Funworld May 2008

Dressing Them Up, Making Them Over

by Marion Hixon

Industry experts weigh in on the latest in show makeup and costume design

Zombies, Captain Jack Sparrow, and cowboys from “Dixie Stampede” all have a few things in common— they’re fitted, painted, and dressed in detail by meticulous makeup and costume managers working behind the curtains at parks all over the world. One reason guests can focus on a production’s storyline and grand theatrics is because these artists and designers are busy focusing on everything from how makeup will appear under lights to a costume’s ability to bend and flex with a performer.“The entire process of bringing an animated or liveaction character to life in the parks is a unique experience,” says Darlene Kennedy, manager of costume and cosmetology administration at Walt Disney World. “We don’t have the luxury of creating the character from scratch. Our job is to determine how to re-create a character from the screen, stage, or book for our parks.” Being located in the humid Florida climate, Kennedy knows how to carefully select showand parademakeup: “We choose highly pigmented colors and generally stay away from water-based products.” The cosmetology team also prepares the skin with buffer and shielding products so it’s not stained.

Both small and large attractions, no matter their budgets, must consider costume and makeup when producing a show. Crealy Great Adventure Parks in Devon and Cornwall, England, put on smaller-scale shows, but professionalism is still of utmost importance in their productions, says Paul Murphy, the park’s entertainment manager. “Makeup and costumes are very important no matter howsmall your production,” he says. “It’s a large part of the show, whether you’re creating an evil pirate captain or a cute little cat.”His wife, Charlene, has taken a keen interest in makeup artistry while acting as show coordinator, and both endorse glitter powders to make a big impact during production. “We use them on all our female cast members for our ‘Pirate Show,’ as well as using them on children during face-painting sessions— little girls just love the sparkle!”

When October rolls around, Crealy’s entertainment team will step up their makeup efforts to create life like scares.

“Halloween wouldn’t be the same without makeup,” says Murphy. “It’s our favorite time for advanced makeup because there’s the addition of latex to create scars and open wounds, as well as lots of blood!”

Scary Scars and Gorgeous Gore
Two people who know a bit about Halloween productions are Bill Mier and Tim Barham, makeup and wardrobe managers, respectively, at Knott’s Berry Farm in California. Both are responsible for the costumes and makeup adorning the 1,000 creepy monsters roaming Knott’s Scary Farm’s “Halloween Haunt” each year.

To get the perfect level of scare, artists must experiment with the adhesives for foam latex prosthetics used on performers during Halloweekends. “We’re discovering new adhesives that are stronger or gentler to the face, depending on that performer’s needs,” Barham says. Different performers require different makeup types, they add, as some may sweat more than others or react differently to certain products.

Since applied makeