingers, lake shadows should be used to give this effect (see under chapter "Beauty at all Ages"). Harlequin should use a light sun-tan wet base for his hands and these should be shadowed if necessary. Columbine should use a "Natural" wet base for hands and arms, and her hands should be shadowed lightly with -a mixture of blue and a little carmine, with carmine on the finger tips. Powder with "Natural"
deal, so the

powder.
Oriental

Types.
all
is

Of

make-up the transformation of Europeans

one of the most
difficult.

into
this,

Orientals

Producers realize

and with the passing of time seem

to

have practically elimin-

ated the necessity for its use. The Emperor Jones is one of the few modern plays where "blacking up" is called for, and the fact that the lighting is dim helps considerably. Othello, of course, is still frequently played, but apart from these two the musical comedy is one of the few fields left for the presentation of Oriental types.

For Chinese or Japanese characters the base is No. 8. highlighted with No. 5 as this relieves the monotonous flat effect, and helps to create the illusion of a flat nose. The natural eyebrows should be completely wiped out with base, and high flaring ones drawn on.

The cheek-bones should be

80

EXOTIC
It is a good idea to get a photograph or two as a guide to shaping xne eyebrows, because the fantastic ones to be found in Opera have no relation to real life. Eyebrows should be highlighted. That is No. i| (not No. 20 in this case) should be heavily applied from eyebrows to eyeball for this helps the "moon-faced" effect. Heavy black lines should be drawn along the edge of the eyelid and long triangles at the corner of each eye. Do not shade the eyelids. It will almost always be necessary to wipe out the natural mouth. Draw flat, rather broad lips and "butterfly" mouths for the women. For musical comedy, or the portrayal of Oriental beauties, a heavy white powder should be used because this is what is traditionally used in the East. No. 9 is used for male lips. Above all do not forget to make up the hands and carry tinting over the ears, round the back of the neck, and over any part of the body that may be exposed during the action of the play.

Eastern Types.

looks grotesque

For Arab or Indian types use a base of chrome. This when first applied but it helps to give an effect of highly articulated bone structure which is a feature of Eastern faces. Having applied the chrome then work in No. 9 with a very light hand. It should be particularly light

on the nose, chin, forehead and cheek-bones, and used not at all between eyebrow and eyelid. Use lake liner for older people, and a mixture of deep blue and lake if the character is meant to be young. If the proportions are right the shadows in the finished effect should be greenish for young people, and deep brown for the old. The eyelids should be shaded and a thick line drawn along the edge to simulate long, thick eyelashes, and fairly heavy triangles at the corners of the eyes, but keep these thick and small, not long and flaring as
with the Chinese make-up.

When
it is

lining the old faces use No. 20 for highlighting, if a really aged character; No. 1^ if middle-aged. Rub dark blue along the jaws and chin in male make-up
for

to suggest the bluish

Apart from the

effect,
F

shadow of beard. you wish to obtain a brunette the highlighting and shadows whether you are striving
fact that
8l

STAGE MAKE-UP
just the

be young and beautiful, or old, or ugly, are subject to same rules as make-up for a European type. Do not use a very dark powder unless this is definitely indicated by the playwright. Use No. 9 for lips.
to

Gipsies

and Southern Europeans.

Here again chrome is used as a base, and No. 9 should be used lightly. Avoid a Red Indian effect. The eyes should be made to look brilliant and striking. Use lake shadows on the lids, and between eyelids and eyebrows. Eyebrows should be strongly marked and carried well out on to the temples with fairly long triangles at the corners of the eyes and a carmine dot on the inner eye. Before tackling gypsy make-up it is a good idea to study some of Augustus John's or Russell Flint's pictures of gypsies. The characteristic planes of the bone structure can easily be simulated with grease-paint, and it is a great pity that some study is not given to them. Most gypsy make-up is pitifully unrealistic, and usually begins and ends with heavily made-up eyes and wildly dishevelled hair. I have seen blonde gypsies, but in every case the gypsy blood was obvious from the bone
structure.

As regards Southern Europeans, practically every town England has Southern European residents, and it is worth going to life for hints on the proper make-up. Study the general characteristics and then apply them to your own face. In many cases you find you get the true skin tint with a mixture of chrome, No. 5 and sun-tan powder, or even No. 5 and sun-tan powder. Liquid make-up should be used for legs, arms and any part of the body to be exposed. It is obtainable in many shades, but go easy on the sun-tan. For males be careful to suggest beard by blue shading on the jaws and round the lips.
in

"Blacking Up."

Mere "blacking up" does not suggest a negro, because negroes are not black. Personally I think negro make-up is something to be avoided at all costs. If you must do it, however, use a chrome base, with pale blue for highlights before applying the black. Keep the nose as dark as possible, and
82

EXOTIC
some highlights on the cheek-bones, chin and forehead; on the eyelids and under the eyebrows. For aged effects use pale blue for lining instead of No. 20. Use black for eyebrows, and rub the stick the wrong way to get a bushy effect. Use lake for shadows, with thick black lines on eyelids, but no triangles at the corners of the eyes. For lips mix up a litde carmine with No. 5 so that you have a pale pink flesh colour. Outline the upper lip all round its edge with a thin line of lake, and the lower lip with a thin line of No. 5 (use an orange stick). This gives the characteristic negro "pout". Draw a thick shadow under the nose, extending beyond the nostril on each side. Here again it is an excellent idea to study negro faces, and if possible, get hold of a photograph or two so that lines and shadows may be studied. The structure of the negro face is just as important as the skin tint, and it is extraordinarily different from the European. In Paris there are many faces to be seen, dead white in colour, but unmistakably negroid in structure. This is something that seems to be forgotten
get
also

the theatre, because when half-castes are portrayed, notably the famous, or infamous, "Tondelayo", no attempt is ever made to suggest a negroid bone structure, whereas wherever there is mixed negro and European blood, the bone structure is almost always negroid.
in
South Sea Islands.
is an opportunity of extensive use of No. 9. base should be used, but the South Sea Island peoples are almost the only ones whose skins have that deep sun-tanned tint. Blue should be blended in with the chrome for shadows so that a greenish tint is achieved. For the aged, lining is in lake and No. 20. The eyes should be heavily lined along the edge of the lid, and short thick triangles made at the corner. Also draw a line along the lower lashes, because most of these Islanders have rather prominent eyes. For this reason the lids should not be shaded, and the space between the eyelid and eyebrow should be highlighted (with chrome). The eyebrows should be thick, and for males rather bushy. Lips should be of the same tint as those for negro make-up and outlined in the same way. Of course, most South Sea make-up is musical comedy, so the ladies will no doubt want

Here

at last

The chrome

83

STAGE MAKE-UP
Lake or carmine No. 3 should be used for Sun-tan powder is used. Liquid sun-tan should be used on body, neck and limbs. Cotton wool soaked in brilliantine and run very lightly over all the parts where the liquid is applied will give a finish which not only adds to the realism, but makes for a much more artistic effect than the flat, matt surface of the liquid sun-tan. If you are unacquainted with the use of liquid make-up do not try to economize on it. Buy the best quality you can get and buy it at a chemist who specializes in theatrical make-up. Cheap brands used as an
to look lip-sticked.
this.

alternative to silk stockings usually

they touch.
to

Good
lots

quality liquid

come off on everything make-up is quite difficult

remove, and

of soap and hot water will be needed.

84

CHAPTER XIV

GROTESQUE
of grotesque make-ups is the "ghost". There are two types of ghost, the traditional one, personified by the ghost in Hamlet, and the more modern apparition which is meant to evoke sympathy rather

MOST common

than horror. For the traditional spectre use a base of No. 1 1 and highlight with No. 20 on cheek-bones, forehead and chin. Shadow the eyes between eye and eyebrow pretty heavily, but do not take the shadows right across; keep them to the inner corners. Also, use shadow under the eyes. Use a mixture of lake and blue. Never use brown or black for shadows, even for a ghost the result is always muddy. Unless the player has a very thin face, shadow under jaw from ear to ear. If the apparition has to show its age, line for the age required. Powder with
white.

Do not dabble and experiment with this make-up in a groping effort to make it more horrifying, because beyond a certain point the audience's emotion will turn from awe to hysteria, and titters will be your reward. A ghost, whatever his vintage, should have special lighting for himself. The lighting is very easy if he is moving beyond the ordinary action of the play as in Hamlet, but it is less easy when he is among the actors. Anyhow it is absolutely essential that he should have a blue or green spot, and that he should keep within its range. For a modern ghost use a base of No. 5 mixed with No. i and a little blue, also put in a touch of No. 9 if the result is greyish, also a little No. 20 to highlight cheek-bones, forehead and chin, so that the bones appear to stand out. Draw triangles at the corners of the eyes with brown, also make up the eyebrows to suit the type: brown for a young person, No. 20 (brushed the wrong way) for an old one. Do not forget to put some No. 20 on the eyeballs for an old character. Use blue shadow on the cheeks to make them hollow, and get a heavy shadow on the cheeks from in front of the ear to
85

STAGE MAKE-UP
under the cheek-bones, and under the jaws and up the temples. This will look somewhat crude, so work in a little No. 9, which will give the shadows a greenish-grey tint. Cover the ears with the basic make-up so that the normal pink tinge is quite obliterated. Put a lake dot on the inner corners of the eyes if the character is young. Use lake for the lips blue shadow under the nose, and under lower lip. Powder should be white for an old person, and a light ochre for a young one. Powder
;

heavily.
If a quick-change scene is involved from life to death, this ghost make-up looks normal if lighted with red, or rose, for the live scene. For the ghost scenes blue spots should be

used.

Hands should be made up with wet

Death on
the Stage.

white.

on the stage, light again plays an important part. Playwrights usually arrange that a character is ill or dying if his dead body is to be in any way prominent, in which case the make-up is as above, and the change between the live scene and the dead one can be done with lights; in this case a change from a mixture of amber and rose to blue. In many modern, realistic plays not even a change of light is possible, in which case the corpse is not permitted to be seen too distinctly by the audience. If the symbolic figure of death has to appear, and a skull like face has to be achieved, it is best done in black and white. A picture or drawing of a skull should be obtained and used The eyeballs should be blacked out, also the for a model. lower part of the nose, the mouth changed to a skeleton Wet white should grin, and black shadow on the cheeks. then be applied to the face, neck, and other visible parts. The hands should also be whitened, and the fleshy parts treated with black so that the bony structures stand out.
If a character dies
Stage Villains.

The

his successor

pale-faced stage villain is rather a thing of the past; seems to be the gangster who has had his face

The make-up

doctored, such as the gangsteT brother in Arsenic and Old Lace. here is a No. 5 base, the usual eye shadows and

beard shadows, but no other

lines or wrinkles, so that the face

86

GROTESQUE
resembles a

mask

to

some

extent.

thin lines in lake to suggest scars,

Then make some very and highlight below them.

is,

Run

these scars horizontally or diagonally, that

in quite

different directions to ordinary facial lines or wrinkles.

When

seen from the front these scars should look white rather

than red as modern surgical scars actually do. Powder with white or pale ochre according to the age of the
character.
Brutal Types.
Sinister effects such as crooked or broken noses, uneven eyebrows, or coarse, brutal mouths, are useful in certain character parts. For a crooked nose draw a line in No. 20, No. 1 \, or No. 5 according to the make-up, from the top of the nose on one side to the tip on the other, and shading each side of the line with a tint a little darker than the basic tint of the rest of the make-up, with a little blue worked into the shadow if it looks too obvious. Broken noses are simulated by highlighting the bridge, and marking the "break" with a line of lake or purple. For uneven eyebrows, if these are to be very marked, wipe out both natural eyebrows with base, then draw one above the natural eyebrow and another below it. If the difference is to be more subtle, wipe out only one natural eyebrow and

draw the false one above it. If you want to produce a really brutal type, wipe out the eyebrows and draw dark, beetling ones below the natural ones. Draw a mouth over the natural one, particularly over the lower lip. Use lake on upper lip, and carmine on lower if you want the lower lip to stand out. Draw a heavy shadow under the lower lip. Remember, however, that a brutal face will need special drawing for every line and shadow as illustrated here. It will not be enough simply to alter the eyebrows and mouth.
Topers.

If you want to suggest a bleary-eyed look, it can be obtained very simply by leaving out eye make-up entirely, but this simple method can only be used when your characters do not need any glamour.
87

STAGE MAKE-UP
False Noses.

False noses are scarcely ever really necessary except for very eccentric parts, or for burlesque. They can be bought ready-made, and these are far more practical than those made with nose paste. When they are used, the basic make-up must be toned in with them. If, however, a home-made nose seems desirable, buy a Cut into lengths about the size of the stick of nose paste. Warm between the hands, and first joint of the little finger. squeeze and roll until it becomes plastic. When it is soft enough to manipulate, gum your nose and /or chin where the paste is to be applied. Allow the gum to become practically dry, grease your fingers, and apply the paste in a thin layer. Then quickly apply more paste and model to the shape desired. Finally, paint over with the same tint as your basic make-up. The paint will have to be warmed so that it can be applied with a brush. Be very careful not to use too much

paste because,

if it

becomes too heavy

for the sticking

power

of the gum, the nose or chin will drop off altogether. It is scarcely necessary to say that the face should be quite free of
grease or
Ugliness.

make-up before the gum

is

applied.

Everyone, however beautiful, can make themselves look ugly by disguising their good points and exaggerating their bad ones. When it comes to producing particular types of plainness or ugliness, however, some attention must be paid to casting. However good the actor may be he should be spared unnecessary handicaps. If the part calls for a receding chin, it is best to select a player with a small chin, which can be darkened down to look negligible. If an undershot jaw is required then the player with a large chin should be selected if possible. If a large nose is needed try to avoid the player with a small one which will have to be built up with paste. Some effects are easy to achieve, of course. For instance, any nose can be made to appear turned-up by using a very light make-up on the tip and a dark one for the bridge. All eyebrows can be made to "beetle" by applying the make-up the wrong way. Light eyebrows, or no eyebrows at all, are also easy to manage. Teeth can be blacked out or their shape

Photograph by Douglas Burn.

Photograph by Douglas Burn.

Author as the old nurse in Uncle Vanya.

Author as "Salome" in the play by Oscar Wilde.

%fl*
Photograph by Bill Smith. Photograph by Bill Smith.

Young

Guild player Theatre as "Harriet" in The Two Mrs. Carrols.

Same

player as a child in The Happy Journey from Trenton to Camden.

t.

sSiHtfiiS!!

Hi

'IP

(
pfe*?'

Photograph by Bill Smith.

Photograph by Bill Smith.

Young

player in female impersonation.

Same

player without make-up.

Photograph by Douglas

Bum.

Photograph by Graystone Baird, A.I.B.P.

Vivian Dillon as "Lady Macbeth". Here the shape of the eyebrows, eyes, cheeks and mouth, had to be altered to create

Vivian Dillon as a lady of the town Are Married) Note effect of a ( When We make-up within a make-up for such a
.

an

illusion of ruthless determination.

character.

Hi

Photograph by Douglas Burn.

Photograph by Topical Press.

Roy Sargent
Gray."

as the young "Dorian straight juvenile make-up.

Same

player as old "Dorian Gray." All the natural lines have been stressed.

*te&

W^&^S^t w
'

-jSHr$$

Jfta

w
*

;.{
.,.

iMBli
,ii|||p

Nl|||l|tl|^i

***

,^V

"^^^^^^^ &.**" *vy

ff|llfil|P^jj

^MstiS^W

JaBj

Photograph by Russell Sedgewick.

Miller as a statesman (Lloyd George make-up) in Bae& to Methuselah.

Cameron

Cameron

Miller as a toper. Note heavy

lidded effect obtained by absence of

shade on eyelids.

sMMSmMmsMtmMmmm

Photograph by Topical Press.

Photograph by Topical Press.

Joyce

Tiranti as "Joan of Arc". make-up of broad simple effects.

Joyce Tiranti as "Eliza Doolittle".

Photograph by Douglas Burn.

Photograph by Topical Press.

Isobel Siddons as

"Amanda"
Lives.

in Private

Isobel Siddons as "Ophelia".

%
$F~
i
-

Photographs by Jack Emerald.

Rupert Siddons in

light

comedy

role

Rupert Siddons

as "Colonel
Serve.

Barrow"

in

with straight make-up.

They Also

Michael

Du

Barry in a semi-stylized

make-up as "Herod" in Salome, by Oscar Wilde. Note light line on nose, and
shading round
nostrils.

Michael Du Barry as a gangster. An example of securing an effect by very

simple means, alteration of the shape of

mouth.

Copyright, B.B.C.

Copyright, B.B.C.

How

television

Note

applied. delicate brush used.

is

make-up

Miss Frances Day made up and in front of the camera for a Television Variety programme.
(b)

Photograph by Bill Smith.

(a)

Photograph by Bill Smith,

girl

Group

in

Merry Death.

An example

(b)

of highly stylized make-up.

Author making up 15-year-old as an old woman.

GROTESQUE
altered by a special sticking plaster that can be bought, or by ordinary sticking plaster treated with some harmless dark dye. Bristles on the face are best done with finely chopped cripe hair applied to an application of gum. This unshaven effect can be managed with a heavy application of blue if the scene is dimly lit, but if the lighting is bright, the chopped hair is more convincing. Do not forget to rub some blue base on it

once

it is

firmly applied.
It.

Overdoing

Amateur actors must not forget the impact of grotesque make-up on an audience largely made up of people who are familiar with them in every-day life, or even fellow players.
I have seen a couple of amateurs, both good character actors, reduced to giggles because the actress added that fatal extra touch after dress rehearsal and prior to curtain up for a drama festival. She was playing the part of an old lady. I had done her make-up and left her with hair in a suitable sleeping cap, and a night-gown covered in a suitable dressing-gown. She dashed on stage in two comic plaits and a voluminous Edwardian night-gown. The impact on the audience was terrific; unfortunately it was the same on her stage husband who had not seen either the plaits or the night-gown before. The result was giggles and a "dry" which the adjudicator

was forced

to criticize unfavourably.

had had more experience, of course, and the night-gown would not have visibly reacted on them, and they would have been able to remain in character despite the effect on the audience. I am
If either of the players

the effect of the plaits

all for

players exercising

all their

ingenuity in regard to every

dress rehearsal and knowledge of the producer

aspect of their parts, including costume and make-up, but

no
the

alterations should
first

be

made between

night, except with the full

players.

and the other

CHAPTER XV

MAKE-UP FOR CONCERTS, VARIETY AND PHOTOGRAPHS

" ^">

HALL

use make-up or not?"

artistes,

is

the question

many

whether professional or amateur, often **ask. On the whole it is best to use some make-up whenever appearing on a lighted stage or platform. It adds a touch that the audience appreciates, and gives the performer more confidence. It also enables the performer to adjust any
such as large nose, small chin, too little 01 eyebrow. Individual artistes should take great pains with their make-up, and groups or chorus should be vetted by a producer or make-up expert before being allowed on. Choral singers or speakers are usually among the worst offenders in the matter of stage appearance. The ideal is, of course, to provide these groups with some sort of uniform. If nothing better can be managed, black cloaks with a coloured lining and arm slits for both men and women are excellent. If this cannot be achieved, the producer should endeavour to see that the men wear dark suits and the women black frocks, with some white relief. Make-up should then be used to ensure that the artistes present as pleasant an appearance as possible. The fact that choral singers and speakers do not move means that the audience becomes far more conscious of their appearance, and far more critical about it, than they would otherwise be. Make-up should, of course, be straight, and every effort should be made to bring out good points and play down bad ones. At the same time uniformity should be the aim, as the total effect must suggest a harmony, and not a crowd in which individuals stand out. See that the men are all slighdy sun-tanned in appearance, and the women fairly pink-and-white. If anyone has very heavy eyebrows, tone them down with No. 20. Choral singers and speakers do not know anything about make-up as a rule, and the best way to handle them is to get together a small team of people who
facial defects

concert ^^ -'

too

much

90

MAKE-UP FOR CONCERTS, VARIETY, AND PHOTOGRAPHS

can do a straight make-up with one or two knowledgeable make adjustments. Quite often these groups include people of varying ages, from youth to middle age. Every effort should be made to make the latter look youthful. (See section dealing with this.)
onefs to
Variety.

Make-up for variety is in one way the exact opposite to every other style of stage make-up. In dramatic work the aim of make-up is to bring the artiste into the closest accord with the playwright's intention. In other words, to make him other than himself, but in variety the whole aim is to make the artist a "larger-than-life" self. George Robey is perhaps the leading exponent of this, since posters for his shows often consisted of a picture of a pair of eyebrows. This is one of the things that young variety artistes at the beginning of a career should realize. They should try to picture themselves in terms of a poster, and see what is their most outstanding feature. Is it eyes? (Eddie Cantor), Eyebrows (Robey, Jimmy O'Dea), Mouth (Maurice Chevalier), Nose (Jimmy Durante), Moustache (Charlie Chaplin). Is it a particular hair style, or particular shade of hair? It may, of course, be height, or lack of height, bulk, or emaciation. Whatever it is, it should be something that makes an indelible impression on the audience so that they remember it even before they remember the artiste's name. Just what it is is something the artiste must discover for himself, but once he has discovered it, he should bring make-up to his aid to
accentuate the characteristic. Variety stages are usually brilliantly and flatly lit, so that make-up has to be strong. In recent years this stressing of an individual characteristic by use of strong make-up has become more marked, but the beginner should beware of pitfalls. One of the most boring and outmoded of variety turns is the male singer who appears as a toper, with red nose, bleary eyes, and a sunset complexion. Modern audiences no longer give this character the welcome he met with in former days. Both audiences and managers are also very tired of the bold and dashing young thing who looks as if she knows all the answers. She usually tap dances and sings risque songs. The girl who tap dances
91

STAGE MAKE-UP
and sings risque songs will get across far more surely if her make-up and mien suggest utter simplicity, with just a knowing look or two held in reserve. In trying to decide what aspect of character or physique should be stressed for a variety turn two things are to be avoided. If you are a man do not decide to have a funny
moustache just because Chaplin made such a hit with his, if you are a girl do not plump for an Eton crop because Beatrice Lillie rose to fame with its aid. Try to bring out something from your own personality; do not just try to superimpose something from without. Again, do not develop something that is going to be difficult to sustain; one often wonders if Al Jolson did not become extremely tired of blacking
or
his face.

face as their trade mark.

of the most famous variety artistes used their whole Stan Laurel capitalized a naturally wistful expression into a mask of pathos, Sydney Howard was the apotheosis of all that was benign and a trifle bewildered, George Formby exploited open simplicity of countenance.

Many

In short, success in variety make-up can be achieved by

finding your type

and

sticking to

it,

whether

it

is

beautiful

or ugly, grotesque or restrained.

MAKE-UP FOR PHOTOGRAPHS

a curious hybrid type of make-up and calls for a good deal of skill and experiment, in co-operation with a photographer. It falls into two categories, the first for stills either of groups or individuals in a play; the second and by

This

is

far the

more

difficult,

for

the actor

who

desires

to

have

photographs suitable for submitting

agent.

to

a theatrical or film

For the
that
is

first

the

make-up

is

closely akin to film

the shading and lining must be

much

lighter

make-up, than for

and the powder heavy and of a sun-tan shade. Lake lining should be avoided as lake photographs black; brown also photographs black. Black pencils should not be used. Carmine should not be used on cheeks, nor No. 9
stage work,

except for shading. Eyebrows should be tinted very lightly, and the tint is best applied with an orange stick. The base should be no lighter than No. 5 unless the
92

MAKE-UP FOR CONCERTS, VARIETY, AND PHOTOGRAPHS

is supposed to be in ill health. More No. 9 should be mixed in than is usual for ordinary straight stage make-up. All the shadows should be softened off by mixing a little No. 9 in on the edges of the blue so that harsh black and white effects are avoided in the completed picture. No. 20 can be used for highlighting under the eyes or for the nose, but it must be heavily powdered and the powder must never be lighter than ochre or light sun-tan. Lines must be much lighter than for the stage. Great care must be taken to see that the make-up is most thorough and covers every bit of the body exposed to the camera. On the stage powder will often conceal the contrast between a face on which base has been used and a neck on which it has not, but the camera will crudely define the

character

difference.

What

the

Camera Does.

Apart from the actual use of the paints it must be remembered that the camera is selective. A large mouth will look lafger, a medium sized one will look large. The same applies to noses. But both are amenable to treatment. Mouths may be covered with base and new lips drawn. A rather large nose can be shadowed with blue underneath, shadowed with No. 9 on each side (carefully shaded off into the lighter base) and highlighted with No. 20 (unless it is of the sharp variety, in which case do not highlight). The resultant organ will not look small, but it will look delicate and finely cut. If the eyebrows grow too close together, put a heavy application of base between them, and if they are too thick or too deep-set, No. 20 can be used for highlighting. If any highlighting is needed on the rest of the face, for enlarging a chin, or making a young face look middle-aged, use No. i\. For old age No. 20 has to be used, but powder heavily. For reducing the width of a face shadow as directed in previous chapters, but use No. 9 for the purpose, and shade Use blue for beard replacement. The it off very carefully.

main thing

to

remember

in this type of

make-up

is

to

powder

heavily with a yellowish powder.

of course, be perfectly evident in the photographs that make-up has been used. When make-up is used for a photograph in which the
It will,
93

STAGE MAKE-UP
is that it should appear natural, or in the case of a woman, just ordinary make-up, much subdety is required. few things can be done and a great many cannot. Lining of any kind would be evident, but delicate highlighting and

desired effect

shading are possible. Powder may be used but a base may not. It is best to have several tones of powder, one darkish, and one fairly light. A small nose may be lightly highlighted with No. i and powdered all over with light powder if it is otherwise well proportioned. Most small noses, however, particularly men's, are a bit too broad for perfection, so the sides should be powdered with the darker powder. A large nose can be powdered with dark powder, likewise a large chin. A small chin may be highlighted with No. i but it must be very delicately shaded off. Width of face can be reduced by very light shading with No. 9 and sun-tan powder. If eyebrows have to be pencilled, the grease-paint should be applied with a brush such as is used for mascara, and a greasy finger-tip run over them afterwards. As far as men are concerned the eyebrows are best left alone as any touching up will look artificial. All eye make-up will show as a rule, although the triangles at the corners of the eyes which make eyes look so much larger may be done delicately both on men and women if the model has fairly thick, long lashes. It must be realized, however, that this type of make-up is only of benefit to people whose bone structure is such that they are photogenic, and need a few touches of make-up so that they appear at their best. It is scarcely necessary to set down the fact, now known to most people, that there are hundreds of men and women who are good looking, and who look well both in everyday life and on the stage, who do not photograph well, either in a film studio or for still photographs.

94

PART

III

ANCILLARIES OF MAKE-UP
CHAPTER XVI

HAIR STYLES, WIGS AND BEARDS

THE
if

use of wigs should be avoided whenever possible, and they must be used, obtain the best and see that they fit properly and are properly dressed.
is

It

far better to use

added.
these.

For

false curls,

your own hair with some false hair women much can be done with switches and and most natural effects may be achieved with

I Tan actress has short hair and a long hair style is needed a switch can be made with crSpe hair if necessary. If, in addition to long hair, grey or white hair is required, then dress the head first and then powder and mix in some cripe h;ir with the natural hair. When false hair is used be very careful thit it is safely anchored. Fo a dowdy long hair style comb the hair straight back,
tie tightly at

the nape of the neck,

roll

tie

the artificial hair in

up and pin into place. Even if the pins fail, the actress knows that the false hair cannot fall off For an upswept style comb up the back hair and secure it very firmly with combs. Curl the ends and fasten them into 'sausage rolls" with hair clips, and then plait or swathe the false hair and get it firmly into place, also using
as well,

and then

or knot

it

hair clips.

small switch of curls a few inches long

is

a very useful

prop., as this switch

may be worn

in front as a fringe, or at

the back to simulate hair several inches long.

a fold of

silk

A ribbon or can be worn round the head to cover the join

between real hair and false. Many changes of face can be obtained by merely dressing the hair in a new style. A broad face will be made to look much narrower if the hair is allowed to hang straight down
95

STAGE MAKE-UP
on each
look
side, in the style

of Veronica Lake.
is

much

shorter if the hair

A long face will swept up both at the back and A

round face looks
centre parting gives a face a

at the sides

and piled on top of the head.

best with a loose hair style.

serious expression, while a fringe

gay.

Any

makes it look young and kind of dressing adds years and dignity, while loose,
are necessary they can
sent,

floating hair looks youthful.

Where wigs
and a

be ordered

if

the

measurements are

but

strongly advise a personal call

fitting if possible.

Putting on a

Wig.
it at the back, getting a good and pull it on. Then pull it down at the wig has a "forehead" put it on before

When putting on
the sides.

a wig, hold

grip on the foundation,

When

making up, for otherwise it will slide about over the greasepaint. Then, when making up, run the "base" used over the artificial forehead. Remove the wig, and apply gum to your forehead just over the part where the make-up on your forehead ends. Wait till the gum is half dry, put the wig on again, and press and smooth the artificial forehead into place with a damp towel. See that the grease-paint is uniform on both your own forehead and the false one before powdering
over both.
Powdering
the Hair.

your own hair, first apply brilliantine, then cover up your costume and apply the powder, or better still, get someone to do this for you. Use a fairly coarse powder. I generally use a flask of talcum as this can be poured on to the pad. Shake your head well before finishing as a lot of surplus powder is likely to fall off, and if you are wearing a dark costume, this loose powder will show up very distinctly

When powdering

on the stage. Try to arrange for someone to look you over between exits and entrances and brush off any surplus that may have fallen, or repair any patches that may have appeared on your head. When removing powder from the hair, shake well and brush. Try to remove all the powder you can
before

shampooing.
it is

False moustaches and beards are best hired, but

96

HAIR STYLES, WIGS AND BEARDS

an actor to have a few of his own which suit an amateur company to have a small stock. When wearing a beard or false moustache do not apply grease-paint to the part of the face to be covered. If you do

good idea

for

his face, or for

the hair will not stick well.

Making a Moustache.

you make your own moustache, stick a piece of crepe lip, cut it down and experiment until it looks natural. The less you have of it the better; touching up the parts that actually adhere to the face with grease-paint to tone, you will help the natural effect. If you forget to do this the light skin underneath shows through the false hair. Carry the grease-paint over the edge of the false hair on to the skin, and in the case of a beard shade it off. A real beard does not spring straight out from a bare face; it starts fairly lightly and gets thicker as it grows from chin and jaw-bone. Whenever you use gum remember to give it a few minutes
If

hair on your

to get really sticky before applying the hair.

Moustaches should always be well greased. Brill iantine your fingers before you start to shape them on your face. If a false moustache has to stand up at the ends it is best to gum the ends to your face. Otherwise the ends either will not stand up at all, or one begins to droop and ruins the effect. How often has one seen this sort of disaster in an amateur show. Some people simply make moustaches of grease-paint. For short sketches or comedy parts these look surprisingly realistic, particularly if the player remembers to shade off the parts where they join his face with blue (hair on the face is never clear cut, and "beard replacement" with greasepaint is always necessary for a completely realistic effect). For serious dramatic roles which involve a lot of emotion and perhaps embraces, the grease-paint moustache is rather dangerous. Either the player remains aware that it must not smudge and develops an unconscious noli me tangere attitude, or else he forgets all about it and it does get smudged. It is a good idea for a player who is wearing a beard or moustache not to shave his own moustache during the run of
the
play.

However

short

the

resultant

bristles

considerably aid the illusion. g

The
97

player

who

they will has to wear a

STAGE MAKE-UP
beard

be most unwilling to allow the slightest semblance if he can restrain himself from too clean a shave it will help. As I have said I do not advise making beards with cripe hair, but if it has to be done, here is the way to do it
of real beard to grow, but

may

How

to

Use Crepe Hair.

is

Crepe hair

bought in

plaits,

are needed to
ten inches,
in the hand.

make a

beard.

and about eighteen inches Unplait the hair for eight or

and

pull gently so that wisps of hair

come away

towel and leave it for several hours. Then smooth out the knots and curls. Stick one section of the hair beneath the chin and a smaller section over the chin, then comb together, carefully removing any loose hair until the beard is gradually built up to the size desired with strands of various lengths and thicknesses or rather thinness for the bane of amateur beards is that they

Roll this in a

damp

look too thick to be natural. Use plenty of gum. Once the beard is really firmly in place apply grease-paint and shade
it

in

from beard
all

to face as already directed.

Above

give the

gum

time to

set

little

before applying

the hair to the face.

False hair has to be pulled off and cannot be stuck on again very easily. It is best to make yourself a new beard each night because then you can use plenty of methylated spirit to help in its removal and discard the resultant
mess.
If you cannot obtain crepe hair in the shades you require, can be bleached down through brown and reddish shades to blonde, with a mixture of peroxide and strong ammonia. This process is not easy, however, and experiments will be

it

needed.
For Thinning Hair.

Men whose

hair

is

thinning, or

who

are going bald, should

Skilful use of grease-

never wear wigs

paint helps, and
real hair

if this
it
is

can be avoided.

mounted, which may be gummed on the temples or on a thin spot at the crown of the head. These are not easy to obtain, but it is worth making the effort. Once in place, they are,
possible to obtain delicately

unlike the wig, completely undetectable.

9*

They

are used a

HAIR STYLES, WIGS AND BEARDS

great deal on the screen, and defy even the
the camera.
all

seeing eye of

Great changes in appearance can be effected by altering by applying the skin base over the hair. Just as person whose hair is receding can greatly improve his the appearance by using grease-paint to imitate hair, so people whose hair line comes down too low can look much better by masking it. A noble forehead always helps to beautify a face; so does a good width across the temples. Hair that grows too far in over the temples is a common defect both in men
the hair line

and women.
little attention to their hair on the a pity. For instance, a small man can add several inches to his height by keeping his hair as long as

Men

often

pay very

stage,

which

is

possible

on

top,

and

if it

happens

to

grow in waves

this helps

considerably.

Men who are going grey can touch up the grey parts with dark grease-paint. Grey hairs stand out in stage lights and add years to a player's appearance.
Care of False Hair.
If

an individual or group

try to get

together a small
see that they

collection of wigs, switches, toupets

and beards,

are kept scrupulously clean.

to a delicate application of brilliantine. The latter is most important, for without it artificial hair looks dull and drab under stage lights. Beards and moustaches should also be well cleaned, brushed and combed, and given some brilliantine once they are in place on the face. All artificial hair should be stored in air-tight boxes, with some substance that discourages moths. There is nothing a moth likes better than a nice long switch of human hair, or a really good wig.

and redressed at brushed and combed, and then treated

They should be dipped in petrol frequent intervals. Long switches are gently

99

CHAPTER XVII

MAKE-UP FOR TELEVISION

WHILE and
is

stage

make-up

is

the result of a long tradition

well be altered

follows

many practices which might

or modified to conform with modern theatre lighting, make-up for television, the youngest form of entertainment,

unhampered by

tradition

and

still

in

the experimental

stage.

At present it bears a closer relationship to film make-up than to that of the theatre, but at the same time, is sufficiently unlike to differentiate it as a separate branch of art. The actual range of make-up is small and carries no parallel in the field of ordinary grease-paints. The preparations come in paste form, and have been specially blended after some years of trial-and-error experiment. Apart from
the limited range,

which

is

the

first

thing that strikes anyone

with a knowledge of theatrical paints, the most outstanding feature is the amount of blue used in the pastes. These pastes are known as Tele, i, 2 and 3. No. 1 is a light pinkish paste, with an orchid tinge, which is used for highlighting. No. 3 is a Rachel tone, also containing a good deal of blue. No. 2 is a tone in between these. Either No. 2 or No. 3 is used for base, or a blending of both. The base is applied by hand after a preliminary light grease has been applied and wiped off, as in the theatre. Rouge is in two shades, one that approximates to carmine No. 2, although it contains more blue, and a lighter, rosy shade which does not exist in stage paints. These are used for lips. Rouge is not applied to cheeks. A light blue is used for eye shadow, and a darker, slightly greenish blue for eye lining. For dark eyes there are two browns for shading, one medium brown and one nigger. Both these browns contain a fair amount of blue. The two blues are used for facial lining and shading, and as already mentioned, the highlighting is done with a pinkish paste, which is somewhat the same tone as grease-paint No. 1 \. This is the lightest tone in the "Tele" range, and nothing so

MAKE-UP FOR TELEVISION

white as No. 20
in this since for
is

ever used.
I

was particularly

interested

have been experimenting with highlighting in various tones for stage, and have used Nos. 20, *h 2 h 3 an d 5 according to the base, the age group effect desired, the lighting and size of theatre. In small theatres No. 20 is best not used, except for extreme old age, as I have mentioned elsewhere in this book. The results when other shades are used is less crude and more convincing. Shading is at least as important as lining; lining alone is not enough, and I was interested to see that delicate shading plays a big part in television make-up. Powders are in two shades, Tele. 1, a purplish Rachel, almost a mushroom shade, and Tele. 2, a lighter tone of the same. Brown and not black is used for eyebrows and eyelashes.

some time past

This interested
either, unless

me

also,

as I never use black for the stage

effects are required.

most exaggerated

make-up has not yet been standardized, which is in many ways a good thing, as the whole approach to it is far more fluid than in the theatre. It may be compared to the days when painters mixed and ground their own colours instead of getting them ready-made. Each face is made up to conform to the needs of the individual, the character and production, while lights have the last word in everything. Henry Irving is supposed to have given two pieces of advice to actors about make-up one that they should not attempt to do without it; the other that they should use it sparingly, since heavy make-up obscured the lines on their own faces. No television actor is allowed heavy
is

As

evident, television

make-up.
tints, black, white and lake are out as far as concerned; so also is deep carmine, or any shade of red except the rose and pale carmine used for lips. All lining is done with the blues mentioned.

The cruder
is

television

Paste or Grease-paint.
that, despite the narrow range, make-up can be done just as readily as with the wider theatrical range of grease-paints in the theatre. At

The

experts

tell

me

for character parts

present there are, of course, pastes for theatrical use also, but they are expensive and so far show no superiority over the

old-time paints.
101

STAGE MAKE-UP
as double chins,
real age toned

Nose putty may be used for television. Signs of age, such can be successfully simulated, and signs of

down when

the player

is

required for

more

youthful parts. Brushes are used for lining, not orange sticks. As is the case with ordinary filming, blondes are easier to light than brunettes, but given the right lighting both types

can be equally glamorous. Wigs and false hair are used a great deal because paint can never be substituted for these as in the theatre. Expert work is done with crSpe hair. Beards are a matter of "piece work", as I have advocated they should be except for burlesque
are gradually built

and applied in sections which up to the shape of the beard required. Moustaches are done in the same way. Heavily unshaven effects are carried out with finely chopped crSpe hair. Wigs
effects.

The

hair

is

teased out

have to be of the very best type. The old-fashioned "forehead wig" still seen on the stage for ancient parts, cannot of course be used for television. Technical requirements also affect clothes. White is not used as it would kill make-up, and black is avoided because it would throw the face into high relief. Make-up has to be watched very carefully and patched between scenes. It is scarcely necessary to point out that the whole process
of application is so highly technical that artistes are not allowed to do it themselves. As with film make-up, it has to be done by a staff of experts. The brushwork is extremely delicate, the brushes varying in size from the average watercolour brush to very tiny brushes only suitable for most

minute

lines.

The

experts

are

usually

recruited

students, trained beauty culture experts, or

from artists or art from women who

have had several years experience of make-up in film studios. Even with such backgrounds they have to spend some time
in the television studios before they are permitted to

make up

the players.
Delicate Make-up.
#

notable thing about a straight television make-up under lights is that the make-up is scarcely evident even at a distance of a few feet. Many of the touches that add so much
ioa

The most

MAKE-UP FOR TELEVISION

to the appearance of a juvenile
to

on the stage have,

perforce,

be

left out.

Eye make-up

is

reduced to a minimum, and the

traditional triangle at the outer corners of the eyes has to

be omitted. "Starring" the lashes with heated mascara, a practice I do not advocate, even for the stage, cannot be used
for television.

In other parts of this book I have dealt with the adjustments that can be made with grease-paints to make both men and women far better looking on the stage than they really are. This cannot be done to such an extent with television make-up, but authorities tell me that it can be done to some extent. As regards the actual photography there is, of course, a closer relationship between the artiste as he will appear in television and his appearance in a film, than there can be to his appearance first-hand on a stage. Just as there is the phrase, "film face", to-day, there may be the term "television face" in the future.

Nevertheless, the stage artiste can learn a good deal about

possible subtleties of

make-up from

television.

Up

to

the

more aid from externals than either the film or television actor. Such aids probably reached their heights in the theatre of Tree, and have since then been declining to more reasonable proportions. The fewer the trappings and the lighter the make up the greater
present the stage actor has enjoyed
the actor's freedom towards self-development.

Television to-day
is

is,

of course, not in

its

beginnings.
1

It

now, roughly, in the position the film was

after the

91418

war. Advance in technique may gradually enable the range of its make-up to expand. As it continues it may have many developments which may be of considerable influence on

make-up

in the theatre.

103

CHAPTER

XVIII

MAKE-UP AND LIGHTS

himexperiment with make-up actor needs EVERY the shade and texture of because of differences
to for
self

in

which are emphasized under lights, in which different colours, and different types and strengths of lights (and costume colours), affect the appearance of make-up from the front. For this
each individual
skin,

and

also because of the

way

reason, as stated elsewhere in this book, a lights rehearsal

is

highly desirable.
for this,

It can,

and

does, frequently take half a

day

even with a relatively simple, amateur production, as twenty-four hours for a professional one, but it is worth it. A great many amateur stages are lit by white top lights, which are not proper stage lights, partly because direct top lighting, uncorrected by foots or floats, or side lights, is very crude, and creates ugly shadows and throws up highlighting. Where such lighting exists make-up will have to be kept light, and pale-coloured powder avoided. Highlighting should be done with the same tint as that used for base, when it is required under the eyebrows, and other highlighting with Nos. 5 or i \ instead of No. 20. Where top lighting is used along with foot lighting there may be trouble with shadows under the eyebrows, so that the "holes in a blanket" effect is evident; highlighting between eyebrows and eyes (with base, not No. 20) will help this. Make-up round and under jaws will have to be kept light. Where ordinary stage lights cannot be installed a couple of spots from the back of the hall help considerably. Spot lights are again back in favour for many types of lighting, and they are particularly helpful both for making generally pleasing effects and for aiding make-up.

and

as

much

Effect

of Colour.
great deal of pale

A
it

amber

light

is

easy on make-up since

enables the actors to use heavy applications if necessary. Rose and amber mixed are best of all from the point of view
104

MAKE-UP AND LIGHTS

of make-up, but it is usual to have some blue as well so that the total picture does not look artificial. Blue, red and green lights tend to flatten and darken, so
stick to yellow arid light red tints in the make-up, including a warmly tinted powder. The darker ambers have a dulling and flattening effect, as is evident when efforts are made to light a tropical scene, so make-up should be kept warm unless the character is meant to look aged or devitalized. In my chapter on "Beauty" I have talked about the face

that lends itself to

stage presentation, just as

certain faces
successful

are "film faces".

The commonest bugbear where

concerned is deep-set eyes, which are rather prevalent both among men and women. In ordinary life the person with deep-set eyes may be very good looking and, in fact, the eyes may not appear deep-set until seen under stage lights. Sometimes when such eyes are highlighted they appear flat and hard, and it is only through experiment with highlighting and shading that the individual players will find a successful combination that shows them at their best. This combination is arrived at by a subtle blending of highlighting and shading, plus a good deal of powder. In many instances where top lights create hard shadows it is helpful to cover the natural eyebrows with base, and draw others which begin where the upper part of the natural

make-up

is

ones end.

Relating make-up to lights should be a matter of cooperation between producer, stage director, and actors, but in the professional theatre it is all too often merely a field of

The producer may for instance want certain effects enhance the dramatic values of the play, the stage director may simply want anything that keeps him out of trouble with the technician known as "electrics", and his team of "assistant electrics". These technicians are always liable to
conflict.

to

stand out against what they

may

consider unnecessary work,

and

successful lighting

may

call for

much

time being spent

in experiment.

The

actor usually desires to be clearly lighted,

believing he

is

the most important factor in the play, and

that the public should be able to see

him

clearly.

There

is,

of course, a good deal of truth in this, nothing is more irritating to an audience than to have a long scene in which lighting
is

so

dim

that they cannot see properly.

105

Many

actors go

STAGE MAKE-UP
further

than this, however, and resent lighting or even make-up, that does not show them in their most glamorous aspects. This is, of course, regrettable and not always very
intelligent.

The

result

is,

as far as

both the West End and repertory

theatres are concerned,

that stages are often lighted flatly

and unimaginitively. I recently saw an elaborate musical in which flat amber lighting was used, and not varied from the time the curtain went up until it came down. It was quite true that the cast looked uniformly "glamorous" from beginning to end and had no make-up problems, but even "glamour" can become monotonous. Temperature also effects make-up. In fact it can be a bugbear. A well warmed dressing-room is most important, but in the provinces and even in some London suburban

comedy

theatres,
cases.

If the actor does his

dressing-rooms are insufficiently heated in many make-up in a warm dressing-room

he can for instance break down his grease-paints easily and use a brush for lining instead of an orange stick. The expert with the brush (but he needs to be expert) can get better

and

softer effects

than he can with an orange

stage
is

stick,

and work and

faster.

The temperature on

as a rule

comfortably
lights,

warm, partly owing

to the heat generated

by the

the tension inevitable in acting raises the actor's temperature,

Inexperienced hence the need for frequent repowdering. actors, who are more nervous than experienced ones, frequendy perspire excessively, and constant repowdering may make their make-up appear too heavy under fairly bright lights, but only time can cure this trouble.

106

CHAPTER XIX

FUTURE DEVELOPMENTS AND TRAINING

PLASTICS, which have influenced so many manufactured
articles,

are likely to play a great part in theatre make-

I look forward to the day when nose putty will be as antiquated as gaslight, and the "bald wig" with the present type of forehead piece be known no more. At the time of writing I am experimenting, along with some experts, in plastics in creating light, detachable noses, eyebrows and foreheads, and hope that by the time this appears in print, there may be at least a small supply available to the

up

in the future.

theatrical profession.

Film and

television artistes

would

also

find plastic aids a tremendous advance both as to pictorial

results

swiftness
total

and saving of time. As has been emphasised elsewhere, is of the utmost importance in make-up, and the effect of a make-up combining plastic aids with grease-

paint will be incomparably better than the present clumsy devices made with paste. In many ways the theatre is conservative, and plastics for
false

hospitals

ears and other features have come from the and not the dressing-rooms. During the war facial burns and other injuries have inspired research into plastics suitable for masking or repairing disfigurements, and these
noses,

experiments are
far

still

going on.

One

very light plastic has so

is

been found

suitable,

and

as far as the stage or screen

concerned, would be very satisfactory. Injured men are at present wearing noses, ears and other features made of this plastic, which is almost undetectable even in daylight. Everyone connected with the theatre realizes what an important part is played by facial beauty in both men and women, and while grease-paint can do a great deal, the time and skill needed for camouflaging natural defects is very Apart from this the illusion is not always considerable. perfect. Many players have noses and chins that are not by any means symmetrical; in fact, a beautiful profile is rare. Noses and chins of plastic can balance up the face. Retrousse*
noses

may be made

to

appear Greek and so can

107

Roman

STAGE MAKE-UP
noses. Short noses
built up.

may be made

to look longer, chins

may

be

Even

far

more

rare than the perfect profile

is

the really

well-set eyebrow.

Making eyebrows with

grease-paint after

one has painted out the natural eyebrow is a tricky business, and not always successful. Thin plastic shields which cover the natural eyebrow, and which are topped with well modelled artificial eyebrows, will solve this problem. Ugly or misshapen ears may be masked with ears beautifully modelled in plastic.
False Noses in Plastic.

of character acting plastic features will be of The noses of Shylock, Caesar and Cyrano will be slipped on like gloves. Fine plastic masks with cheeks modelled for various famous character parts, such as Falstaff, will replace the present clumsy devices which so often turn this character in particular into a grotesque.

In the

field

the greatest importance.

Plastic

masks

will, I believe,

replace the present obnoxious

necessity for blacking

Eastern ones.
at present

Plastic

up for negroid parts, or browning for make-up will also open up wonderful

opportunities for developments in the play of fantasy, where

clumsy papier mdche masks are worn. Plastic masks rigid, and for this reason they will also be invaluable in opera, revue and musical comedy where quick changes of make-up are so often necessary. In a few years' time it is likely that every actor will have a set of plastic aids which will enable him to transform his appearance for various roles within a few minutes. In the amateur field plastic make-up will be invaluable also. Attempts at heavy character make-up by amateurs are usually disastrous under present circumstances.

would be supple, not

Plastics

of

the Future.

While the types of plastics now available cannot cover the wide range indicated here, there is little doubt that they will do so through the experiments still being carried on in connection with war casualties, and the theatre will benefit indirectly. It should be possible to sell plastic make-up very cheaply, and to evolve several types of plastics that can be made into features which may be used over and over again. The amount of experiment necessary for this, the machinery,
1 08

FUTURE DEVELOPMENTS AND TRAINING

the expert advice and capital expenditure
for very

make

it

impossible

much

research to be carried on by

make-up experts

in this field.

Once

the right plastics have been discovered,

however, they can be

made

available for theatrical purposes.

become interested in the some extent they may be in a financial position to experiment. Their problem is partly one of finding a plastic, or plastics, which will stand up under the heat at present inevitable in the studios. There is no doubt that they
film studios have
subject

The American
and
to

will use every resource at their disposal to get practical results.

Further developments in make-up are also likely to come from pastes of the type at present used in the television studios which will replace sticks of grease-paint. These are, in point of fact, extremely clumsy. "Breaking down" sticks in the heel
of the hand, to reduce them to a paste-like consistency is a messy and time wasting device, yet it is necessary at present for shadow make-up and for lining with a brush. As is mentioned elsewhere in this book, shadow make-up is far more effective than simple painting of tones, just as lining with a brush rather than an orange stick gives a softer effect, but
until pastes are freely available this
is

a slow business.

During the war Britain had fallen far behind America in materials available for make-up. The Americans, partly under the influence of the film studios, have much larger ranges.
Since films were, before the war, their third largest industry, not surprising because money is available for research and experiment. Even apart from films the American manufacture of cosmetics is the largest in the world. Another influence which probably comes from the film studios to the
this is

American

stage

is

economy
it

in the use of

actors usually apply

far

more

delicately than

make-up. American we do here.

Value of the Amateur.

backbone of the English theatre, has not time for experiment in make-up, or time to give much thought to it, and often knows comparatively little of the art. It seems a great pity that the vast amateur theatre movement in England does not regard its responsibilities in this and other matters more seriously, particularly in the field of make-up because they have time and opportunities
repertory actor,
after all, the
109

The average busy who is,

professional

actor,

particularly

the

STAGE MAKE-UP
experiment denied to the average professional. It seems however, that many amateur groups are unaware that they have a responsibility as part of a great artistic and cultural movement. Of all cultural activities that of the theatre has the closest link with, and the greatest appeal to, the general public. Yet amateurs are often completely irresponsible in their attitude to their audiences, without whose patronage they could not exist. An amateur writer or painter may write or paint in solitude and trust that posterity will appreciate his efforts, but amateur actors need an audience as much as a human being needs air. All too often they think in terms of their own amusement, and not of the entertainment value of their efforts as far as the audience is concerned. At the time of writing I have just seen a play performed by amateurs in which all but one part called for pretty heavy character make-up. Yet the performers, mostly in their twenties, wore straight juvenile make-up and topped it off with grey wigs which had not even been dressed, and which in consequence resembled disordered birds' nests. This group were not struggling for existence in some remote village, but belonged to an enormous mercantile organization in London. Like many other amateurs these players evidently regarded make-up as a necessary evil and an afterthought. At a time when, by a fortuitous combination of circumstances, the cinema is losing a litde ground as popular entertainment and the theatre is coming into its own once more, this irresponsibility in regard to one of the most important aspects of theatre art cannot be too strongly criticized.
for

Learning About Make-up.

One reason, of course, for the lack of skill in make-up among amateurs is ignorance. Which brings us to the question, how are they to learn about make-up, and who is to teach
it is difficult, but not impossible, amateurs to obtain the services of an expert. The British Drama League or the London Union of Mixed Clubs will offer helpful advice, and most drama magazines carry at least a few advertisements on the subject. Even supposing, however, that every bit of help available is really competent, which it is not at present, there is still a very great shortage of experts on the subject. Secondly,

them? At the present time

for

no

FUTURE DEVELOPMENTS AND TRAINING

experts are becoming

amateur groups

for reasons

wary of undertaking which I shall go

to assist

many

into later.

a shortage of experts, how can it be remedied? are interested in the theatre are particularly interested in the subject of make-up, and I am often asked which is the best means of learning about it. As I have already mentioned, my own personal experience, added to my experience with various individuals, agrees with the studio and television chiefs that, by and large, the best initial training for the would-be expert in make-up is in a school of art. Drawing from casts and real life, and painting either in pastels or oils, give the basis of necessary knowledge. Many people imagine that training in a beauty salon should be sufficient, but this is not necessarily so. Training of this kind usually aids in giving a light touch in the use of materials, but it does not train the eye in study of light and shade, planes or modelling. It must be remembered that the make-up artist, like the portrait painter, is not engaged in tinting, but in giving an illusion of actual modelling. For this reason, quite apart from the training needed in powers of observation in what can be readily seen, a knowledge of muscle and bone structure is necessary. Therefore a couple of years in a school of art, which may be done through evening classes, is the first step in training to be a make-up expert. When the student has learned to draw and paint it is very easy to

Many

Since there people

is

who

learn to handle the

new medium,

grease-paints.

Making a
question,

Living.

is confronted with the earn a living as a make-up expert? The film studios and the television studios are, of course, the only available source of employment for a full-time job. While it is obvious that make-up can offer only a small number of people employment, still, both film and television, are expanding Actually, however, the number of industries in Britain.

If trained, however, the student

how can

trained

and competent students who would want to make is relatively small. There is a far larger number of people who would regard it as an interesting side line, and who will earn their living by other means in many fields, either in theatre, artistic work, or in some occupation quite unconnected with art. These are the people who will
this their profession

STAGE MAKE-UP
be most readily available to the amateur companies if such companies will awake to realities and utilize their services. Since practical experience is so valuable, I would suggest
that while learning the student offers his or her services free of charge to amateur groups. That is, after practice on living models to ensure that rudimentary competency has

been achieved. Since lighting so largely influences theatre make-up, practical experience, and as much of it as possible, I must stress, however, that such is absolutely necessary.
assistance should not be proffered until the student has really

studied the subject.

teers of this

kind

The appalling results achieved by volunwho are really completely ignorant is someI

thing with which

assistants

am

all

too familiar.

work

in beauty parlours,

Very often these and have read about film

Their muddled ideas result in catastrophe. Assuming that the student is both careful and competent, and through study at art school and experiment with greasepaint, study of lighting and voluntary work with amateur groups, the time comes when he or she may claim to be an expert and demand a fee for the work done. At this stage some contact with organizing bodies will usually have been achieved. They may offer engagements with ordinary amateur companies who take theatres or halls. Very often these companies, who exist by their own efforts with no backing of any kind, are sober and hard working in their approach to a production. Usually they have fairly small casts, and quite often some of the members can help
studio make-up.

with the make-up.

straightforward.

The

expert's

task

is

then reasonably
desirable for the

If time can be spared

it is

expert to attend the dress rehearsal and

as for the production.

make-up the players

profitable.

From
is

the expert's point of view an

engagement of

this

kind

pleasant

and

Problems of the Expert.

There
with

are,

however,

less

pleasant experiences

for instance,

the problem of casts far larger than any one person can deal
It must be remembered that a good, make-up takes fifteen to twenty minutes to do well, and character make-up correspondingly longer. Therefore the expert can handle, say, twelve make-ups in two hours, that is if people can be relied on to apply bases themselves
satisfactorily.

straight

FUTURE DEVELOPMENTS AND TRAINING

with the aid of one or two helpers. This is usually possible. Where casts are larger the expert should tell the producer or organizer the facts and stipulate that one or more ^xpert helpers should be engaged by the expert {not by the group) as subsidiary assistants. I stress the last clause, because at this stage the organizer or producer invariably discovers that after he has engaged one professional expert, amateur volunteers who "know a bit about it" have sprung up like mushrooms and are wildly eager to "help". The sad truth is that these volunteers do not help as a rule, but hinder, and since the expert has not been responsible for their being enlisted, he has no control over them and no authority to dispense with them. So, if accepting an engagement, first of all see if you can handle the total cast if not, see that you are responsible for bringing your own helpers unless you have personally assured yourself that any volunteers are competent. Lastly, make it quite clear that the helpers, no matter where they come from, are to act only under your instructions. A satisfactory alternative to this procedure is to suggest previously to the organizer or producer that you should come along and give the cast a lesson in the use of make-up and show them how to make up for the characters they are going to play. Then study the play, work out make-up charts for each individual, hand these over and show the players how to make-up. They learn surprisingly quickly if they are kept rigidly on the job. Then on the night, each individual works under the expert's direction; the expert does the really tricky bits, and the result is usually very good. It is worth remembering that the true expert is the person who can organize and execute his work in such a way that others can learn from him. He can then delegate the simpler tasks and pay attention
;

to detail.

As regards

supplies of materials, every expert naturally

outfit.

The ideal course is that every player needs his his own, but where this is impossible a list of should have (three supplies to five of each item according to necessary handed to the organizer, and do not forget to should be cast) mirrors on If the expert arranges and this list. include rags himself careful to work out he should be all supplies bring to the costs, for they will be considerable. As regards fees, these are a knotty problem. A wellh
113

own

STAGE MAKE-UP
established society will usually offer three guineas

an evening.

This is satisfactory if the expert can do the whole job himself, or with the aid of some competent volunteers, but if it has to be divided with another helper or helpers it is scarcely worth the time and effort expended. Less prosperous companies, including large Youth Groups, will usually offer two guineas an evening, while smaller youth groups may only be able to offer a guinea. Most experts give a certain amount of time to the latter even though the fee is small, because no one who has ever contacted youth groups can ever be uninfluenced by the fine spirit usually found among them. My last word is to repeat that no matter what the fee or type of engagement, the expert must stipulate in advance that all help is under his control and direction, because if he does not he will find that chaos is come again, and that although he is unlikely to emulate Othello, he will probably only restrain himself by the most super-human self-control.

MAKE-UP CHARTS
PANTOMIME CHARACTERS
Demon King.
Base of 5. Lake lining as for forties age group. Highlight this with 5 or i| according to lights. Lake and 9 mixed for lips which should be strong, so unless the actor has full lips draw them out beyond his own. Wipe out the natural eyebrows with base, or 20. (It is a good idea to apply soap to them first to smooth them down.) Then draw high ones, flaring upwards and outwards to give a devilish expression. This will also be helped if one eyebrow is made very slightly higher than the other on its outer third. Draw a "widow's peak" with a black pencil so that it shows just below the hood. A black beard should be worn, also a curling moustache. Both these can be drawn with greasepaint if necessary. If a beard or moustache is being gummed on, do not forget to keep chin, jaw and upper lip free from grease and paint as otherwise the false hair will not stick properly.
Base of 2| for blonde, 3 for brunette. a straight make-up but must be kept pink and white, so do not use a sun-tan powder. This
is

Fairy Queen.

114

FUTURE DEVELOPMENTS AND TRAINING

Principal Girl. This is a straight make-up also, but keep it pink and white. 2\ base for blondes, 3 for brunettes. Make any adjustments necessary [see under section for "Beauty"). Use a light powder.

Principal Boy. 5 base, otherwise a straight make-up; get a warm sun-tan effect. 9 may be used for cheeks, a medium sun-tan powder, and Carmine 2 for lips. The eyebrows should be fairly well marked, and not
look too thin and plucked.

Dame.

5 base, and a straight, rather heavy female makeup. Highlight the eyebrows, and unless they are blonde do not pencil them very heavily. Lining is not necessary unless the part is being played by an adolescent, or if the actor happens to have a baby face. In this case, line as directed for fifties group. Amateurs seem to think that lining for a Dame is funnier if done in black or brown, so that the total effect is dirty looking. Use lake for lining and avoid the grotesque. Pantomime Dames should get their fun across by acting rather than too generous use of make-up.

Male Impersonations.
may be

In many modern pantomimes and

and the girls of any age. A page-boy bob is the ideal coiffure for this part as it frames the face and helps to make the player seem very youthful. Only small, very slender women are suitable for such parts. The features should be small and the total effect should appear not made up. Base of 5 mixed with a little 2|. 9 on cheeks and lips. The eyebrows should not appear too thin, nor too marked unless the player is dark. Eye make-up should be kept light. If the player has any suggestion of sagging or double chin, apply blue underneath jaw from ear to ear. Apply 9 round the edge of the jaw and smooth it off to soften the line. Powder with medium
fairy plays girls play the parts of boys,

sun-tan.

FAMOUS CHARACTERS
Shylock.

Base of

5.

Line as directed for

fifties

age group.

Keep the make-up light on eyeballs, and shadow above and round them with lake. Also work in lake shadows
in the corner of each eye, bringing the

shadow out on

"5

STAGE MAKE-UP
to the sides of the nose
closer together.

which will make the eyes seem Shade the sides of the nose with 9 and highlight with 20 from between the eyes towards the tip of the nose. Shade the cheeks from under the cheekbones towards the nostrils with 9 and blue mixed. This
will help to

in

the nose stand out still further. Work so that it will appear to recede, leaving the nose as the most prominent feature. See that the beard is not too luxurious. So many

make

some 9 over the forehead

Shylocks provoke titters when they first appear because both beard and make-up have been so overdone. Do not forget make-up on the hands. They should look talon-like. Shade between the fingers with lake, taking it well up between the knuckles and round the knuckles. Highlight the latter with 20, then shade with lake from between the knuckles up towards the wrist, shading off gradually. Powder with light sun-tan or ochre.
Caesar. This is a difficult part to make up unless the actor has something of the physique required, that is, fairly heavy and not too tall. Base of 5 with very little 9, and 9 used for shading. Shadows of blue and lake mixed in corners of eyes, and highlighting with 1 \ or 20 between eye and eyebrow. Unless the actor has a Roman type of face with full curving eyebrows, it is best to mask the natural eyebrows with base and draw in others with a brown pencil. It may be necessary to soap down the natural eyebrows before applying the paint if these are thick. Highlight the nose with a broad line of 20, and shade it on each side with 9 so that it appears high bridged. Do not carry the highlight to the tip or Shadow under nose fairly it may merely look Greek. heavily, also under lower lip. The lips should be fairly full, particularly the lower lip, so draw thicker lips if necessary. Hollow the cheeks a little with 9 and blue, and work in some carmine if the result looks too greenish. The forehead should be almost entirely 5, with a little \\ if necessary to make it outstanding. Eyes should be made up as for middle age, with half circles of \\ underneath for "bags". Draw a line of lake round these half circles. Powder with ochre. As this character has to look both dignified and natural, it is most necessary that the actor should have something of the bone structure needed. Otherwise a heavy

make-up

is

necessary.
116

FUTURE DEVELOPMENTS AND TRAINING

Queen Elizabeth.
are so many plays about probably the best known of all historical characters, although all too often very little effort is made to secure a resemblance to the portraits of the original. The outstanding characteristics seem to be high, hollow brows and a pointed chin. Unless the actress has such a bone structure, fairly heavy

There
is

Elizabeth that she

make-up

is

needed. Use 5 for base, covering the natural

eyebrows and the lips. Highlight between eyebrow and eyeball with 20 or i| according to your lights, shadows of mixed blue and lake in the inner corners of eyes up to the eyebrow. The Queen's eyebrows seem to have been almost half-moon shaped. Draw a shadow with the mixed lake and blue from the point immediately below the inner eyebrow in a crescent to the outer eyebrow. Then draw a light fine eyebrow in brown across the top of this. The eyes were apparently full-lidded, so keep the make-up light on the eyeballs and omit dark line above lashes. Shade with mixed blue and lake where the eyeball meets the bony socket. This will give a heavy-lidded effect. The nose should look thin so shade on each side with 9, highlight bridge with 20 or 1 1. Blue shadow under it, and blue shadow under lower lip but keep this shadow slight as the Queen appears to have had thin lips. The upper lip should be thin, the lower small but a bit full towards the middle. Apart from these characteristic features, eyebrows, eyes, nose and mouth, make-up for whatever age the Queen was supposed to be for the play. If the player has a small chin, highlight it to make it look pointed; if a heavy one, shade it from under jaws to make the chin look smaller. Use carmine 2 on cheeks Elizabeth liked cosmetics and use a blonde powder so that it is evident that cosmetics are

used.

Mary Queen
as to

of Scots. There is so much controversy what Mary did look like that a good deal of freedom must be allowed as regards make-up. It would seem that her face had a well marked bony structure of the type I have mentioned in section on "Beauty" which takes a good make-up, so it would be advisable
for the actress playing the

kind.
soft,

Queen to have a face of this part should not be played by someone with dainty features. Given the right type of bone

The

"7

STAGE MAKE-UP
make-up is almost straight because of Mary's comparative youth. o.\ base, carmine 2 or No. 9 on cheeks. Straight eye make-up, high set, slender eyebrows with flaring outer thirds. Lips normally well marked, but not large. Light powder.
structure the

CASTS OF FAMOUS PLAYS ROMEO AND JULIET

As a rule there is an enormous gap in the handling of make-up between the amateur and professional company, but in Shakespeare productions the gap is usually wider than in modern plays. This is partly due to the fact that more seasoned amateur groups do not often perform Shakespeare, while school and other young groups very often do so. Many other occasions for "acting Shakespeare" crop up in Drama Festivals and competitions, when scenes are performed. Very often women play men's parts. I am not suggesting make-up
or even costume for such efforts as the result could not justify the labour involved. When mixed groups perform a Shakes-

peare play, or even scenes, careful make-up and costume help enormously, particularly if the performers are in their late
'teens or early twenties.

Escalus. Base of 5 and 9 mixed. Line with blue and lake mixed, as for middle age (see section on this) and highlight lining with i|. See that the eyebrows are strong and well marked. Use a light sun-tan powder.
Paris.

The key-note to Paris is that he is a nobleman. Base of 5 and 9 mixed, and some 9 in cheeks. Blue shadows on eyelids, carmine dot inner corner of eye, thick brown line above lashes, triangle at outer corner
under nose and lower
centre of nose, blue shadow Eyebrows well marked but not heavy. If the player has heavy eyebrows cover the

of eye.

A stroke of

down
lip.

lower part with base. If the player has deep-set eyes highlight with 1 \. 9 and carmine mixed for lips. The lips should be of medium fullness. This can be achieved by either bringing the lip colouring beyond the real mouth if it is thin, or working some of the base over the lips if they are thick. Light sun-tan powder.
118

FUTURE DEVELOPMENTS AND TRAINING

Montague. Base of 5 and 9 mixed. Line as for middle age, and work in lines that suggest a stern temperament. Strongly marked nose may be obtained by highlighting with a line of i down centre and applying a little extra 9 at the sides. Strongly marked eyebrows that are carried in towards the nose. If the player is young the cheeks may be hollowed with a little blue and lake mixed. The player sucks in his cheeks, and applies a dab of blue and lake in the deepest part of each resultant hollow. This dab is then shaded off delicately. Montague may wear some sort of moustache or beard if the player is young. See that it is a black or brown
beard, however, since his son is only 17. If a moustache or beard is being worn be careful to put no make-up whatever on the parts where these are to be worn; also take the precaution of cleaning with a little methylated spirit in case any greasiness is there accidentally. Apply spirit gum to these portions of the face and let it dry. Powder with light sun-tan, carefully avoidLastly, apply the gum to the face ing spirit gum. once more, and when it is half dry stick the beard or moustache into place.

Capulet. The make-up is essentially the same as for Montague. To differentiate them it is a good idea to have a differently shaped beard or moustache, perhaps differently coloured. One of them might wear a dark wig and beard and the other a reddish wig and beard.

Romeo.

Since Romeo is the apotheosis of romantic male beauty, great care must be taken with this make-up. It should be remembered, however, that withal he was a sturdy young man, not just a pink-and-white tailor's

dummy, which many young actors, both and amateur, strive to make him. A base

professional

of i\ mixed

with 9 will produce a flattering sun-tan blond effect. A little carmine in cheeks, and then readjustment of any inequality of facial proportions. If the nose is large in proportion to the chin use more 9 on nose. Highlight it with a stroke of \\. If the chin, on the other hand, is rather small, apply plenty of 2| and shade this off along the jaws so that they look fairly square. Blue on eyelids, and a strong brown line above lashes ending in triangles at outer corners. Carmine dot inner eye. Blue shadow under nose and lower lip,
119

STAGE MAKE-UP
by any chance the player has a rather wedge-shaped is, with marked breadth across the forehead, shade the sides of the temples with the 9 and apply more 2\ to the front part of the forehead. The eyes
If
face, that

should be highlighted with 1 \ if they are at all deepset and the eyebrows thinned by applying base to lower part. They should then be well pencilled out at the sides, and with an upward curve. Use a mixture of 9 and carmine 3 on lips, and see that these look well shaped, neither too thin nor too thick. The classic proportion is an equal thickness of lower and upper lip. Use a pinkish powder. A blonde wig should be worn with this make-up. Romeo is blonde by long established tradition, and apart from the romantic appeal this blonde appearance enables the character to stand out in contrast to the many other characters in the play. If played on a small stage, however, discard a wig unless a perfect illusion can

be obtained.

Mercutio. In
strong,

Mercutio was humorous, appear a thoroughly masculine type, but not heavy in physique. Base of 5 and 9 mixed. Blue shadow on eyelids, usual line above lashes and triangles. Carmine dot inner eye. Blue shadow under nose and lower lip. Well marked mouth in carmine and 9. Highlight nose with 1 \ and highlight under eyebrows with same if eyes are at all deep-set. Light sun-tan powder.
his

character

and quick

in action, so lie should

Benvolio. This is a straight juvenile make-up appropriate section).

(see

under

Tybalt.

this play Basil Rathbone played appearance was particularly suitable for it. Tybalt should be dark and fiery. Use a base of 5 with a fair amount of 9. The eyebrows should be well marked and run in a little over the bridge of the nose. The nose should be highlighted with \\ and shaded at the sides with 9. Blue shadow under nose and lower lip. Lips well marked but rather thin. Use carmine and 9. Light sun-tan powder. this role,

In the film of
and
his

Friar Laurence.

This is a conventional, old-age make-up with a tonsured wig. Base of 5, line with lake and shade with same (see section on old age) use a white powder.
;

FUTURE DEVELOPMENTS AND TRAINING

Friar John.

Base of 5 with a
lips

little 9.

Brown shadows on

eyelids, otherwise

only 9 for

a straight juvenile make-up, but use and an ochre powder.

The Apothecary.
Lady Montague.

Same
is

make-up

as

Friar Laurence,

and a grey wig.

This touches to suggest a

woman

a straight make-up with small of about 40 (see appro-

priate section).

Lady Capulet.

Same as above. Suggest that one lady should appear blonde or chestnut, and the other dark, so as to differentiate them.

Juliet.

Juliet

should

be pretty but

vital.

This

is

make-up with a 2| base if she has blue eyes, and a 3 if she is brunette. As in the case of Romeo great care should be taken to balance up the proportions of the face. A pink powder should be
straight juvenile

used. (See section for straight juvenile female make-up.)

The Nurse.

One of the best known of all Shakespearean character roles. Great care should be taken in casting this part; the player should be humorous and vital and have a colourful personality. If she has not, make-up will never supply the deficiencies. Use a base of 5 and line as directed for old age. The eyes should be striking and well shaded. There is nothing refined, indeterminate or dainty about this old lady. Try using a yellowish powder instead of the conventional white because, despite her groaning and moaning, this is really a vital and not a frail old lady.
subsidiary characters should be carefully to their age group. Many Shakespearean

The remaining made up according

productions, both professional and amateur, suffer from poor make-up for subsidiary characters who often appear clown-like when this is not at all the effect desired.

MIDSUMMER NIGHTS DREAM

This play is staged a great deal more often by amateur than by professional players, and particularly by schools. The make-up is usually at a very poor level, the best to be

STAGE MAKE-UP
to be that an expert will be employed who will turn out a troop of pink and white nonentities; the worst that optimistic volunteers will use a great deal of 5 and 9 indiscriminately on both sexes, and the results will resemble technicolour in its pioneer stages. If the play is to be a play, and not merely a display, efforts should be made to carry out

hoped seems

that helps to stamp the characters as individuals. one expert can cope with such a large cast, so he will need a team of helpers under his direction.

make-up

No

Theseus. This character should look dignified. If the player is young do a little shading to add some years. Base of 5 and 9 mixed. Straight line of i down the nose. If eyes are deep-set highlight with i\. If the player's face needs any adjustments, see to this. The profile should look as Greek as possible, so a small chin would need to be highlighted with 5 and the 9 kept light, or a rather large nose painted with more 9 than 5. Blue on eyelids, brown line above eyelashes, triangle outer corners of eyes. Carmine dot inner corner of eye. Eyebrows lightly touched up to make them symmetrical, or if they are too thick, cover with base on lower section. Blue shadow under nose and lower lip. Carmine and 9 on lips. Light sun-tan powder.

Egeus.

of 5, with a very little 9, and some 9 in Line for 50 age group. This character may wear a grey beard. Remember not to put greasepaint on chin and jaws if beard is being worn. Rachel powder.
cheeks.
is a straight juvenile make-up. If the dark use 5 with some 9 for base, and some 9 in cheeks, and brown for eye shadow. If he is blueeyed with lightish or fair colouring use a base of 3 and 9 mixed, and blue shadow for eyes. For (a) use light sun-tan powder, for (b) a coat of pink powder,

Base

Lysander.
player

This
is

followed by a light coat of sun-tan.

Demetrius. See above, select according to colouring. In both these make-ups, see that any necessary adjustments as regards size of nose and chin, whether eyes are deep-set or eyebrows are too thick, are made.

FUTURE DEVELOPMENTS AND TRAINING

Philostrate. This character should be dignified and elegant, a bit of a dandy. Make-up as for middle age, but also readjust proportions of face. A good wig would help this part.

Quince.

The six clowns should, if possible, be well differentiated physical types, and should be made up in such a way as to accentuate their individuality.

We

make-up, but Elizabethan clowns were beings of another order. The make-up may be pretty broad, but not grotesque. Base of 5 and 9 mixed. Use make-up to exaggerate natural tendencies, not to tone them down. If the
associate clowns with circuses
fantastic
larger.

and

player's nose is rather large use 5 to make it look If it is rather small use 9 to make it look smaller, and so on. If the eyes are deep-set do not highlight them. If the player is young, line for middle age as

well.

Use a Rachel powder.

Snug.

Follow

same

directions as above,

and work on

these lines.

Bottom.
in

Should be a solid-looking man, and the make-up

effect.

Base of 5 and 9, 9 and carmine or shade to create an amiable and hearty effect. Omit eye shadows, but line for 40 age group if the player is young.
should help this
cheeks.

Then

highlight

Flute.

young man. Base of 3, carmine in cheeks, otherwise straight juvenile make-up, but again use paints to exaggerate any natural defects of proportion, not to mitigate them. Light sun-tan powder.

Snout. This name is self-explanatory. Base of 5 and 9 mixed. Highlight space between eyes and eyebrows. Keep eyebrows light and thin, omit eye shadows. Use paints to accentuate any natural defects, powder with light ochre powder.
Starveling. This name also suggests the character. Base of 5. Blue and lake mixed for shadows on eyelids, and in corners of eyes both above and beneath. Highlight nose from base to tip with 2$, highlight jaws and cheekbones. Suck in cheeks, and apply blue to deepest part of hollow, smooth this, and add a little carmine to
123

STAGE MAKE-UP

Draw the inner corner of the eyebrows upwards. Blue shadow under nose and lower lip. If the player has not got thin lips partly cover lips with base, and draw thin ones on remaining portion, using lake with a little carmine. Light ochre powder.
cheeks.

Hippolyta. Straight juvenile make-up with all adjustments necessary to make features classical. 3 base if
player
is

brunette, 2\ if she

is

blonde.

Hermia.

This

otherwise
necessary.

straight

character is usually brunette. Base of 3, juvenile with any adjustments

Helena.

Usually blonde.

Straight juvenile with adjust-

ments.

Oberon. Base of 3. If eyes are deep-set highlight with 1 . Eyebrows should look fine and curving, so thin with base on lower half if necessary. The eyebrows might curve upwards on outer third. Blue shadows on eyelids, with fine dark line above lashes, and delicate but elongated triangles running upwards from outer corners of eyes. Carmine on cheeks. Highlight nose and shade
with a little 9 at sides to make it look thin. Lips should look thin and curve upward at outer corners. So, if necessary, partly cover natural ones with base and draw others in carmine. If the player is young line lightly from nostrils to mouth, draw a few fine vertical lines at inner eyebrow. It is assumed that some regard for the physique of a "Fairy King" will have been given when casting. The player should be naturally slender. Light sun-tan powder.
it

Titania. A straight juvenile make-up with adjustments. Treat eyebrows as for the King, but omit lines. Natural

powder.
Puck. Base of 2| and 9. Shade eyelids with 9 and brown mixed. Brown line above lashes, and delicate, elongated triangles running upwards from outer corners of eyes. Green dot inner eye. Eyebrows should be masked with base, and very high ones running sharply upwards on outer third. Keep eyebrows very thin. Highlight eyes with 2 J. Highlight cheekbones with 2\. 9 on
124

FUTURE DEVELOPMENTS AND TRAINING

cheeks. Omit under nose and underlip shadow. Mask mouth with base and draw thin lips running upwards at outer corners with carmine and 9. Powder rather heavily with light sun-tan powder. The total effect should be elfin and in hazel tones. The other-world nature of Puck should be obvious in contrast to the

human

characters.

Peaseblossom.

Base of 2\ taken right over ordinary eyelips.

brows and
eyeshadow.

Highlight under eyes with \\. Green Green dot inner eye. Elongated shadow
lining

on

eyelids

taken up into triangles outer corners of

eyes.

(Mix blue and green and keep the

and

shading very delicate.) Draw high, slender, upward curving eyebrows with blue and green. Keep lips very thin and upward curving, and colour with carmine but keep it faint so that the lips look a delicate
pink.

Cobweb.

Base of \\ mixed with a little 9 and blue so that the total effect is silvery. Green shadows on eyelids. Take base over eyebrows and mouth. Blue line along lashes, blue triangles outer eye, carried upwards (use
blue). Same shade for eyebrows, which should be very thin and upward curving. 9 for lips and very little of it. Omit under nose and under lip shadow. Shade under jaw from ear to ear with blue used very

medium

lightly.

Powder with

white.

Moth.

mouth.

Take base right over eyebrows ana \\. Highlight between eyebrows and lashes with 20. Light blue on eyelids and for triangles at outer eyes, and then draw a very fine line of brown along lashes, and up over blue triangles. Very fine brown eyebrows going sharply upwards. A very thin mouth in lake. Shade under jaws from ear to ear with green. Powder all over, including lips with
white.

Base

Mustardseed. Base of \\ mixed with a stick of ochre. Green shadows on eyelids, blue line along lashes, and
blue triangles outer corners of eyes. Mask eyebrows with base and draw high pointed ones in green. Green shadow under nose and lower lip, and jaw. 9 on lips. White powder.
125

STAGE MAKE-UP
These schemes for the fairies are suggestions. Other schemes may be worked out if preferred. As I have remarked elsewhere this play usually suffers because the fairies are usually young people dressed in muslin, with pink and white make-up, and resemble something from a Christmas tree. They should present a good contrast to the mortals and they cannot do this if they have a straight juvenile make-up. Dancers should also be made up according to some definite scheme which should be worked out well in advance, and it will be best if the players are taught to do the make-up themselves.

They

are usually so pleased

tor

learn that they will

take a great

amount of

trouble.

HAMLET
Hamlet was a study in black and white. As remember seeing a Hamlet whose make-up was still in this tradition. His appearance distracted and alarmed me so much that I was scarcely able to listen to what he said. Such extremes are, to my mind, something to be avoided. Handled with restraint and subtlety, the character has something of every man when not so handled, it has nothing of

The

old-time
I

a child

any man outside the walls of a Mental Hospital. There is no reason why Hamlet should wear a black wig and black eyebrows, those trappings still beloved by amateur Hamlets. I think Hamlet should wear his own hair, not cut too short, of course, and as remarked in several places in this book, those black pencilled eyebrows should be
eschewed. Neither should Hamlet use a 5 base and leave it at that. little 9 should be worked in so that complete ghastliness In any play an audience will sympathize with is avoided. a man who looks ghastly for a short time, but not when he looks ghastly for hours on end. They begin to feel he is a being apart, and once that happens, the real significance of Hamlet, which is surely, "There but for the Grace of God

go I,"

is lost.

the same time he must obviously look like a man who has been under a tremendous strain, who has not eaten or slept normally for a long time. Use blue with a slight touch of lake for shadows between inner eye and eyebrow, blue

At

126

FUTURE DEVELOPMENTS AND TRAINING

shadows along eyelids and under the lower
lid,

but keep

this

shadow

to the inner corner or

eye. eye,

it

will look like a crescent

under each

Carmine dot on inner

strong black or

brown

line

immediately over the eyelashes and a triangle at each outer corner. If the eyes are deep-set highlight with 20. Unless the player has naturally "swallow winged" eyebrows, draw out the outer third with a brown pencil. Unless the player also has a good width between the eyebrows use base to
create this effect.
.

down the nose, blue shadow under it, Draw and blue shadow under lower lip. Hollow the cheeks by working in a blue shadow below the cheek-bones. If the player has not got a lean face also shadow with blue along the jawbone, and under it with blue from ear to ear. If these shadows prove a bit too blue under the lights work in some 9 with the blue, but if a lightish sun-tan powder is used the blue
a line of 20
is

likely to fade in successfully.

lines

happens to be too young to have any obvious draw a small vertical line with lake and blue, starting from the inner corner of the eyebrows above the
If the player

on

his face,

Also line the curve of the nostrils to give a slightly pinched effect. Lake mixed with 9 for lips. Pretty heavy coat of powder of a light sun-tan shade. Hamlet's hands are always much in evidence, so use a liquid make-up. Rachel is best, do not use wet white; it is too obviously artificial.
nose.

Claudius. reason
does.

Use

a base of 5 and 9 mixed; there

as

is

no

why the King should look sallow, He was a man of appetites and

he often
lose sight

insensitive.

Line as directed for middle age, but do not

of the fact that this was a man of power and decision. He should look masterful in a heavy way. Fairly heavy eyebrows, a strong nose and mouth. Highlight the eyes with 20 if they are deep-set, also draw a strong line of 20 down the nose. Shade eyelids with a mixture of lake and a little blue; shadows between eyelids and brows, but keep the shadows on the inner corners, and a strong dark line above eyelashes with triangles at outer corners. Rather strong shadow under nose and lower lip. Unless the player has a full mouth, enlarge
127

STAGE MAKE-UP
the mouth with lake, and if he does not possess a rather heavy chin, highlight this with 5. Claudius is a heavy part, and generally played by someone of substantial weight, so directions for making the face look heavy

should not be needed, but if they are, look up the book dealing with this. Use an ochre powder.
section of the

Polonius. I have remarked elsewhere on the traditional use of beards. In Elizabethan times, and thence back to the very beginning of European civilization, a grey

beard signified wisdom and dignity, these qualities being in ratio to the amount of beard. Modern audiences, on the other hand, associate the long grey beard with "the gaffer" and I have never known a long grey beard that did not evoke at least a few titters when the actor made his appearance. Therefore I suggest that Polonius keep his beard to modest proportions. The old man should win sympathy and respect from the audience; they should feel regret when his fate overtakes him, not relief that a tiresome, senile dodderer has been removed. For this reason keep his make-up under control also. Unless the audience is made to feel the real tragedy of Polonius that a man of wisdom, dignity, and one with some years of usefulness still before him, met an untimely and futile death, then the actor of the part defeats his own
;

ends.

Use make-up as directed for sixty group, but do not use the make-up indicated for extreme old age.

Gertrude. No. 3 base, some carmine 3 on cheeks, wellmarked eyebrows and lips. Slight shadows of lake and blue on inner eye to eyebrow. Good line above lashes, and triangles at outer corners of eyes. Carmine dot on inner eye. Blue shadow under nose and lower lip. For lining see Forty group, and keep the lining slight. If the character is played by a woman in her forties, lining should be unnecessary because Gertrude was a healthy woman in the prime of life. Natural powder.
Ophelia.
Ophelia has two make-ups: one for early scenes and one for mad scene. First, 2 J base, a little carmine 2 on cheeks, carmine dot inner eye, blue

shadow on

eyelids,

and

line

(brown) above lashes, and

128

FUTURE DEVELOPMENTS AND TRAINING

triangles at outer eye. Eyebrows should be sensitive, not too dark or thick, but an effect of modern plucking
actress will

must be avoided. It is taken for granted that the be naturally slender and with a delicate face. Carmine 3 on lips. Natural powder, and do not forget to powder lips. For the mad scene remove carmine from cheeks and Shadow with blue from inner corner of eye to lips. eyebrow, and blue shadows under inner corner of each eye. Line nostrils with lake and blue mixed to get a pinched effect. Work in blue shadows under cheekbones but these must be delicate and under the jaw from ear to ear unless the actress has a very thin face. Carmine 2 for lips. Powder with a very light powder,

including

lips.

Ghost.

blue.

little 9 and but not crude. Then line and shadow with lake as directed in chapter dealing with middle age. Make the shadows between inner eye and brows fairly heavy. Omit make-up from brows and lashes. Lake for lips. Powder lightly with a Remember this ghost should light toned powder. create feelings of admiration, pity and awe, not terror
1

Use a base of
The

mixed with a very

result should look ghostly

in the audience.

UNCLE VANTA
The author
Life in

describes this play as "Scenes

first

Four Acts", and ever since it was 1899 there has been controversy, particularly in England, as to whether it is intended to be tragedy, comedy, or satire. This has affected both production, interpretation and, of
course, make-up.
It seems to me that, as in the plays of O' Casey, there is something of all three. Making due allowance for differences in education and background, I can see a good deal in common between Captain Boyle and the Professor in the Tchehov play. Both are completely egocentric, both are hypochondriacs, and both are humbugs living by the exploitation of their relatives. So just as The Captain is in style more of an old salt than any sailor, so should the Professor be the apotheosis of the pedagogue.
1

from Country performed in

129

STAGE MAKE-UP

The

Professor.

The age of the actor

is

not important.

young actor with vitality and gusto often gets far more out of the part of a very old man than a middleaged actor. The base is 5 and the lining as for the over-sixty age group. There is little colour in the cheeks, and the beard should be well trimmed but
luxurious.

Yelena.

She is a femme fatale, and the actress chosen should have good looks and graceful movements. This is a straight make-up, but all the necessary adjustments mentioned in the chapter dealing with defects should be made. It should be a pink-and-white beauty, because Yelena was a townswoman, quite apart from the fact that at that period the Dresden china complexion was much prized and carefully cultivated.

Sonya.

kind, pure hearted," with "beautiful have seen of this part was given by an actress in her late thirties. To my mind it is not a part for a young girl, or for an actress who looks very young. Base of 5, with a little 9 in the cheeks. Slight shadows (blue with a little lake between inner corner of eye and eyebrow). Slight blue shadows under inner eye. Line (blue) from nostrils to outer corners of mouth, highlighted with 5. Otherwise a straight make-up, with carmine 2 on lips. Powder all over with ochre powder. Remember that Sonya is not modern or fashionable, and see that the eyebrows are not thin and plucked -looking. If they are naturally thin,
hair."

"Sensible,
The

best performance I

touch them up with a brown pencil, but do it very lightly so that it looks as if they are not made up.

Marya.

This is an ordinary character make-up for the "old-age" group. Get some contrast between this old lady and the nurse however. Marya could be pale, and bleached -looking, and the Nurse more dark skinned, and with some colour in her cheeks.

Voynitsky.

middle-aged make-up, but with colour

and character. Care must be taken to get a good contrast in make-up between this character and the Professor. I have seen these parts played with such a similarity of make-up that the two men looked too
130

FUTURE DEVELOPMENTS AND TRAINING

similiar. Sir Ralph Richardson's interpretation, on the other hand, was both in acting and make-up a very good contrast. Uncle Vanya is not an old man or infirm. He is middle-aged, extremely frustrated, and has something in him of the rumbling volcano, so do not make him pallid or over-refined. He is what would now be called a "gentleman farmer". Make up as for the fifties group, and work some 9 with a touch of carmine into the cheeks. If he wears a beard it should really be going grey, and not grey, because this makes him too much like the Professor.

Astrov.

virile.

character should look well set up, and Line as for the forties group, and make any adjustments necessary so that the man is good-looking and attractive, although slightly dissipated. This can be suggested with rather sharp blue shadows under the inner corner of the eye, and a line from nostrils to outer corner of mouth highlighted with 5. The base would be 5 with a fair amount of 9 mixed in, and some 9 in cheeks. The beard should be dark.

This

Telyegin.

A middle-aged man, rather a refined type, but again a country gentleman, so do not use a make-up that is pallid or over-refined. Base of 5 and some 9 in
cheeks.

Marina.

very old-age make-up but keep it rather brunette. Although rather childish, Marina is a lively enough old woman, interested in her food and in what goes on around her. Do not use a make-up that makes as is done so often. her look like a

mummy

BERKELEY SQUARE
characteristics in the physical

Studies of portraits of the eighteenth century reveal two appearance of its people. On

hand they were examples of a bucolic, hearty, and even coarse way of life, while their aspirations were towards So we see complexions and the mannered and artificial. features such as would be found in a foxhunting squire or a farmer or innkeeper of to-day, surmounted by exotic powdered wigs. The women strove to look fragile and dainty, but here
the one
131

STAGE MAKE-UP
again rude health, played its part.
or over-indulgence in food and drink,

The coarse heartiness of the contemporary plays of the period show the eighteenth century as it was. After its passing it was hopelessly romanticized in sentimental comedies,
operettas,

and even
to

in the costume ball.

We

owe a debt of
stressing
its

gratitude to the author of Berkeley Square that he brought us

sharply
victims.

back

the

realities

of the

period,

crudity and coarseness, of which Helen and Peter were the

So the

first
is

essential in
to

Berkeley Square

planning a make-up scheme for throw romantic, chocolate-box conceptions

out of the window. A visit to the National Portrait Gallery will be well rewarded, and after that strict adherence to the
author's text.

Make-up
appearance

for

principal

characters

in

order

of

their

Tom Pettigrew, who

is

"naturally coarse and brutal",

with aristocratic features and mouth twisted into a sneer. Base 5 and 9 with 9 on cheeks and some carmine worked in. Some blue on jaws carefully shaded off. This slight blue shading is most important, as stressed elsewhere in this book. If it is omitted from eighteenth century make-up, the result is "chocolate box" in effect. Blue shadow on upper eyelids and slightly underneath eyes, for Pettigrew is a tipster. Triangles of brown at outer corners of the eyes. If liked, leave out the dark line immediately above the eyelashes as this will help to suggest the puffy-eyed appearance of the tipster. Mix some blue and lake and apply slight shadows above
the inner eye. If the actor's eyes are at
light
all

deep-set, high-

between eye and eyebrow with No. 20. Draw a line of 20 along the bone of the nose to give it an If the eyebrows are not aristocratic appearance. naturally finely cut, thin them by bringing the fleshtint under them, again to help an aristocratic effect. If the actor does not possess a naturally full mouth, draw one over his own with carmine. In order to give a sneering appearance draw a very slight line upwards at one corner of the mouth and a very slight line downwards at the other corner. Shade under the nose with blue and also under the lower lip. Put a slight applica132

FUTURE DEVELOPMENTS AND TRAINING

tion of carmine
off.

on the centre of the chin and shade it Powder with ochre and be sure to powder the

mouth.

Kate Pettigrew.

"Cool, competent, handsome, selfassured." This is a straight juvenile make-up with some slight additional touches. For one thing, eighteenth century ladies did not affect the very thin eyebrows of to-day, so if the actress's eyebrows have been plucked, thicken them with greasepaint by applying a brown pencil either underneath or above the natural growth. If the actress has deep-set eyes draw the line above if her eyebrows are fairly well elevated, apply the pencil below the hairline. Use 3 for base, carmine 2 on cheeks, blue shadows on eyelids, dark line above eyelashes, triangles at outer corners of eyes. Carmine dot on inner eye. Highlight nose, blue shadow underneath nose, also underneath lower lip. Slight application of carmine centre of chin, and smoothed out along jaw. Carmine for mouth. Powder with a light toned, natural powder because women in those days wore a good deal of powder of a tone much lighter than their natural skin tones, as portraits of the period reveal.

Lady Anne.

determined." Line with i\. The base here is 5 and 3 mixed. The lines to be accentuated are those from nostrils to chin, round and under chin, with the highlighting stressed underneath the chin to make
stout, high-nosed,

"50,

with lake

liner, highlight lines

double. Slight lines at inner corner of eyebrows, and lines across the forehead. (See chapter on make-up for middle age.) Carmine rather strong on cheeks and carried up and over the ear lobes. Carmine on chin. For a high nose draw a rather heavy line of 20 from between the eyebrows to half way down the nose, and then much more faintly to the tip of the nose. If the actress has not got rather thin, determined lips, cover her lips with base and draw new ones in lake. Shadow under nose and under lower lip with blue. Again use a very light powder to give a made-up
it

slight

effect.

Throstle.

Base of 5 and 9 mixed, a little carmine on cheeks, line with blue and lake mixed, but keep the lining light, highlight lines with i\. Dark line above
133

STAGE MAKE-UP
Shadows of blue and lake above inner corners of eyes. Carmine dot on inner eye. If the eyebrows are not naturally thin and sleek, thin them by applying base underIf the natural neath, and then pencil them lightly. mouth is not thin, cover it with base and draw thin lips with a lake pencil. Highlight nose, shade under it with blue, and under lower lip with blue. Slight shadow of blue along jaws. Powder with a light Rachel powder to get an artificial dandified
lashes, triangles at outer corners of eyes.
effect.

Helen.

Helen is more natural looking than any of the other characters except Peter, but she must look fragile and refined. Base 2|, very slight carmine on cheeks and chin. Eyebrows fairly well marked, blue shadow on eyelids, dark line above lashes, triangles at outer corners of eyes. Carmine dot on inner eye. Blue shadow under nose and lower lip. Unless the actress has a fairly well cut nose highlight it with i\. Carmine for
lips.

Natural powder.

Peter Standish. "Nervous and sensitive (does not eat enough to feed a cat), needs his hair cut." Base 5 with very little 9 except sufficient on cheeks to avoid any
of a ghostly appearance. The eyebrows should be sensitive and well marked. If the actor's are not so, shade underneath with 20, put a slight upward line on the inner corners above the nose, and take the outer corners well out, using a brown pencil and applying it lightly. Shadows of blue with a very little lake over the inner corners of eyes. Carmine dot on inner eye. Blue shadows on eyelids, strong dark line immediately above eyelashes and triangles on outer corners of eyes. Slight blue shadows under eyes. Highlight nose and shadow under it with blue. Unless the actor has naturally rather sunken cheeks, shadow them a little with blue and lake mixed. Be careful to get these shadows in the right place, the soft part of the cheeks under the cheek-bones. Blue shadow on jaws. Unless the actor has well cut, sensitive lips cover them with base, and draw suitable ones with carmine. Blue shadow under lower lip. Powder with medium tone ochre powder. Wig for eighteenth century
suggestion
scenes.
J

34

FUTURE DEVELOPMENTS AND TRAINING

The Duchess of Devonshire.

It is

worth while

to look

at the Gainsborough portrait, or reproduction of it, and to use make-up to enhance the likeness between the Duchess and the actress playing the part. The more faithfully the likeness is reproduced the greater the thrill for the audience since this is one of the best known

of English paintings.
Sir Joshua Reynolds. The same remark applies here. See the portrait of the artist himself, and copy the
original as far as possible.

The Duke
is

of

Cumberland.
visit

Again

try

to

see

portrait, or a reproduction of one.

At the time he

supposed to
drunk".

"elderly,
little

corpulent,

many

Berkeley Square the Duke is chinned, amiable, and a

Note.

In many ordinary
attempt
is

historical plays,

comparatively

little

actors to characters, but in Berkeley Square half the dramatic impact of the play is lost unless this is done. It is one of the reasons why the author chose characters whose portraits are famous. It should be possible for anyone in the audience to recognize the Duchess of Devonshire,

made, and perhaps need be made, for seem impersonators of the original famous

Joshua

the Duke of Cumberland of impersonation is a challenge to the art of make-up which every actor or actress should enjoy. Amateur companies in particular neglect this, others try their hardest. I have even seen both professional and amateur companies bring the Duchess to the ball in her Gainsborough hat!

Reynolds,

and

instantly,

and

this sort

HAT FEVER
it

The key to the make-up scheme for this comedy is that should carry out the author's intention, which seems to be that Judith Bliss and her children, and to some extent her husband, are very special people who are a law unto themselves. Furthermore, that they have the character, the poise, and above all, the looks, to get away with this charming tyranny. These three characters definitely offer scope to the
135

STAGE MAKE-UP
exploitation of the

glamour that can come out of the make-up

box.
If Judith is played by a middle-aged woman, she must appear so beautiful and charming that other women's dislike and envy are readily understandable. If played by a young woman, then the task of make-up is more interesting still, since she has to be made to appear both middle-aged and
beautiful.

Judith. 2\ base. If the actress is young, line as directed for middle age, but see that the lining is delicately done. Whatever the actress's age, use the paints to balance the proportions of her face. A line of 20 down the nose and slight shading with 5 at each side of the nose if it is too small or short. If the chin is too small work in i| to highlight it, and a little carmine 2 shaded into the centre. If it is too large shade with blue under the jaws and shade in carmine all along the jaw line to soften Carmine dot on inner eye, blue on eyelids, a good it. dark line above lashes, and triangles at outer corners of eyes (in brown). If the eyes are deep-set, highlight with 20. Carmine 2 on cheeks, blue shadow under nose, and lower lip. The mouth should be generous, so draw lips beyond the natural ones unless these are very wellshaped. Touches of carmine 2 on ear lobes. Read chapter on how to correct defects, and if the actress has any of these noted, correct them. Use a light Rachel powder. Read chapter on hair dressing in relation to the face, and see that the hair is very

becomingly dressed.
Simon.

good-looking he is not he should use the paints to create this effect. Also some effort might be made to attempt traces of likeness to Judith. Base of 5 and 9 mixed. Carmine dot inner eye, blue shadow on eyelids, brown pencil above lashes and triangles at outer corners of eyes. Eyebrows should be well-shaped, flaring and sensitive. If they are not naturally so, use base on the underparts to make them look thinner, and draw out the outer third with a brown pencil. Line of 20 down nose, blue shadow under nose and lower lip. If the chin is small highlight it with some 1 1; if it is too large shade it with blue under jaw.
is

If the young man playing this part and distinguished so much the better.

If

136

FUTURE DEVELOPMENTS AND TRAINING

The mouth should be
powder.
Sorel.
well shaped and sensitive, so use a lake liner to secure this effect. Light sun-tan

Base 2\, carmine

on
eyelids,

on cheeks, carmine dot inner

line

eye, blue

dark

above

lashes, triangles

outer corners of eyes. Slender, well-shaped eyebrows. Check any readjustments necessary in making proportions of face harmonize. Shade of carmine centre of chin. Blue shadow under nose and lower lip. If the nose is too small draw a line of 20 down centre. Carmine 3 on
lips.

Natural powder.
also every effort should
effect.

David.

be made to attain Base 5 mixed with a litde 9. It is presumed that the actor playing this part would be middle-aged, but if he is not, line as directed under section dealing with this. Then check over the actor's features with chapter on adjustments, and make any that are necessary. Carmine dots on inner eye, slight dark line above lashes, shade eyelids with blue and lake mixed. Highlight eyes and nose if necessary. Mouth should look sensitive and well-shaped. Powder with
a distinguished
light sun-tan.

Here

It

is

not necessary to give the make-up for the other

it is

characters in this play as they are straightforward, but

always wise to give a good deal of study to the characters in a Coward play before making-up, since the author never gives descriptions of them, and make-up is never straight in any
play.

TOVARICH
This
so
is

a romantic comedy, and not a conversation piece,

of the

that

much

humour comes from

the acting and

this

personalities of the characters,

and make-up can help

In particular the larger-than-life quality of the personalities of Mikail and Tatiana should be brought out. Tatiana might appear to be about 30, and a very young girl should not be cast for the part. The same applies to Mikail: the part can best be carried by someone of 35
considerably.
to 45.
137

STAGE MAKE-UP
Mikail. Base of 5 mixed with very little 9. He should not look pallid, but he certainly should not look "Hollywood sun-tanned". The 9 should mostly be used to help mould the face into aristocratic lines. That is, it should be worked in with caution round the cheekbones and temples. All adjustments should aim at a patrician effect. A line of 20 down nose, but fade this off before it gets to the tip unless the actor has a very small nose. Shade the sides of the nose with 9 to make it look thin and put a blue shadow underneath. Highlight the eyes with 5 or 20 (the former if your lights are poor) and bring this up over the lower part of the eyebrows unless the actor has naturally slender ones. Pencil the outer third and bring it up and out. Blue on eyes, with fairly strong dark brown line above the lashes, ending in triangles at the outer corners of the eyes. See that these triangles run upwards and are not simply level with the outer corners of the eyes. Unless the actor has rather a thin face, work in some blue with the 9 under the cheek-bones and along the jaws and under the chin. This will further aid an effect of cameo-like features and stress the aristocratic note. Carmine dot inner corner of eye. Blue shadow under lower lip, and if necessary, a little blue for beard replacement, but this may not be necessary as a brunette is almost certain to play the part. 9 on lips with a touch of carmine. Alter the shape of the lips if necessary; they must appear well cut. Powder
ochre.

Tatiana.

This character should seem both glamorous and aristocratic. Base of i\ or 3, carmine on cheeks. Use carmine and some 5 to mould the cheek-bones if necessary. Get an effect of rather high cheek-bones, and a broad forehead. This can be done by working in some 5 or ij on the forehead, according to your lights. Blue on eyelids, and a dark line above lashes,

ending in triangles at outer corners of eyes. See that these triangles run up as well as out. False eyelashes would be useful for Tatiana. Carmine dot inner eye. Highlight eyes with 5 or 1 \ if they are at all deep set, and in this case also apply base right over the real eyebrows and draw others which start at the top line of the natural ones, and flare out much farther. Line of 20 on nose unless actress has a large one, and shade
138

FUTURE DEVELOPMENTS AND TRAINING

with 9 on each side if she has not got a naturally narrow nose. Blue shadow under nose and lower lip. Highlight chin with i| unless the actress has a well-proportioned one, and see that the mouth looks well-shaped, and firm but fairly full. If the actress does not possess a firm jaw line, or has the slightest suggestion of a double chin, shade under jaws with blue. If her jaw line is a little hard apply a little carmine 2 all along it and shade in to soften.

Communist Girl. Much can be made of this part both in acting and make-up. A brunette is the best choice,
5 her base, relieved with very little 9. The eyebrows should be fairly thick and strong, and the total effect that of someone who despises cosmetics. The usual make-up on eyelids, shadow under nose and lower lip, and carmine on lips, which should be strongly marked. Ochre powder.

Martelleau. This would be an indoor man. Base of 5. Brown pencil on eyelids, black line above lashes, triangles outer corner of eyes. Not much make-up on eyebrows. Shadow under nose and lower lip, 9 on
lips.

Blue for beard replacement; he might look as he has not shaved that day.

if

Count

This is a soldier of fortune and should Brikinski. look the part. Base of 5 and 9 mixed to suggest the warrior. Line for middle age if the player is under 45. Highlight with 5 or 20 to suggest a strong, clear-cut type. If the player has a rather large mouth make it larger, using a mixture of 9 and lake, or 9 and a touch of carmine, according to your lights. If he has a thin mouth make it look thinner still and grim. That is, cover the lips with base and draw thin lips with lines Shadow under nose and lower lip, at the corners. If the player has heavy features shade using blue. to accentuate this, also highlight, but if the actor's face is thin, highlight nose, chin and forehead and shade under jaw; try to get a predatory cast of countenance.
This part needs an actor with a sauve personality and make-up that helps this. Base
139

Chauffurier-Dubieff.

JTAGE MAKE-UP
of

Line for age about 50 if 5, a little 9 in cheeks. necessary, otherwise a straight make-up with no outstanding peculiarities.

Ochre powder.

Charles.

Line for middle age if necessary. Charles is a fussy, rather nervous and weakly self-assertive type, and above all, very human. Mark the lines about the mouth and the vertical lines at the inner corners of the eyebrows. Otherwise this is a straightforward character make-up. Base of 5, mixed with a little 9. 9 on lips, ochre powder.

Fernande.

Very much the conventional, bourgeoise

own
is

wife.

Obviously boss in her

household, but not strong

enough

to carry off the vicissitudes brought about by her aristocratic servants. A typical, prettified, middle-

aged make-up. If the actress for middle age.

under

fifty,

line lightly

Straight, juvenile make-up. George. Straight, juvenile make-up. Madame Hamert. The
Helene.

actress cast for this part should not be very young because lining will not serve to give the air of authority needed for it. If the actress is under fifty, line slightly and then apply make-up suitable for a smart woman of the world. Base of 5, otherwise a straight make-up. The eyebrows must be well marked and the mouth firm.

Goroshenko.

This character must share with Mikail and Tatiana the larger-than-life effect. It is presumed that the actor playing the part will be a big man, either tall, or broad, or both. He must have strongly marked features, particularly eyebrows and lips. Presumably the player will not be a very young man, and lining should only be used to dramatize the face, i.e. highlighting on nose and chin, eyebrows well marked, lips the same. Use a base of 5 mixed with only very little 9, and 9 used sparingly to help mould cheek-bones, and lines from nostrils to lips, which should be highlighted with 5. Usual make-up on eyes. Shade with blue under chin if necessary, but a beard would help this part,
140

FUTURE DEVELOPMENTS AND TRAINING

it is a good, natural-looking beard, otherwise the actor may look like a caricature of a Bolshevik by Low. Ochre powder.

although every care must be taken that

Louise.

is a straightforward, middle-aged make-up must point the personality of the player so that she seems a person with some colour who may sincerely talk of Unions and equality.

This
it

but

The remaining

parts are straightforward make-ups.

DANGEROUS CORNER
that

thing about the make-up in this play is should aid definition of character and help create individuality. The play has tremendous tension, almost every character either skirts hysteria or dives into it at some stage, and the make-up can help to differentiate several people who have rather more similarity than is usual, even in modern
it

The important

drawing-room drama.

Robert Gaplan.
specimen."

his early thirties, and is a good a vague description. As the play unfolds Robert is found to be an idealist, given to hasty judgments, and with a streak of morbidity and sentimentalism. His likeness to his dead brother is evident. Base of 5 and 9 mixed, slight touch of 9 on cheeks. The mouth should be rather sensitive, so make any adjustments necessary. Do the same with the eyebrows, highlight with 20 if they are rather thick. If the player is not in his thirties, but younger, line slightly, using blue. Shadow faintly between inner corner of eye and eyebrow. Since Gordon has to be the outstandingly good-looking man of the group, the other men have to be remarkable for other characteristics than notable good looks. Robert's outstanding point seems to be that he is liked, so that make-up may have to be used to tone down anything very striking in the player's face or features. Blue shadow under nose and lower lip. Powder with light sun-tan.

"In
is

This

Freda.

"A
so

handsome and vivacious woman about 30."

it is

The women
men,

in the play are better defined than the safe enough to make the most of Freda's
141

STAGE MAKE-UP
looks.

chapter on
colouring.

adjustments necessary as directed in and then do a straight juvenile make-up suitable to the actress in relation to her
this subject,

Make any

Olwen.

"Dark and distinguished." Do a straight juvenile make-up suitable for a brunette, shadow slightly with blue and lake mixed between inner eye and eyebrow, and slight blue shadows under the lower lid at the inner corners. Olwen is a woman with a great deal on her mind, and should not look too carefree. Her mouth should be generous and strong, so make any adjustments necessary with carmine
3.

Betty.

"Is a very pretty young thing." It is assumed that a pretty girl will be cast for the part, preferably one with the kind of small features that lend themselves well to make-up. Study the face to see that any beautifying or adjustments necessary are taken into consideration, and then use paints to adjust as directed in chapter on this subject. Otherwise the make-up is straight and according to the rules, for either brunette or blonde.

Gordon.

This part calls for convincing casting because while an over-sensitive, feminine young man may behave hysterically without losing the sympathy of the audience, an actor who is ordinarily robust will seem wooden, without pathos and rather a bore. So it is essential that a good-looking young man with a fairly slender figure should be chosen. See that any adjust-

ments to improve looks are made, highlight under eyebrows if the eyes are deep-set, and thin the eyebrows with 20 if they are thick. Draw a line of Then apply a straight juvenile 20 down the nose. make-up.

Stanton.

slightly

man about 40, with a rather studied and sardonic manner." If the player is about forty this is a straight make-up. If he is younger, line as directed for this age group. The sardonic effect will be aided if the eyebrows are thinned a little underneath with 20 and if one is slightly higher than the other along the outer third. This is done by lining the
142

"A

FUTURE DEVELOPMENTS AND TRAINING

bottom edge of one eyebrow, and running 20 along the top, and by running 20 under the other eyebrow and lining the top. Be careful not to do it with the whole eyebrow but only the outer third. Also do it discreetly so that the audience cannot spot just what
has secured that sardonic touch.

Maud.

Smart, middle-aged novelist. It is assumed that a middle-aged woman will be cast for this part as a young woman could scarcely carry it. The total effect should look well-groomed, but not pretty, or striving after the pretty. Be sparing with the carmine and keep the eye shadows toned down. Powder fairly heavily.

DINNER AT EIGHT
Owing
to

the fact that references to the talkies rather

(it

date this play

produced in London in '33) it be professionally presented without an overhaul. A little pruning might be done fairly easily, however, and as far as amateur companies are concerned the play has the great advantage that it offers a large number

was
it

first

seems unlikely that

will

of parts for a big company (24 in all) all the parts are extraordinarily good, and the play is both gripping and amusing. Also, despite the large cast it can be performed on a small
;

stage for

all

the characters are never in one scene at one time.

I

For

this

reason

am

providing a chart for

it.

Millicent Jordan. A pretty, vapid woman of 39. If the actress is about 40, a straight make-up will be in order, but see that any necessary adjustments needed to bring out best points and play down not so good ones are made. Also, Millicent is not only pretty, she is extremely neat and well groomed. If the part is played by a younger woman, line as directed
for
this

age group, but

the lining should

be very

light.

Gustave.
very

35,
little

light

complexion.

9 in the cheeks,

and shadows very light. powder rather heavily. man. M3

Use a 5 base, with and keep all the lines Powder with ochre, and Gustave is an indoor

STAGE MAKE-UP
Dora.

Young and attractive. This is a straight makeup, but avoid any excess which suggests a "musical comedy" maid. Dora, as she so often stresses, is a
"good"
girl.

Oliver Jordan. "In his early forties, quiet, well-bred, Does not look like a business man. It is sensitive.
be suitably cast so that he contrasts well with Packard. Jordan is also a sick man. Ground of 5 with very little No. 9. Lake and blue mixed for shadows between eye and eyebrow, and slight shadows under inner corner of eye. Slight line above eyelashes, and slight triangle outer corners of eyes. Blue and lake mixed on eyelids. Carmine dot
essential that Oliver should

inner corner of eye.

Unless the actor

is

in his forties
lips.

line as directed for this age.

Ochre powder, 9 on

the lining and shading are delicately done. Sufferers from heart disease do not necessarily look alarming, and the make-up should suggest fatigue rather than the last stages of a fatal disease.

See that

all

Paula.

This is a straight juvenile make-up, but Paula is not a baby-faced ingenue, and make-up should be used to create an effect of character. The chin should look fairly strong, the eyebrows fairly well marked rather than thinly plucked.

Ricci. Base of 5 mixed with a little 8. Ricci is an exotic type. Black line above eyelashes, black triangles at corners of eyes. Brown shadow on eyelids and inner corner of eyes to eyebrows. Slight brown shadow

inner corner of lower eyelid. Highlight nose and chin if necessary, and see that eyebrows are well marked without being heavy. Shadow under nose and lower lip. Blue on jaws to suggest a blue jowl well shaven. Mouth well marked and strong, use 9 and carmine mixed. Ochre powder.

Hattie. Middle-aged, attractive, a trifle bitter. Line as for middle age unless the actress is about 50. Otherwise a straight make-up.

Carlotta.

"A battered beauty, perhaps 53," with "mag144

and zest". Make-up cannot do much for such a character, who needs to be very well cast.
nificent vitality

FUTURE DEVELOPMENTS AND TRAINING

thing to remember is to apply a good, but obvious make-up such as a woman long familiar with the use of cosmetics would use. False eyelashes would help
the part.

The

Dan Packard. In
role,

the film Wallace Beery played this

and it could scarcely have been better cast. Anyone playing the part would need this type of physique and personality. Base of 5 and 9 with some
9 in cheeks. Highlight nose to make it strongly marked, highlight chin and see that the mouth is rather large and strongly outlined. Eyebrows should be thick. Powder with light sun-tan.

Kitty Packard.

Despite the playwright's description of Kitty, in both play and film she was presented as a 100 per cent synthetic platinum blonde, and not at all fragile, but rather bouncing with health. This is much the best presentation as it is a complete contrast with everyone else in the play. The make-up should be straight but heavy in the Hollywood sun-tan blonde tradition. Use <z\ base, some 9 mixed with this, and 9 mixed with carmine 2 on cheeks. Light sun-tan

powder.

Larry.

"A handsome man in

his early forties,

a perfect

Unmistakable marks of middle age. This part could be played by a man of any age between
profile."

twenty-five and forty-five. If the former, delicate lining and shading will be necessary. The important thing is that the actor's looks should fit the part, or at least be of the type to which make-up can add glamour. The late John Barrymore played the film role. Base

of 5 and 9 rather evenly mixed to suggest fashionable sun-tan. Shadows of blue and lake mixed between inner and corner of eye and eyebrow. Slight blue shadow under inner eye, and a rather marked line there if the actor has not got one. Highlight between eye and, eyebrow, and see that the eyebrows are very well-shaped and flaring on the outer third. If the actor's are not the right shape, cover with base and draw suitable ones. Highlight the nose down most of its length, and shade with 9 on each side so that it looks very clear cut and Greek. See that there is a good
145

STAGE MAKE-UP
width between the eyebrows, and if necessary cover part of the inner eyebrows with base to get this effect. Blue shadow under nose and lower lip. Some blue along jowl fairly marked to suggest that Larry has not shaved that day. Unless the actor has a very well-cut chin, highlight this and shade underneath jaws with blue to help the cameo effect. Highlight the cheek-bones with i by drawing a thick line along the bone from under eye sockets towards the ears. Fade
out carefully so that the make-up is not obvious. lips should be in the Greek tradition, that is of equal thickness, so if necessary cover the natural lips with base, and draw others of the correct shape, using carmine 2 and 9 mixed. Put very little blue on eyelids as the eyes should look a bit puffy and dissipated. A
this

The

dark

line

triangles at the outer corner of eyes.

immediately above the eyelashes, and slight Light sun-tan

powder.
ful

Unless the actor has naturally long-fingered, gracehands, shade these as directed in chapter on adjustments.

There are no special points or problems in connection with the other characters of this long cast. If they are not cast according to age groups look up appropriate chapters

on

this.

LADY WINDERMERE'S FAN

As I have remarked elsewhere the fashions and fancies of every given period should be taken into account in make-up. For instance, in the 'eighties when Wilde was writing, ladies did not pluck their eyebrows and very thin eyebrows were not considered beautiful. Eyebrows which were generously marked were much admired. On the other hand the generously shaped mouths popularized

been considered hideous.

beauty.
little

by Hollywood would have Rosebud lips were de rigueur for

Therefore,

if

are points to be watched.

presenting Lady Windermere's Fan, these Eyebrows should be thickened a

with a brown pencil, mouths should be rouged to appear

small and

full. Another point to remember is that in those days ladies aimed to look naturally beautiful, so make-up should be restrained, and when powdering, the powder may

146

FUTURE DEVELOPMENTS AND TRAINING

be carried over the lips so that they do not look rouged. course the audiences will not actually notice these finer points, but illusion may stand or fall by such small

Of

details.

Lord Windermere.

Poise, austerity and good looks are the key notes to this character, and make-up should be used to aid this effect. Use a base of 5 and 9 mixed, and use these two shades to subdue a large feature such as nose or chin, and accent either one if they are too small. Work some 9 into cheeks, also a little carmine. Highlight the eyes if they are deep -set, shade lids with blue, brown line over lashes, and small triangles outer corner of eyes. Carmine dot inner eye. Blue shadow under nose and lower lip. Eyebrows should be wellmarked but smooth, with a good space between. Apply base between them if they are not well apart. Apply base to underpart if they are thick. Mouth should look firm and well-shaped; use a mixture of carmine and 9 for this. Sideburns or side whiskers were a feature of the period, plus a fairly heavy moustache. The sideburns may be drawn with a brown liner, but tripe hair will be needed for the moustache, or a

made-up one

will do.

Pink powder.

Lord Darlington.
looks,

Older than Lord Windermere, good charm. Base of 5 and 9, some carmine and 9 in

cheeks. Make any necessary adjustments to features, and highlight eyes if deep-set. Rather thin, aristocratic

eyebrows.

Highlight nose with

i\.

Blue on eyelids,

thick brown line above lashes, and a triangle at outer corners of eyes. Carmine dot inner eye. Well-marked mouth. Sideburns, with or without a moustache. If the player is young, shadow a little with blue under

inner corner of eyes, draw a broad line of 5 from nostrils to outer corner of mouth, and a line in the same place which should follow the natural line that is to be found here on all faces, however young. Use a "utility" black or brown artist's pencil for this. Blue shadow, under nose and lower lip, and powder with pinkish powder.

Lord Augustus Lorton.

5

and

9.

Plump, middle-aged. Base of Line as for middle age. Keep cheeks light
147

STAGE MAKE-UP
and apply a
Pink powder.
stupid.
little

carmine. Sideburns or slight beard. Lorton should look plump, well fed and

Cecil Graham. Smart and well groomed rather than handsome. Base of 5 and 9 mixed, some 9 in cheeks. Blue eye shadow. Brown line above lashes. Highlight nose with i\. Blue shadow under nose and lower lip. If a player is young, shadow with a little blue under inner corner of eye, and line lightly with a soft "utility" black artist's pencil from nostrils to outer corners of lips, drawing over the natural line always found there. Draw a couple of small vertical lines upwards from the inner corner of each eyebrow. Carmine and 9 on lips, natural powder.

Mr. Dumby. Mr.

fair amount of and some carmine in cheeks. Otherwise this is a straight make-up. Use light sun-tan powder.
9,

Similar make-up above. Hopper. Base of 5 and 9 mixed. A

to

Lady Windermere. A straight juvenile make-up. Since Lady Windermere should be very pretty make any
adjustments necessary to balance proportions of face.

Lady Agatha

a straight juvenile indicated by Lady Agatha's attitude towards her mother. Be sure that she is not too colourful.
is

Carlisle.

This
A

make-up on a subdued

note, as

is

The Duchess of Berwick.

highlight nose

grande dame.

Base of

5,

and under eyebrows if necessary. The eyebrows should be well marked and come in a little
over the nose at their inner corners. If the player line for middle age. Use a pinkish powder.
is

young

Lady Plyndale.

Is described as light blonde and jealous. She should See that colour tones are kept low. not look too young so line as directed for thirties group.

Mrs. Erlynne.

Some

similar effects for

effort might be made to create Lady Windermere and Mrs. Erlynne.

148

FUTURE DEVELOPMENTS AND TRAINING

similarly shaped eyebrows and and the player's face should also be touched up to suggest good proportions. Mrs. Erlynne is beautiful and lively. If the player is young some lining should be
lips,

They might both have

used to suggest a woman of about 45. If the player is about this age no lining will be needed. Do not make the mistake of making Mrs. Erlynne look like a painted hussy in contrast to the others remember Lady Jedburgh invited her to lunch.
;

LADIES IN RETIREMENT

When considering make-up for individual characters, study of the script is most important. Authors, particularly
modern authors, are more likely to suggest the appearance of a character implicity rather than explicitly. In this play the kind of make-up required can be gathered from a study of the dialogue. One of the characters is an ex-chorus girl, another is a half-witted old woman who suffers from agoraphobia, that is fear of outdoors. A third is slightly psychopathic, but has a passion for poking about on river banks and in woods in all In each of these three characters a very clear weathers.
indication of
yet
I

how

they would look

result
is

is

given by the author,

these
indications
least

have seen productions in which

are

ignored,
are

and the
clearly

at

three
as

characters

who
goes.

not

differentiated

as

far

appearance

Miss Fiske.

If a player is young a 5 base should be used lining should be done with an orange stick and a mixture of lake and blue. 2\ for highlighting. Blue and

and

mixed for shading eyelids, brown lining for eyebrows which should be left fairly thick. Omit line above lashes but use mascara heavily on lashes. Blue shadow under nose and lower lip. Put carmine on cheeks and use it obviously to suggest rouge. Also use it on lips. If the player is not thin highlight under chin with If the player is thin, 1 1 to suggest a double chin. shadow under jaw (from ear to ear) with blue to
lake

suggest thin lantern jaws. If the player is actually about fifty or over use a 3 base, and omit the lining. In both instances use a natural powder, and use plenty of it, so that it is quite evident that Miss Fiske does use
149

STAGE MAKE-UP
powder. Also see that her chestnut wig is a good, A woman of Miss Fiske's natural-looking wig. character would be very particular on this point.

Aunt Ellen.
is

everything that Miss Fiske for, nor interest in her looks. Base of 5 with only a little 9 in cheeks so that she does not look ghastly. If the player is young line with a mixture of lake and blue, and highlight with 2|; shadow eyelids with same. If necessary balance up the face with highlighting and shading to make it look strong and rather ruthless. For instance, the nose should stand out and so should the chin. In this part looks must be sacrificed to psychology. Aunt Ellen was not a nice old lady; she was a grim and relentless murderess. The brows should be dark, rather thick, and well-marked. For lips a mixture of lake and 9. If a black wig has to be worn see that it is well dressed and looks completely realistic. Use an ochre powder. If the player is middle-aged dispense with lining except to see that it points up the character of the face, that Otheris strong nose and chin and determined mouth. wise the make-up is the same either for a young or
Ellen
is

Aunt

not.

She has neither time

middle-aged woman.

Louisa (the indoor sister). Base of 5. If the player is young, line with a mixture of blue and lake. Do not make her look pink and white; Miss Fiske is the one who looks pink and white. Also mentally affected
people are almost invariably sallow. Shadow eyelids with blue and lake mixed. If the player is plump use
highlighting
lines of 2 1

to

stress

this

effect

by drawing broad

of mouth, and round jaw and cheek-bones. If the player is thin shade under jaw and eye sockets to help a haggard effect. A very Lake mixed with 9 for lips. little carmine in cheeks. Light ochre or Rachel powder. If the player is middle-

from

nostrils to corners

aged omit

lining.

Emily

(the outdoor sister). Base of 5 and a little 9 in cheeks. Blue and lake shadow on eyelids unless the player is a brunette, and she usually is for this part. In this case use brown for eyelids and slight shadows under the eyes as well. Line with mixed blue and lake
150

FUTURE DEVELOPMENTS AND TRAINING

haggard face, because this is a restless character and would have no surplus flesh. Highlight with 2\. The eyebrows should be dark and rather thick, and should be shaped to give a querulous, suspicious expression. This can be achieved by drawing the brows in over the nose, and pointing up the inner corners very slightly. The lips should also be thin, so partly cover with base if they are not, colour with lake and 9 mixed. Brownish make-up on hands to suggest a mixture of the weatherbeaten and the grubby. Use a light sun-tan powder, and remember the complexion should suggest the weatherbeaten. If the player has very light skin, mix a little 9 with the 5 base. If the player is middle-aged omit some lining, but use enough lining and shading to make the face look haggard, weatherbeaten and eccentric.
to suggest a thin,

Albert.

Since Albert is the only normal appearing character in this play, save for the maid, there is a tendency to turn him out looking like a tailor's dummy. In view of his way of life and criminal habits this is scarcely suitable. It seems more likely that he had something of the sinister charm and appeal of "Danny" in Night Must Fall. Use a base of 5 mixed with a little 9 with some 9 in cheeks, or carmine if the player is blonde. Blue shadow on eyelids, dark brown line above lashes, and triangles outer corners of eyes. Carmine dot inner eye. The eyebrows should be characteristic, well-marked, curving up at the outer third and coming in a little over the nose. If one is made a slight fraction higher than the other on the outer third it will help the character. The way to do this is to cover the outer third of one eyebrow with base and draw a line exactly over the natural eyebrow on this outer third, and fading into the real eyebrow for the other two-thirds. Blue shadow under nose and lower lip; some blue

shaded into jaws and under them for beard replacement. Carmine and 9 mixed for lips. If the player is very young draw a broad line of 2\ from nostrils to the outer corners of the lips, and make slight blue shadows under the eyes. Powder with light sun-tan.

Lucy. This is a straight juvenile make-up. 2| or 3 base, carmine on cheeks. Blue shadow on eyelids, dark brown line above lashes, triangles at outer corner of
151

STAGE MAKE-UP
carmine dot inner eye. Eyebrows natural unless they are very light. Blue shadow under nose and lower lip. Pinkish powder, carmine on lips.
eyes,

The Nun.
Slight

5 base.
dark
line

Blue and lake mixture for shadows on

is

If she is, use brown. no triangles. A little 9 in cheeks but remember nuns usually look pale. Blue shadow under nose and lower lip. Eyebrows left
eyelids unless the player

dark.

above

lashes,

If the player is young, line with a mixture of blue and lake for middle age. 9 and lake mixed for lips, and powder over lips. Use a light ochre powder, or else a Rachel, but avoid pinkish tints.

natural.

Changes During Play.

Remember the comments on Emily's appearance after the ghost episode. Repowder with light Rachel so that she looks pale.

PRUNELLA
This musical play by Laurence Housman and Granville Barker is one of the most delightful of fantasies and offers
really exceptional opportunities to the

are several ways of interpreting the

suggest
is

fantastic

for

make-up artist. There make-up; the one I the Harlequinade characters and

realistic for

the

human
is

ones.
I

The

other alternative

is

to use

the fantastic throughout, but

think the contrast afforded by

two kinds of make-up

Pierrot.

better.

This Pierrot is not quite like the classic Pierrot referred to elsewhere in this book; in fact, his character distinctly resembles Evrinov's "Harlequin" in The Merry Death. Therefore, the classic, white moon face should

little more sophisticated. little 3 base for a brunette, or a 2| for a blonde. carmine on cheeks, medium blue on eyelids. strong brown line above the eyelashes taken out into wellmarked triangles on the outer corner of the eye. Carmine dot inner eye. Highlight the eyes with i, and mask in the under part of the eyebrows until only a thin line is left. Pencil the outer third of the eyebrow with brown, and if the player's eyebrows grow close together cover them with o.\ above the nose, so that

be abandoned for something a

A A

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FUTURE DEVELOPMENTS AND TRAINING

Highlight nose with i|, blue shadow underneath nose and under lip. Pierrot must appear very handsome, so check for any natural defects such as too small chin, and turn to section dealing with these and adjust. See that the lips are well shaped and rather thin, partially masking with base if necessary. Wet white on hands, carmine on lips. Powder natural in tone.
there appears to be a good space between.

Scaramel. 5 base. Brown on eyelids, and a dark brown line above lashes taken out into very exaggerated triangles at outer corners of eyes. The eyebrows should be high, exaggerated and flaring. Mask out natural ones with base, and draw others which begin where the natural ones end. Carmine dot inner eye. Study
the planes of the player's face (this is preferably a part someone lean and tall) and use shadow make-up to exaggerate its thinness. This need not look realistic. Use blue in the cheek hollows, and mix in a little 9, since blue and 5 base give a greenish tint. Highlight the jaws with 2\ and shade the underjaw with blue to give a sharp line. Shade the sides of the forehead with blue, and this will also help to make the face look long and bony. Highlight the cheek-bones with triangles of 2\. Highlight nose with i|. Blue shadow under nose and under lip, lips in lake. The lips should be well-marked, not thin, but also not full. If the player has naturally full lips mask them in with base. Use wet Rachel on hands. If any of the hair is seen, make a "widow's peak" in dark brown on centre of forehead, and draw longish side pieces down past the ears. This also helps to make a face look thin. Powder with ochre.
for

Hawk.

This player should be small-to-medium height, thin and wiry. Base of 5 and 9 mixed, and a little 9 in cheeks, but keep this in a triangular shape; do not spread it to look natural. Brown on eyelids, and brown line above lashes and also under lower lashes. Omit triangles so that the eyes look rounded and bird-like. Eyebrows should be half circles in brown. Highlight nose with i| very well-marked to give a beaky effect. Mouth should be masked in with base until lips look
narrow.
chin.

9 on lips. Forehead should be lighter than Powder with light sun-tan. Sun-tan on hands.
153

STAGE MAKE-UP
Kennel.
5 base with a little 9. Light brown on eyelids, dark brown above lashes. Again carry this brown under lower lashes. Short, thick triangle outer corners of eyes. Light brown on eyebrows, and keep them thick. The player should have rather a plump face. Do not highlight nose and put very little blue shadow under it. Omit shadow under lower lip. If the player's face is not plump highlight cheeks not just cheekbones with 2. Draw heavy broad lines of 2\ from nostrils towards mouth. Mouth in 9. Lips should be full. The total effect should be a plump, rather boneless face with the eyes as the most definite feature. Powder with light sun-tan. Sun-tan on

hands.

Callow. Brown
all

base.

Carmine on
lashes.

cheeks.

lines

above

Omit

triangles.

Blue on eyelids. Highlight

hollows on face, cheek-bones, under eyes, above The character should look like a rather plump Eyebrows light brown, not very welladolescent. marked. Lips 9, blue shadow under nose and lower lip. Carmine dot inner corner of eye. Pink powder. Natural toned make-up on hands.
eyelids.

Mouth.
line

base. No shadow on eyelids. Light brown above lashes and on eyebrows. If the player has not got a plump face every effort should be made to make it look plump. Highlight over eyes and on cheeks (with 1 1). Draw heavy lines of i\ from nostrils towards outer corners of mouth. Blue shadow under nose and lower lip. Any natural shadows on face should be painted out with i\. Carmine on cheeks, not too strong, and in circular patches. Mouth in carmine, large and well-marked. Powder with Rachel. Rachel on hands.

2\

Doll.

Base

2\.

Highlight over eyes with

line

eyelids,

brown

above

underneath.

If artificial

Blue on \\. and a lighter one eyelashes can be obtained all

lashes,

the better. Carmine dot inner corner of eye. The player should be pretty and dainty, and every effort should contribute to this. Highlight nose with line of i\ down centre. Blue shadow under nose and lower Very thin eyebrows, so mask natural ones, or else lip. thin by carrying base over lower half. Carmine on
154

FUTURE DEVELOPMENTS AND TRAINING

cheeks and lips, which should be painted to look rosebud. Pink dab centre of chin. Pink powder, pink make-up on hands. Unless the player is a natural blonde, a conventional, curly blonde wig will help.

Romp.

3 base mixed with a little 9 to get a sun-tan effect. Blue on eyelids, brown line above lashes, and take out into a triangle at outer corner of eye. Keep the eyebrows rather heavy and natural looking. 9 mixed with carmine on cheeks. "Romp" should suggest her name; she should not be dainty but an outdoor girl. Blue shadow under nose and lower lip. 9 on lips. Light sun-tan powder. The player's hair should be rather long and wind swept. Sun-tan on hands.

Tawdry.

This should be an obviously heavy Blue on eyelids. Thick brown line above lashes, and triangles outer corner of eyes, carmine dot inner corner of eyes. Eyebrows thinned with base until they very obviously look plucked. Tawdry should be pretty but at the same time suggest her name. Highlight nose with 1 f blue shadow underneath and under lower lip. Carmine on cheeks, pink powder. A red wig would look well for this part, preferably one that looked like a long bob, and with a flower or two. Strong application of carmine on lips. Wet white on hands.
base.

make-up.

Coquette.
sary.

this part,

pretty, very dark girl would be best for although a dark wig might be worn if neces-

brown

Brown shadows on eyelids, and thick 3 base. line above lashes taken out into well-marked

Carmine dot inner corners of eyes. Highlight nose with 2\ and highlight chin with same if it is not well-marked. Blue shadow under nose and lower lip. Carmine on cheeks and carmine dab centre of chin. Carmine on lips, pinkish powder, and two beauty spots made with a black or brown liner, one on cheekbone, the other on corner of chin (not on same side of face) Wet white on hands. Prettily dressed hair, perhaps with a bow for ornament.
triangles.
.

Tenor. Base of 5 and 3 mixed. Blue shadows on eyelids, brown above lashes, triangles outer corners of eyes.
155

STAGE MAKE-UP
Carmine dot inner corner of eye. Well-marked eyeSome carmine on cheeks, and lips. Blue shadow under nose and lower lip. Small black moustache curled at ends (this may be done with a dark brown liner). A curly wig, but be sure it is smartly
brows.
dressed.

The

tenor should look romantic.

Wet white

on hands.
Prunella.
Preferably a pretty young girl with brownish or light-coloured hair. 2\ base, carmine on cheeks. This is a natural character, as are the people who

Blue on eyelids, dark line above lashes, slight carmine dot inner eye. Highlight nose with a line of i\ and make any other adjustments necessary to make character as pretty as possible. Blue shadow under nose and lower lip, carmine on lips. Natural powder. Natural toned liquid make-up on arms and hands.
follow.

triangle outer corner of eye,

Prim. 5 base, dark; if she

brown shadows on
is

not, a mixture of lake

eyelids if the player is and blue. Similar

shadows above eyes on inner corners. Line forehead with orange stick dipped in medium blue, also line round eyes (in all lining look for natural lines and paint on these) Same with lines at the corners of the mouth. A little carmine in cheeks and on lips. Rachel powder.
.

Make-up Privacy. Make-up

Prude.
should be

as above.

as

above.

These three characters

made

to look as similar as possible.

They

might wear similar wigs, dressed in identical style. They can be differentiated by gowns and caps which
are in different colours similar in design.
for

each,

although

again

Queer.

Base of 5. Line all natural lines as above; also shade as directed above. Give her well-marked eyebrows, and make one slightly higher than the other. This may be done by masking out one eyebrow with base, and drawing another which begins just where the real one ends. She might wear a red wig dressed in
rather eccentric style.
156

FUTURE DEVELOPMENTS AND TRAINING

Quaint. Base of 5. Line and shade as for above but keep her eyebrows fine, her lips thin, but the total effect rather pretty and charming. "Queer" and "Quaint" might be dressed in identical black uniforms and caps,
the difference in make-up and hairdressing being so

marked
ist

as to differentiate

them

clearly.

man. Base 5 and 9 mixed healthy and sun-tanned. Brown shadows on eyelids, carmine dot inner eye. Well-marked eyebrows, carmine on cheeks. If the player is young, pick out all natural lines with an orange stick dipped in mixed blue and lake. Look up section dealing with middle age for further details.
so

Gardener.

Middle-aged

that he looked

2ND

Gardener. moustache.

As
An
this)

above,

but

one

might

have

3RD Gardener. (see section on

grey beard.

oldish
.

man. Make-up for old age Powdered hair or a grey wig and

Boy. Base of 3 and 9 mixed. Carmine on cheeks. Blue shadows on eyelids, carmine dot inner corner of eye. Dark brown line above lashes, blue shadow under nose and lower lip. Eyebrows natural. Light sun-tan powder. Carmine on lips.

These four characters should have liquid sun-tan on hands and arms.

Statue of Love.

Wet white all over, including hair. A white linen tunic painted with white paint. White painted hessian would be suitable.

JUNO AND THE PATCOCK

outstanding point about make-up in this play is that slums of Dublin. Irish people as a whole have notably fair skins, and Irish slum dwellers are paler still. It must be remembered that even "the Paycock" is really an indoor man, dividing his time between the pub and his bed.
it is

The

set in the

157

STAGE MAKE-UP

Mary

Boyle.

Good

looks with a touch of distinction,

and an avoidance of the pretty-pretty should be aimed at. Base of 2|, a touch of carmine on cheeks and chin. Carmine dot in inner eye, only a slight triangle at outer corner. Some blue shadow on eyelids and a dark line above the lashes. Darken eyebrows slightly Carmine on lips, but simply follow natural line. blue shadow under nose and under lower lip. Mary should look appealing and a little frail. Unless the player's face is naturally clear cut, use blue shadow under chin and along jaw. Use carmine on lips. Powder with a pale Natural powder. Do not retouch lips after powdering, for this play is set in Dublin of 1922 when lipstick was not in general use.

Johnny Boyle.

This is a sick man, racked in body and mind. Use a 5 base and line and shadow with a mixture of blue and lake. As well as shadows on Try to eyelids use a blue shadow under the eyes.

suggest a Celtic type of face if the player does not possess one. It is scarcely necessary to say that the actor should have a thin face with high cheek-bones, sunken cheeks, and be rather badly shaved. Unless the actor has straight eyebrows, wipe them out with base and draw straight ones with a brown pencil. Draw the shadow on eyelids out beyond the outer edge in a slightly upward direction. This will help to suggest deep-set eyes. The mouth should be thin and sensitive, so cover the player's with base and draw a new one if the natural one is not the right shape. This is quite an elaborate and subtle make-up, and care must be taken to use a light touch so that the result is dramatic without being melodramatic. Use a pale brunette powder for finish. Ochre will be too dark, and Natural too pink.

Mrs. Boyle (Juno).

The author gives a very detailed description of Mrs. Boyle and make-up can aid considerably in making her the type described. It is a part for an actress of solid physique because Juno had to be a woman sturdy in body and mind or she could not have endured as she did endure. The base here is 5 with a very slight touch of 9 in the cheeks, only sufficient to relieve any suggestion of ghastliness in the first half of the play. Once tragedy begins to
15 8

FUTURE DEVELOPMENTS AND TRAINING

up the 9 should be wiped off. Do not forget that Mrs. Boyle is only 45 and the make-up must suggest sturdy middle age, not old age, so lining should be from nose to mouth, upward lines from inner corner of eyebrow and a few lines on the forehead. Do not use a line above the eyelashes, and dispense with triangles at outer corner of eyes. A little blue on eyelids, lake dots on inner corners of eyes, and lake on lips. Powder with Natural powder. This chart is based on the assumption that the actress playing Juno will be at least thirty-five. If a young girl is playing the part more detailed make-up will be needed (see chapter
pile

on

this).

Jerry Divine. Base 5 with a little 9. Touch of 9 on cheeks. Dark lines above eyelashes, straight, wellmarked eyebrows, blue shadow under nose and under lower lip and on jaws. Lake on lips. Powder with
light

ochre.

"The Captain."

again the author gives a most and grease-paint can be used most effectively. Base is five, with a mixture of lake and carmine on cheeks. Line in lake and highlight with 20. Handle the eyeshadow carefully for Boyle is really a healthy, sturdy character who takes great care of himself apart from too much drinking. Care must be taken to avoid any suggestion of illness or decay. When lining and shading are completed rub the eyebrows the wrong way with 20 mixed with a touch of black. Incidentally, do not forget that "toper's eyes" are best suggested by leaving the lids and lashes completely without make-up. Powder with white, also
detailed description,
hair.

Here

powder
Joxer.
all

The author's description conveys in a few words

the essential characteristics here. Base with 5, line minutely, but with a light hand to get that "crinkled paper" look. Joxer should also look extremely sallow, and "preserved" for Joxer has never exposed himself to any such harsh realities as work, fatigue, or passions. He also has toper's eyes, and in addition conveys the appearance of one who does not like soap and water. Get more blue than lake into the shadows and powder with white. Unless the actor playing the part is very
159

STAGE MAKE-UP
dark it is a good idea to make Joxer's eyebrows a sandy shade with a mixture of 20, a touch of 9 and a touch of brown. They should, of course, be rubbed the wrong way. Powder hair.

Charlie Bentham. Every care must be taken to stress the fact that Bentham is a visitor from another world. Use a base with 5 and 9 mixed, 9 on cheeks, blue eye Make every possible use of make-up to shadow. present Bentham as good-looking, healthy and confident. Draw a line down nose with 20 and use highlighting to balance up features. Highlight eyebrows if they are too thick, carmine dot on inner eye, black triangle at outer corner, blue shadow under nose and under lower lip.
With regard
to the smaller parts in this play,
is

remember

the key-note to their appearance

that they are slum types

with a slum pallor, and that their features should be Celtic. That is, the brows should be straight and not too thick, and Lips the underlying skin tone paler than English skins. should be thin, cheek-bones high. If care is taken with these details the crowd scenes will retain a definite, un-English flavour that will be lost if the make-up is commonplace and
lacking in character.

THE TWO MRS. CARROLLS

The
four

women

in this play offer very well contrasted

for well

characters

and opportunities

defined make-up.
it is

In

view of the fact that Carroll is a painter that Sally and Cecily should look striking

very important the kind of women

would want to paint. The should have strong bone structures.

an
artist

ideal faces for the parts

Clemence. This is a part with a great deal of character and every effort should be made to make it convincing.

The

hair should be parted in the centre, or

drawn

back as tightly as possible and arranged in a bun on the back of the neck. Basic make-up should be No. 5 with a little 9 rubbed in over the cheek-bones and shaded down to suggest high cheek-bones. Assuming that a brunette has been cast for the part and it
straight

demands

this

the

eyes
160

should be

made up

fairly

FUTURE DEVELOPMENTS AND TRAINING

heavily in the corners nearest the nose.

dot of lake

on the inner corner. Eyebrows should be strongly marked. Shadow lower lip with blue, outline mouth firmly in lake, powder thoroughly with sun-tan powder.
Sally Carroll.
blue-eyed

This part is generally played by a It must be remembered that brunette. Sally is normally well in the first scene, and more and more ill in the others, so it is a good idea to start her off looking blooming, with a colour and a very slight sun-tan. She must be alive and vital, but her looks must always offer a good contrast to Cecily, the
little 5,

"Hollywood blonde". Use a base of No. 3 with a some 9 on cheek-bones applied so that cheekbones look well marked, for Sally is a Slav. Blue shadow on eyelids and in corners of eyes. Strong line along edge of eyelid to suggest luxuriant eyelashes. A good triangle at corners of eyes, carmine dot on inner eye. Eyebrows well marked with a wide space between them to give a rather child-like expression. Blue shadow under nose and under lower lip. Unless the actress has well-cut nose draw a line of 1 from top to tip. Every effort should be made to see that Sally is good looking. Carmine for mouth, light sun-tan powder. In scene where she is first ill, alter make-up, using more 5 than 3 and omit 9 altogether. Use ochre powder. In subsequent scenes as she becomes more ill, use lighter powders; these can be applied on top of make-up. Between scenes 1 and 2 the eyeshadow should be deepened and some lake worked in with the blue as this
will help the

appearance of
is

illness.

Pennington.

a straightforward character and not needed in make-up. Mixed 5 and 9 base, with more 9 than 5, some 9 on cheeks. Blue shadow on eyelids, fairly dark line above lashes, carmine dot on inner eye. Blue shadow under nose and under lower lip. A little lake on lips. Powder with ochre. Eyebrows will not need touching up unless they happen to be very thick. If so, highlight with 20. As with all male make-up put some blue on jaws for

This

much

subtlety

is

beard.

Geoffrey Carroll.
Geoffrey has just
K

The key to this make-up is that come from Devonshire and, according
161

STAGE MAKE-UP
he can "turn charm on and off like a light". In scene i he is not at all sunburnt, and not very much so in subsequent scenes. Base is 5 with scarcely any 9, no colour on cheeks. As Geoffrey is about 33 some lining will be needed if a young actor is playing the part (see The eyes and eyebrows must be made section on this) Shadow eyelids with blue striking and important. mixed with a very little lake, and work this in between corner of eyes and eyebrows. Carmine dot on inner eye. Thick line above eyelashes and a good triangle at corners of eyes. The eyebrows should be flaring, so carry the line up and out at the edges. Draw a line
to himself, a dull, grey climate; secondly, that
.

of 1 1 down nose, and see that the mouth is made to look rather thin and sensitive. If necessary wipe out the natural lips with base, and draw new ones with lake. Blue shadow under nose and a blue shadow under lower lip. If the actor has not got a well-cut chin, highlight the chin with 1 \. Highlight the eyes with 20 if they are deep-set. Carroll's part is full of lines where he is saying one thing and thinking another. The audience soon begins to suspect this, and they will watch his face very intently. For this reason heavy make-up must be avoided because it will make a difficult part even more difficult unless the face can react sensitively. Use ochre powder for scene 1 and a lighter shade imposed on this in the final
scene.

Mrs. Lathom.

She is an old woman of charm and with the remains of dainty good looks. 5 base, touch of carmine on cheeks. Shadows of mixed lake and blue between eyelids and eyebrows, and facial lines not too heavily marked (see section for this). See that shadow on eyelids is light, particularly if the player is young. Slight line above eyelashes, light triangle at outer corners of eyes. Carmine dot at inner corner. Highlight nose and chin to give an effect of chiselled features unless the player has these. Lake on lips, which must be thin and sensitive. If the player has full lips, wipe these out with base and draw a new mouth. Powder with a light natural tinted powder.

Cecily.

The most important feature of this part the actress should look sensationally beautiful.
162

is

that

If she

FUTURE DEVELOPMENTS AND TRAINING

can also act it is an added attraction, but she must look the part because the devastation she causes in the lives of the Carrolls is implied rather than developed, since as far as the audience is concerned the love affair leaps from the beginning to the end. Cecily has little opportunity to convince the audience of her overwhelming effect, except by her beauty. She must have platinum blonde hair or a very good wig, and a wig is not desirable. Base 2 J, a little carmine on cheeks, blue eye shadows, thick dark line above lashes, triangles at outer corners of eyes, carmine dot on inner eye, heavily mascaraed eyelashes. Eyebrows thin but flaring. Highlight nose with a line of 20, and if necessary highlight chin with i\. Blue shadow under nose and under lower lip. Touch of carmine on chin. A striking mouth which should not be powdered. Dab lower lip with brilliantine before player goes on. Powder either in light sun-tan if a sunburnt blonde effect looks best; otherwise powder with light natural
powder.

The Doctor.

Line according to directions for old age about 60 but remember that the doctor is a wily old gentleman who takes great care of himself, and depend on lines rather than shadows to suggest his age. He must not look decrepit or senile. The keynote to his character is his buoyant interest in trivial matters,

gossip, food

and drink.

THUNDER ROCK
There is an interesting point in the make-up for this play. While the characters projected from Charleston's brain must look subtly different from the ordinary mortals in the play, they are not ghosts in the sense that the dead King in Hamlet is meant to be a ghost, and they should not look like the walking dead. The effect would be best achieved by keeping
tiie make-up as light coloured as possible, blue or bluish purple being used for lining and shading instead of lake black pencils should be avoided, and a little blue mixed with the brown. Powder might be applied to lips. As a contrast the make-up for the "current" humans might be fairly strong and well marked.
;

163

STAGE MAKE-UP
Streeter.
Base of 5 and 9 with a fair amount of 9. Use 9 on cheeks and lips. Blue for beard replacement. Since Streeter is described as "a dark wiry man" an effort should be made to cast an actor with these characteristics. Blue along eyelids, dark line above lashes, triangle at outer corner of eye. Carmine dot inner corner of eye. Blue shadow under nose and
lip.

lower

Sun-tan powder.

Nonny.

Use the same outdoor type of character, whatever his age.

make-up

for this

Flanning.

"Fifty-five, ruddy faced, square built." Base of 5 mixed with 9. If played by a younger man, line as directed for middle age. 9 for cheeks and lips with a little carmine mixed in. Sun-tan powder.

Charleston.

"A rugged man" in his thirties. Here again a base of 5 mixed with a good deal of 9. Then the usual straight make-up and sun-tan powder. The make-up for all these people should be clear cut, outdoor and as coltmrful as is consistent.
ruddy man, with a broad and wrinkled face." Base of 9 mixed with 5 and some i|. This will give a slightly luminous effect. Line as for middle age, also shade as directed under this section, but use very little lake in the lining. Use dark blue for line above eyelashes and for triangles, also blue for eyebrows, but check to see if the blue is obvious under your lights, and if so mix in some brown, but keep as free as possible from all dark tones. 9 on lips and blue for beard replacement. Light sun-tan powder.

Captain Joshua.

"A

Briggs. Base of 5 and 1 \ mixed, very little 9 in cheeks. Briggs should have a slum pallor. Briggs should look about 40, so line if necessary, but again keep to blues instead of lake as far as possible. Do not forget that Briggs' moustache is outstanding, and since it is a heavy one, grease-paint might better be forgone if a moustache can be bought, or if one can be made with crepe hair (see directions under chapter on "Wigs and Beards".) Do not forget to smooth a little blue
164

FUTURE DEVELOPMENTS AND TRAINING

over upper lip round the edges of the moustache after Otherwise a heavy moustache is likely it is in place. to look artificial.

Kurtz.
age

Line for old tall bearded man about 60." necessary, again keep to blues as far as possible. Rub the eyebrows the wrong way with 20, and use a grey beard. The base for this make-up is also 5 mixed
if

"A
i|.

with

Melanie. The "other world" effect will be helped if Melanie has lightish hair rather than dark. Base 2^ with a little 9 in cheeks and lips. Otherwise a straight make-up, but leave a thin film of powder (use light sun-tan) on brows and lips.
Miss Kirby.

Lining and shading with 1 f 9 on cheeks and lips. Character lining is needed for this part, as well as the lining for the forties age group. Small vertical lines on inner eyebrow and round mouth. Light ochre powder. If the player happens to have naturally thin, light eyebrows, do not darken them, and keep the make-up round the eyes very light.
.

Base of 5 and
Very
little

light blue.

Anne Marie.

Base of 5, mixed with i|. Very little 9 on cheeks and lips, otherwise a straight middle-aged make-up with a daintily dressed white or grey wig.
If the actress has naturally dark eyebrows they will not If they are light or too thin, use a medium blue liner on them. Powder with natural

need make-up.

powder, but check

it

with your

lights

and use a darker

one that

powder
suits).

(try

The

several shades until you get face should not look ghastly.

The key-note of the make-up for the dream characters should be the effect water colours might have in contrast to
oils.

That

is

why

have

stressed that the

make-up

for the

human

characters should be bold.

THE CIRCLE
is

set the

In the opening description of the house in which this play author remarks that "There is nothing which is
.

165

STAGE MAKE-UP
not in the period", and the same
in the play.

may be

said of the characters

They

are types- rather than individuals,

types of a certain period

in a subtle way, help to
life".

and and place. The make-up should, produce people who are "larger than

Arnold.
less."

"Thirty-five,

tall,

good-looking,
Intellectual,

fair,

witn a

clean-cut, sensitive face.

is

somewhat blood-

Base of 5 with a little 2\ and 9. Since Arnold supposed to be good-looking, check up for any necessary adjustments as directed in chapter on "Defects", and see that everything that can be done to help the actor's looks is done. If the part is being played by someone about forty or over, no lining should be needed, but if younger, draw slight lines with an orange stick dipped in blue liner from nostril to mouth, and a tiny vertical line on the inner corner of each eyebrow. Shadow lightly between inner corner of eye and eyebrow with blue mixed with a very little lake; shadow eyelids with blue, and a slight blue shadow under the inner corner of each eye. A light brown line above lashes and triangle at outer corner of eyes. Carmine dot inner eye, blue shadow under nose and lower lip. If the actor's eyebrows are not naturally thin and well-shaped, they should be thinned by applying base under lower section, and the outer third drawn lightly with a brown pencil. No. 9 for lips. Light ochre powder.

Mrs. Shenstone.

Forty, pleasant and elegant. Since Elizabeth is supposed to be extremely pretty, and Lady Kitty to have the remains of great beauty, Mrs. Shenstone must not be more than pleasant and elegant. Base 3 and 5 mixed, carmine on cheeks and lips. If played by a woman over forty no lining will be needed; if played by a younger woman line as directed in chapter dealing with this group. Blue and lake shadows on eyelids, brown line above eyelashes, carmine dot inner eye, slight triangle outer corner of eyelids. Blue shadow under nose and lower lip. Carmine 3 on lips.

Rachel powder.
Elizabeth.
This is a straight juvenile make-up (see description for this for blondes or brunettes). Check
166

FUTURE DEVELOPMENTS AND TRAINING

carefully with chapter on Defects and see that any Nothing is more necessary adjustments are made. depressing than a character who is meant to be very pretty not being very pretty, and greasepaints skilfully used can do so much to create an effect of ravishing beauty.

up

Lady Kitty.

It is taken for granted that this part will not be played by a woman under forty since she would have great difficulty in sustaining it, so lining should not be necessary. 3 base, carmine on cheeks, and then

any adjustments necessary in doctoring proportions of nose, chin and forehead. Carmine dot inner eye, a strong line suggesting mascara above eyelashes, and dark triangles at outer corners of eyes. Carmine on centre of chin, carmine on lips. Natural powder. If the actress does not possess natural red hair, it would be best to dress her hair in an elaborate, youthful If a really beautiful red wig is available, well style. and good, but unless wigs are superb they are best
avoided. If make-up can be utilized to suggest a subtle

between Arnold and his unwanted mother, it heighten the comedy values of the play. JThis is a point which is much neglected in casting, make-up and acting, and yet it is not impossible, even for the amateur, if some thought is devoted to it. For instance, similarity in eyebrows is easily simulated with greaselikeness
will

paint,

and eyebrows are most

characteristic features,

and

so are mouths.

Lord Porteous. This is a conventional old-age make-up. The author describes him as very bald. If a bald actor
is

not available, it is best to disregard this bit of description because the wearing of a "bald wig" would not be suitable as Porteous is not a bearded dotard.

THE BARRETTS OF WIMPOLE STREET

a family play, and despite the divergence of chareffort should be made to embody in the make-up some common features that will suggest that these people are blood relatives.
This
is

acter,

some

167

STAGE MAKE-UP
Elizabeth.

Her

portrait

is

easily

available
it.

and the
physical

actress playing the part should study

The

of Elizabeth are so marked, wide-set dark eyes, broad forehead, delicate but well-marked nose and small chin, that it is assumed that someone with looks of this type will be cast for the part. The eyebrows are not of the modern type, and unless the actress has fairly thick eyebrows, these should be pencilled into the desired shape. The base is 5, with very little carmine 3 on cheeks and lips. Highlight the eyes unless the actress has fullness between eye and eyebrow; use brown for eyeshadow, mixed with a little medium blue or some green if the effect looks muddy. The eyes are the most outstanding features in the face, so put little colour on lips and powder them with the rest of the face. Except for the points mentioned the make-up is a straight one (see "straight make-up for
characteristics

brunettes").

Henrietta.
This
is

high spirited and blooming." a straight juvenile make-up, but unless the actress has something in common with Elizabeth similar type of face or colouring try giving them both the same shape and kind of eyebrow to help the suggestion of a family likeness. Also powder

"Beautiful,

lips.

Arabel.
here

"Tall,
is

up
lips.

is

dark, serious." The family likeness indicated by the author, otherwise the makestraight, with not much colour in cheeks or

Octavius. About 18. It is to be hoped a dark youth can be cast. This is a straight juvenile makeup.

Septimus.

Nineteen. It would be best if someone a few years older played the part because otherwise there will appear to be no age difference at all between him

and Octavius.
Alfred.
Also juvenile straight, but a few years older than the other two. Likeness can be suggested by similarity of eyebrows and mouths.
16s

FUTURE DEVELOPMENTS AND TRAINING

About Henry. About George. About

Charles.
six brothers it

23.

Same make-up Same make-up Same make-up

as above.

25. 27.

as above.

as above.

In attempting to preserve a family likeness among these should also be remembered that they must
their

preserve
styles,

individuality

as

well.

Differences

in

hair

as far as this
I

productions
six

can be managed, will help. In many have seen, both aims were neglected and the
to relate

young men had as little either dividualize them as any six "boys"
chorus.

in a

them or inmusical comedy

Edward.

In

the original production there did appear

to be a family likeness between father and daughter. They had certain features and colouring in common.
It is quite easy to get hold of a book with a portrait of Edward Barrett, and it would be wise to do so. First readjust to get the likeness, and then line as for sixty age group.

Bella. A blonde girl might well be cast for this part to provide a contrast with the dark Barretts. She should be very pretty. Make any adjustments necessary for this and then apply a straight juvenile make-up for
blondes.

Henry Bevan.
up.

Since

he wears a beard

sufficient contrast, otherwise this is

this should be a straight make-

Robert Browning.
thirties.

It

is

A dark, handsome man in his middle presumed that the actor will be in his
provide
sufficient

If less, line slightly to thirties. contrast to the Barrett brothers. made outstanding.

Browning must be

Captain Surtees Cook. "A huge, handsome, frank-faced, whiskered man." A well-marked, character makeup, base of 5 and 9 mixed. 9 in cheeks. Straight make-up for eyes, well-marked eyebrows, sun-tan
powder.
169

STAGE MAKE-UP

WILL SHAKESPEARE
Will Shakespeare.
is

At the time the play opens the poet only 22 years of age, and his make-up has to be modified as he grows older, but he is only in his thirties by the end of the play. There is a good deal of disparity between one portrait of Shakespeare and another, but An ovoid head, all have common characteristics. narrowing and pointing towards the chin. Well-set, heavy-lidded eyes, high, rather crescent-shaped, slender eyebrows. A small, almost effeminate mouth, with a very thin upper lip and a much fuller lower one. The forehead is large and rather bulging, the cheek-bones high, the nose rather long and well cut. Base of 5 with a littie 9 on cheeks. Shadow under cheek-bones with 9 and some blue. Shade nose on each side with 9 and highlight it with 20 from between the eyebrows right down to the tip. Shadow with blue underneath. Straight make-up for eyes, but keep the blue on the lids light, and shadow along the bony socket, carrying the shadow out to the outer corners of the eyes. Highlight under the outer third of the eyebrows. Unless the player has very high-set and slender eyebrows, wipe out the natural brows and draw others above them with a brown pencil. The eyebrows in the portraits are unusually wide apart, which gives the face its characteristic expression, so put a good deal of base over the natural eyebrows at their inner corners. For the First Act it is a good idea to have a slight moustache only and reserve the beard for the other The beard is in any case light and clipped acts. There is a rather strong round the jawbone. shadow under the lower lip which gives a slightly pouting expression to the mouth which appears to be
particularly characteristic in all the portraits.

Ochre

powder.

Anne.

who

to the fact that Anne's scene is with a boy supposed to be only eleven, and as this boy is most likely to be played by someone a few years older, or more likely still by a very small woman, it is best Anne is to cast a fairly tall actress for this part. pregnant, overwrought and neurotic and aged about The eye make-up is fairly straight, but there 27. should be blue shadows under the inner corner of the
is

Owing

170

FUTURE DEVELOPMENTS AND TRAINING

eye be careful not to smear them right under the eye and blue shadows between the inner corner of the eye and the eyebrow. The eyebrows should be high, slender and with a slight upward tilt at their inner corners, as this will give an expression of nervousness and depression. Base of 5 mixed with a little 2|, very little carmine 2 on cheeks, or 9 if the actress has chestnut colouring. A little 2 or 9 on lips. Hollow cheeks with blue. Fairly light powder. Apart from this the make-up is straight.

Henslowe.

A forty-ish character make-up. Henslowe is probably what would now be known as a Ham actor, so the player should have well cut, rather than thin

features.

Queen Elizabeth.
she
for
is

The

under "Famous characters".

middle-aged, so

make-up for Elizabeth is given At the time of this play follow chart given and then line

middle age.

Mary
is

Fitton. good-looking.
straight

The

actress chosen should

is

be dark and

Mary

a femme

fatale.

The make-up

and

fairly bold.

Kit Marlowe.

The actor chosen should have boldlycut features and look about 30, his reputed age at the time of his death. This is a straight make-up on the whole but Marlowe lived fast. Shadow with blue on the inner corners of eyes both above and underneath. It is desirable that the player should be at least thirty, preferably a little older, and have a positive personality. Mr. Claude Rains played the part in the original production.

The other important characters in this play are the Shakespearean "shadows". Since these are only seen in a dim light and only a few are prominent, the make-up offers little
difficulty.

The outstanding shadows are Ophelia, Cleopatra, Desdemona, Queen Margaret, Rosalind, Shylock, Caesar, "a Roman woman", a Trojan woman, Mark Anthony and Juliet; most
of the others are just voices in a crowd.
171

STAGE MAKE-UP

THE PLAYBOY OF THE WESTERN WORLD

Having made its debut as a play naturalistic to the point of being offensive, The Playboy has long since been granted its real niche in theatrical archives. Intellectually Synge belonged to the group in Paris among whom he lived, the group which numbered among its members either actually or sympathetically Ernest Dowson, Arthur Symonds, the Oscar Wilde of Salome (spiritual relation to "The Playboy") and the painter Toulouse Lautrec. In other words, the play is romantic and poetic, not
realistic

and

naturalistic.

The make-up must

fall

into line

with the

style of the play.

Christopher Mahon. "The Playboy" should be a fairly slender young man, not too tall or athletic looking.
is a straight juvenile make-up, but keep the basic skin tint very light because the Irish complexion is basically the lightest in Western Europe. i\ mixed in with 5 and a little 9. 9 on cheeks and chin. The player chosen for the part should if possible have a lean face with a good, bony structure. Do not forget that on his entrance in the first act Christy should look dirty and wan from his three days as an outlaw. In Act 2 he can have more colour in cheeks and lips. The eyebrows should be fairly thick but not too dark; 9 on lips. The player should be careful to wash all brilliantine from his hair for this part, as should every other male character in the play. Powder with light sun-tan.

This

Michael James Flaherty.

in the
fifties

This is a character make-up group, fairly heavily shadowed round and under the eyes because of the injuries caused through being "murdered". The head should be wound round with a large, clumsy and dirty-looking bandage, with a not too obvious patch of red on the front. Ochre

powder.

Pegeen Mike.

good Base of 5 mixed with some 2 \. Well-marked, rather deal of carmine 2 on cheeks. heavy eyebrows. In casting it should be remembered there is nothing frail or dainty about the girl. Otherwise the make-up is straight juvenile.
172

FUTURE DEVELOPMENTS AND TRAINING

Shawn Keogh.
The

Shawn is a mean and rabbity type. player should be rather small and thin. 5 base with a little 9 in cheeks and a straight make-up. good deal of blue for beard replacement. This applies to every male character in this play; none of them should look smart or clean shaven.

Widow

Quin. This character needs to be a certain physical type and should not be played by a very young girl, as it calls for a rather overwhelming presence and

The actress should be dark and fairly plump. Unless the actress is in her forties, line for this age group. Base of 5 with a good deal of mixed 9 and carmine in cheeks, very well-marked, dark eyebrows and a strong nose. So shade the nose at sides with 9 and highlight it with i if necessary. A strong, full mouth. Straight make-up for eyes. Brunette powder. The hair should be dressed high and a Spanish comb stuck in it on top. It should, of course, be black. A black wig might be worn if necessary, or a switch added to the natural hair.
poise.

The Males. The

jaws.

remaining male characters should be

made-up according to age, with the basic light skin tint, and 9 in cheeks and a good deal of blue on

Village Girls.

Whatever the colouring, the skin tint should be kept light, with high colour in cheeks and lips, but powder lips as well as faces. The powder should be light in tone also. The girls should be rather stylized as to eyebrows, make-up and general facial characteristics. They are really a sort of corps de ballet, and make-up and costume should aid this effect so that they do not stand out as sharply individual.

ONE ACT PLAYS

THE SHEWING UP OF BLANCO POSNET
This excellent one act is among the most neglected of Shaw's plays, although it is good theatre, and particularly suitable for amateurs because it has a large cast, with many
parts for

women, while

it is

possible to cut
173

down

the

number

STAGE MAKE-UP
of men for the crowd scenes. It is interesting from the point of view of make-up because of the individuality of the characters which offer splendid contrasts to each other and to
the background.

Here are
Babsy.

brief sketches of

some of the

contrasts

(A

bumptious young

slattern,

3 base, blue shadows inner eye, line above eyelashes,

looks.)

with some good on eyelids, carmine dot and triangles at corners

of eyes. Unless the eyebrows are naturally rather thick, thicken them with a brown pencil, but use it lightly so that the result looks as if the actress had natural eyebrows. Carmine on the cheeks (No. 3) to suggest a bright colour. Blue shadow under nose, and under lower lip. Carmine on lips, which should be made to look full and large. Powder with light ochre and don't forget to powder the lips, these should not look made-up. The actress should tousle her hair so
that
it

looks

uncombed.

Lottie.
5

(A sentimental girl, neat and clean.) Mixture of and 9 for base. Eyeshadows as above, also eyebrows. Only a litde carmine on cheeks, and lips, blue shadow under nose and lower lip. Carmine on lips, and powder. There must be nothing spectacular about Lottie, she must look ordinary. Her hair should be neat and rather plain.

Hannah.

(Elderly and wise.) 5 base, some 9 in cheeks. Blue and lake mixed on eyelids, and shadows of same between inner eye and eyebrow. No black line above lashes, no triangle. Carmine dot on inner eye. Lining as directed in chapter on middle age. Carmine 3 on lips. Ochre powder.

Jessie.

(A good natured but sharp tongued, hoity-toity young woman. Babsy's rival in good looks and her superior in tidiness.) Base No. 3. A fair amount of carmine on cheeks, eyes and eyebrows as for Babsy, carmine dot on inner eye, a touch of carmine in centre of chin. Natural powder, and lips powdered after carmine is applied. Hair neat and rather elaborately
dressed.

Emma.

(A sneak who sides with Babsy or Jessie, according to the fortunes of war.) Base 5 with a very little 3
174

FUTURE DEVELOPMENTS AND TRAINING

and a
sallow
slight

touch of 9 in cheeks.
colourless.

Emma

should look

up

as

sallow calculated to bring out her worst rather than her best
points.

Remainder of makefor Jessie, but use ochre powder to enhance Her hair could be dressed in a style effect.
and rather

Elder Daniels.

(A reformed rake and drunkard, now a pious hypocrite.) 5 base, very littie 9 in cheeks. Line as directed for middle age, leave out make-up on eyelids as this helps to underline the "toper" effect. Powder with light ochre powder.
is a very young man. Use a make-up and a good deal of 9 on cheeks to suggest an outdoor type. If the actor has a well-cut mouth draw a larger one with grease-paint (lake mixed with 9) to suggest a weak, self-indulgent

Strapper Kemp.

This

straight juvenile

temperament.

Blanco Posnet. This is really a character on which the make-up expert can really "go to town", since Blanco
is

liver,

a blackguard, hard boiled on the surface, a hard and a pretty hard drinker. He is also something of a dandy as is evidenced by his hair, which might be brilliantined, and an upturned moustache. He is travel-stained, and dishevelled, with fiery eyes. His age is under forty. 5 base, mixed with a good deal of Lake and blue mixed for shadows on 9, 9 in cheeks. eyelids, and between inner eye and eyebrow. Also slight shadows under eyes. Unless the actor has a

naturally thin, bony face, shadow the soft part of the cheeks with blue blended into the 9. Also blue on jaws to suggest need of a shave. The eyebrows should be strongly marked, tilting up a bit on the inner corners. Slight lines on forehead, at the inner eyebrow above the nose, "crows feet" at the outer corners of the lips. Highlight with 1$. The mouth should be resolute and rather thin, so if necessary cover the actor's lips with base and draw new ones, using lake and 9. In some ways, apart from his "blackguardism" Shaw's description of Blanco bears certain resemblances to the author's own appearance at the same age, and this is worth remembering. The make-up
175

STAGE MAKE-UP
must help to suggest a character of fiery and unconventional temperament. When the lining and shading are complete powder with sun-tan powder.

men are of the outdoor type, hard and hard drinking on the whole. Their difference is in degree rather than in kind, and the makeup should be varied only to mark their peculiarities as described by the author. There remain two women, complete contrasts to each other and to the other women in the
All

the

other

riding,

hard

living,

play.

Feemy Evans. (24, battered good looks, and a dirty fine dress.) Feemy is the only one of the women who should look as if she wore make-up. First of all make any adjustments necessary to make her as good-looking as possible, and then apply grease-paint to suggest a
lavish use of eyeshadow, rouge, lipstick, and powder. It's best to let her have rather elaborately dressed, and curled hair, and a really elaborate though tousled gown, and some cheap jewellery.

The Woman.
little

This woman must look the "Mater Dolorosa" type. 2^ base, no colour in cheeks, very

on lips. The usual straight make-up for eyes and eyebrows but handled lightly. Shadows both above and below eyes. Carmine 2 on lips, and natural powder. Powder the lips to look pallid. The powder
should be used rather thickly all over this make-up. The hair should be parted in the centre, and drawn back to a bun on the nape of the neck.

BACK TO Z^RO
This is a play of atmosphere, and the make-up needs to be very well done to help maintain it. None of the make-up
is

"straight".

Goldie. Goldie has to look like a young woman whose complexion has been bleached by a tropical climate, and who wears a great deal of crude make-up. If she is really blonde the base should be 2 \ mixed with 5. If she has dark hair with a "gold" streak, use 5 for
176

FUTURE DEVELOPMENTS AND TRAINING

"Goldie" has to be an essentially good-looking so turn to section on adjusting defects and see that chin, nose, and forehead are balanced up. If the part
base.
girl,
is

for

played by a young girl mix blue with a little lake shadows between eyelids and inner corners of eyebrows. Slight blue shadows under eyes. A line (in blue) from nostrils to mouth, blue shadow under nose and lower lip. The eyebrows should look plucked, so highlight under these if necessary, and then draw flaring outer thirds with a brown pencil. Dark line above eyelashes, triangle at outer corner of eye, blue along eyelids. Carmine dot inner corner of eye. A good deal of carmine on cheeks, so that they look "made-up". Heavy mascara on eyelashes. Heavily rouged lips. Rachel powder.

Boss Bergman.

Base of 5. Lake and blue mixed for shadows between inner corners of eyes and eyebrow. Same on eyelids, and under inner corner of eyes. If the player is young line for "Fifties" age group as directed. Bergman is a drunkard so mix carmine 3 with a little 9, and apply on cheeks from under the eye "bags", across the bridge of the nose, and on to other cheek. Omit dark line on eyelid as this helps to give a puffy-eyed appearance. Get an effect of "bags" under eyes by making half circles of 2| and then drawing a lake line under it, trailing off the line as it approaches the outer corner of the eye. Bergman is unwashed and unshaven so use plentiful blue for beard along jaws, and chin and under jaws and chin, smoothing off down the neck. Use blue to hollow the cheeks, and then work in some carmine and 9. Shadow with blue under nose, and a very heavy blue shadow under lower lip. Brush the eyebrows the "wrong" way with a brown

and bushy. Unless the player has thick lips, draw thick ones with a lake pencil. This make-up is an unusually elaborate one because it has to suggest so many factors, the pallor of a tropical climate, overlaid by the red and purple tints of the habitual drunkard. The griminess of the unwashed and the unshaven, while the basic features underneath must seem to be naturally coarse, debauched, yet weak, and with some pathos. Use light ochre powder, and powder
pencil, so that they look coarse
lips.

177

STAGE MAKE-UP

Van Dekker.
character

make-up, as the hard bitten, active, and fit, but suffering from fatigue, hungry, and in the first scene covered in filth. Base of 5 mixed with 9. Blue mixed with a little lake for shadows between inner corners of eyes and eyebrows. Blue shadows on eyelids.
is

This
is

also a very tricky

essentially

Dark line along eyelids, triangles outer corners of eyes. Carmine dot inner corners of eyes. Eyebrows should be lined with brown pencil unless they are naturally Blue shadow under inner fairly strongly marked. corner of eyes. Lake lines from nostrils to mouth
Blue shadows under nose and lower lip. Blue along and under jaws, and chin, as this character is also unshaven. Sun-tan powder, and powder lips thoroughly after applying 9 to them. Van Dekker has to wear either a linen suit, or jacket and linen shorts covered in mud. If he wears shorts do not forget to put black on his
unless the player has natural lines there.

knees.

Also see that his shoes are thickly covered in

mud.

An awkward quick change is involved in Van Dekker's "clean up" and there is no time to remove his entire make-up. After a good deal of experiment I made up a mixture of shoe polish and vaseline which was daubed here and there on his face and also on his knees. It was applied after powdering, and could be removed very quickly in the wings, and the make-up "patched". If Bergman's line "A white man!" is to be interpreted as a momentary illusion that Van Dekker was so covered in black mud as to look like a negro, then the part has to be played without make-up, and a face almost covered in black, which is cleaned off, and the character again returns without make-up. In view of the fact that the other characters have to wear heavy make-up, this is not desirable. Again Bergman's line, "A bit here, and here" in reply to Van Dekker's enquiry as to whether his face is clean, should not be interpreted too literally, because a man with black patches on his face always seems to raise giggles from an audience at the wrong time. As the set is not very brightly lit something can be left to the imagination.
Manuella.
also

Use
face.

liquid

on

brown in Brown shadows

178

all

exposed

parts,

in

inner corners

of

FUTURE DEVELOPMENTS AND TRAINING

eyes,

triangles

along eyelids. Dark line above eyelashes and on outer corners of eye. Lips untinted.

No

powder.

ST MICHAEL COMES TO SHEPHERD'S BUSH

The Little Man.
line as directed for this age group, using

aged about 60, a 5 base. Brush the eyebrows the "wrong" way with a stick of 20. Powder the hair white. Line and shade hands. Powder with ochre, as this is a city man with a very
the player
is

Unless

circumscribed existence.

His Wife.

Make-up as directed for 60 age group, and unless the player has thin lips, cover the mouth with base, and draw rather a "rat-trap" mouth with a lake
Powder with ochre. Drag the hair back from bun at the back of the neck, and powder

liner.

face into a tight white.

St.

Every effort must be made to stress the beauty of the angel, and the fact that he is different to the mortals. Someone who has very well cut features should be chosen for the part, and he will also need a well-knit body. Unless someone of this type is available it is better not to attempt the play. Assuming an actor with a suitable physical appearance has been found, see that every effort is made to make the most of his looks. Base of 5 with a good deal of 9. Highlight nose with a stroke of 20, also highlight under eyebrows with 20, and take the 20 up over the lower part of the eyebrows unless they are naturally fine. Blue on eyelids, carmine dot inner eye. Dark line above eyelashes, and triangles outer corners of eyes.

Michael.

striking

Mascara on lashes. Pencil the eyebrows, and see that they are a good, flaring shape. Some carmine on cheeks, blue shadow under nose, and lower lip. No blue on cheeks for "beard", carmine shade on centre of chin. Unless the mouth is naturally a good shape, and firm, draw new lips with 9. The lips should be in accord with Classic proportions, that is both lips should be of same thickness. The "angel's" complexion should look luminous, so powder with "natural" powder.
179

STAGE MAKE-UP

The

Devil. Smooth, thick base of 5. 20 under eyebrows, and if these are thick cover them with base, and draw high, rather thin ones with a black pencil. The eyebrows should be very flaring at the outer Shade with lake and blue mixed between corners. inner corner of eye and eyebrows, and a shadow of same under the inner corner of eye. Also carmine dot in corner of eye. Thick black line along eyelid and very marked triangles at outer corner of eyes. If the player is young line from nostril to corner of mouth. Highlight nose, shadow under it, and under lower lip. Blue along cheeks for beard, and a small pointed beard of cripe hair on chin. A rather thick mouth should be drawn in carmine 3. A "widow's peak" should be drawn with a black pencil, and the headdress should conceal the natural hair. Powder heavily in ochre.

THE ROPE
{by

Eugene O'Neill)

of the most celebrated dramatists of the realistic of the 1920's, in appearance O'Neill's characters concede little to beauty or romance. Most of his men are
school
sailors

One

or peasants, his
his

main
social

plays

are

women peasants or drabs. In the concerned with working-class people,

known
plays are set at different

although several of
levels.

his best

however, principally associated in our minds with "old debble sea" in the full length play, Anna Christie, and the series of one-act plays entided, Moon of the Caribbees, of which The Rope is typical. As you will see, any touches which improve the appearance or beautify any individual have been omitted from this chart. In producing any O'Neill play concerned with sailors or peasants this rule should be followed for otherwise the extreme realism demanded by the setting and plot will be weakened.
is,

He

Mary.

of 5 and 2| mixed to give a sallow effect. 9 in cheeks. A little blue on eyelids. 9 on lips, carmine dot inner corner of eye. Powder with Rachel, including lips.

Base

Very

little

180

FUTURE DEVELOPMENTS AND TRAINING

Abraham Bentley.
Base of 5. Line as for 60 age group with lake. Hollow cheeks by sucking them in and applying blue in deepest part of hollow and then shaping and smoothing it. Highlight nose with \\ and shade with some blue at sides. Instead of simply shading under nose with blue, take the blue down in a thin coat to the upper lip and shape this blue shadow so that it curves down from under the nose to the outer
corners of the upper lip, making the upper lip look sunken and the nose above it beaklike. The eyes should be left untouched as far as the eyelids are concerned and a heavy shadow of lake drawn just where the eyeball ends. Take this shadow up to the eyebrow at its inner end, and out to the corner of the eye at the other end. This will give an effect of weak, deep-set eyes. Brush the eyebrows the wrong way with a dark brown liner. Draw a strong line of 5 from nostrils to the outer corner of the mouth, and a thin line of lake where there is a natural line from nose to mouth. Cover mouth with base and then draw very thin "lips" in lake.

NOTE. This character wears a scalp wig and a straggling beard. Be sure not to apply make-up on forehead or chin until these are in place. When the forehead piece of the wig is on, take the base up over it
and line both real forehead and artificial one and powder both. When the beard is in place apply some blue to jaws above and beneath it. Powder this make-up with white powder. Leave plenty of time to apply it
as
it is full

of detail.

Annie.

Line for 40 age group, Base of 5 and 2 \. and player should suck in cheeks and hollow with Shade eyelids with blue blue, smoothing this out. and lake mixed, but omit brown line. Carmine dot Powder with Rachel, including inner eye, 9 on lips.
lips.

Sweeney.

of 5 and 9 mixed, some 9 and carmine Use much more 5 than 9 on forehead, and also on jaw so that all the features between are in a duller tint; put more 9 on nose so that it looks flat. Shadow with blue and lake mixed from eyebrow to eyelashes, keeping the shadow darkest near the nose
in cheeks.
181

Base

STAGE MAKE-UP
and carrying it in on each side so that the eyes look close set. Use a brown liner for this and for the eyebrows. Draw the wrong way and take the eyebrow in on each side so that it nearly meets over the nose. Unless the player has a small, thin mouth, reduce the natural lips with base and draw thin ones with a mixture of lake and 9. Rub blue into the jaw and underneath it to suggest a badly-shaven face. Powder
with light sun-tan.

Luke.

Base of 5 and 9 mixed to give a sun-tanned effect, and some extra 9 in cheeks. Highlight nose with i, also keep cheeks and jaw a little lighter than forehead and chin, so that face appears a bit fleshy. Highlight

eyes if they are deep set (with 1 1) leave the eyebrows heavy, or if the player has thin eyebrows make them strong and dark and draw them in a little across Shade eyelids with blue, dark line above the nose. lashes, but omit triangle at outer corners of eyes. Carmine dot inner eye. Blue shadow under nose and lower lip, and some blue rubbed along and under jaw. Mouth in 9 and some carmine, and draw it boldly to suggest fleshy lips. Powder with light

sun-tan.

The hands

of the men, Sweeney and Luke, should have

sun-tan make-up.

SALOME
No play lends itself to experiments in costume and make-up more thoroughly than does Oscar Wilde's extravaganza. It
lurid reputation, plus problems of presentaunpopular as far as producers are concerned. Most producers and critics, but more particularly those of the past, seem to have completely misjudged its true place in dramatic art. It has no more relationship to serious biblical drama than a negro spiritual has to a Bach oratorio, but both Salome and the spiritual have a place in the world of art. Psychically Salome belongs not to the Holy Land, but to
is

a pity that

its

tion,

make

it

Paris of the late 'eighties.

It

is

fin de siecle,

with

all

the faults

and

virtues of the period.

it,

only illustrate

but define

Aubrey Beardsley's drawings not Therefore the make-up should it.

182

FUTURE DEVELOPMENTS AND TRAINING

not be realistic. Salome is one of the few plays that give real scope for make-up to be fantastic. In the days of the silent films, a very faithful film version of the play was made, with make-up, decor and costumes in the Beardsley manner. In a production at the Peacock Theatre, Dublin, about 1930, Mr. Hilton Edwards also followed the Beardsley inspiration with very successful results. Realistic make-up would be as much out of place in Salome as in Petrouska. For the daring and experimental make-up artist it is a joy.

The Young

Syrian. All over base of 5 and 9 mixed. See that the 9 is not used too heavily; avoid that copper tinge. It is rather ugly, and has no place in this play. See that the grease-paint on face and throat merge into the liquid make-up on the body. Highlight nose with 5 and darken sides of it with 9. Highlight under eyebrows with 5 if necessary. Make the eyebrows dark, rather smooth, and flaring upwards and outwards. Shadow the eyelids with brown, and draw a thick black line above the lashes, and large triangles at outer corners of eyes. Treat all this like a piece of design, and make no attempt to smooth off edges or get a natural effect. Carmine dot inner eye. Blue shadow under nose and lower lip. Mixture of 9 and lake on lips. Again these should be fairly well defined. Powder lips and face with sun-tan powder. A black wig, not realistic but decorative might be worn.

The Page

of Herodias. Base of i\ and 9 but keep the 9 down. Blue shadow on eyelids, thick brown line above
lashes with

medium

triangles at outer corners of eyes.

Carmine dot inner eye. Lightly marked eyebrows, and highlight with 2\ if eyes are at all deep-set. Blue shadow under nose and lower lip. Carmine and 9 mixed for lips. The page might wear a blond wig,
again non-realistic. An ingenious designer will be able to make the wigs for this play out of wool for one type, or silk thread for another, such as the page's
wig.
If the

pink powder; powder.

page can have if the wig has

his

to

blond wig, use pale be dark, use a Rachel

Jokanaan.

Strict attention should be paid to Salome's description of the prophet. "His eyes are terrible,"
183

STAGE MAKE-UP
body is "like the snow that lies on the mountains". should be stressed in this instance that Salome says "body", not "clothes", since I recently saw Jokanaan portrayed by a young man clad in a long white garment which flowed in folds from his neck to his toes and covered his arms to below the wrists. The base here is i and any highlighting will have to be done with 20, and wet Rachel for the body. The nose should be highlighted with 20 along the bony line. The eyelids should be shadowed with brown, a thick black line drawn above the lashes, and triangles at outer corners of eyes. A dark line under the lower lashes also. A brown shadow in the corner of each eye, up to the inner corner of the eyebrows, and also underneath the lower lashes. The eyebrows should be well-marked. The cheeks should be hollowed. The player sucks in his cheeks, applies some blue in the deepest part of the resultant hollow, and smooths this out a little. A blue shadow under nose, and lower lip, and under the jaw from ear to ear, to give an emaciated effect. Therefore this player has shadows above and under his eyes, hollowed cheeks and shadowed jaw. Use carmine for lips. White powder. The wig should be black and resemble the writhing serpents to which Salome compares it. It should not be a realistic
his
It

wig.

Herod.

of 5, lake and blue mixed for shadows on and under inner corners of eyes. The player must be rather heavily built, and if he is not middleaged, line with mixed lake and blue to get this effect. Also line and highlight (with 3) to obtain an illusion
eyelids,

Base

of sagging plumpness. Highlight the nose broadly (1$) outline nostrils with lake; this nose should look hooked and predatory. Shadow underneath it with blue, and under lower lip. Check with section in this book on "fat" effects. See that these are right,

and

pay

special

his eyes, also

natural line highlight the fullness here to give a puffy-eyed

to the shadows under under the eye where a appears against the bony socket, and

attention
line

draw a

effect.

Lake

and make no attempt to make these look natural. Make them thick and highly coloured Powder with and drooping at the outer corners.
for lips,
184

ochre.

FUTURE DEVELOPMENTS AND TRAINING

Herodias.
5. Lake and blue mixed for shadows Heavily shadowed eyelids. Dark line above lashes taken out into most exaggerated triangles. Dark line under lower lashes as well. Shadow in corners o eyes up to inner corner of eyebrows. Highlight bags" under eyes with 2|, and draw a line in crescent shape under this. If the player is middle-aged, draw over natural lines and highlight. If the player is young, line and shadow for middle age with lake and blue mixed. Blue shadow under nose and lower lip. The mouth should be large and obviously painted. The eyebrows well marked and exaggerated in length.

Base of

and

lining.

'

The face obviously rouged, and the wig dark, elaborately curled and waved and non-realistic. It should be sprinkled with blue sequins for the "blue dust"
mentioned.

Salome.

The Young Syrian's a silver flower." description of Salome suggests that she is young, pale and slender "like a narcissus". Every Salome I have seen, except Nazimova, who was ideal for the part, looked solid, dark and all too earthy. It is most important that her physique should fulfil the author's intentions.

"Like

Base 2\.

Heavy blue shadows on

If not, a

eyelids.

Artificial eyelashes if possible.

heavy dark

line

and well-marked triangles at outer corners of eyes. Cheek-bones highSlight blue shadow under eyes. lighted with i\, also jaw line unless the player has a
very

well-marked jaw

line.

Blue

shadow

(lightly

applied) under jaw from ear to ear. Mouth large and well-marked in carmine. Eyebrows slender and wellmarked. No colour in cheeks. If possible a silver wig. With this, light pink powder. If a dark wig, Rachel

powder.

The Young Roman.

pletely

This character seems to be comSalome says sometimes. misrepresented "rough and common, "Romans, brutal and coarse" and they give themselves the airs of noble lords". This seems clear enough, and a lily-like young man should not be cast for the part. Base of 3, 9 in cheeks. Blue for eye shadows, dark line above lashes, carmine dot inner eye. Well-marked eyebrows, blue shadow Light under nose and lower lip, carmine on lips. sun-tan powder.
.

185

STAGE MAKE-UP

The Nubian. Typical

The remainder

"black" part, with large exagger-

ated pink lips and a fuzzy wig.

of the cast

may be made up

in line with

their types, but as with those cited, the

make-up must be

exaggerated and not naturalistic.

186

INDEX
E
Age and
lips, 57 beauty, 61

Eastern types, 81
Elizabeth, the Queen,
1 1

colour, 6 1 -63

Exotic types, 81

Amateurs, 22
don'ts for, 27

Eyebrows, 16
thick, 42 Eyes in age, 65

B
Basic make-up, 19, 22 Beards, 72

Beauty, 29 Beautifying hands, 44 Blacking up, 82

Faces, 17, 41 Form and colour, 32

Bone

structure, 3

G
Ghosts, 85

Brutal types, 87

C
Caesar,
1

Glamour, 31 Grease-paints, 15, 20

Gypsies, 82

16

Camera and make-up, 93 Character and personality, 46 Chinese characters, 80

Chins, 44 double, 42, 43 Clowns, 77, 78

H
Hair, 47

Hands, 80
Harlequin, 79
Highlighting, 28, 58

Colour and make-up, 17 Columbine, 80

Comedy
Creative

types, 75
art,

Crepe hair, 98

34

Irish types, 76

D
Death on the
Dramatic
stage,

86

Learning about make-up, 118

Lighting and make-up, 16

Deep-set eyes, 40
effects,

70
187

s-

d.,

49

INDEX

M
Make-up emotion, 25
rehearsal, 24

Receding
55
1

features,

57

Rehearsal, 24

Males, forties to

sixties,

Mary, Queen of Scots, Mongolian eyes, 40 Mouths, large, 42

small, 43 Moustaches, 97

Retouching, 69 Routine of application, 35

N
Natural pallor, 7

for a play, 34 Sculpture and make-up, 47 Shadow make-up, 53, 56 Shrews, 73

Scheme

Sinister characters, 71

Negro

types, 82, 83

Noses, 43, 88, 108, 116

Summary

Skin in old age, 66 of "Don'ts", 27

O
Old lady
parts,

67

Oriental types, 80

Teeth, 88 Temperature and make-up, 106

Time sheets, 23 Topers, 87 Treating skin blemishes, 37

Pantomime
characters,
1

14

Paste make-up, 10

Photographs and make-up, 92 Pierrot make-up, 79 Plastic make-up, 108 Powders, 18

Variety stage make-up, 91

W
Wigs, 96

Problem of the expert, 1 1 Producers and make-up, 26, 30 Prominent eyes, 44

Q
Quick changes, 18

Youth illusion of, 52 on the stage, 17

to age, 62

?92. 02 7
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Stage make-up. main

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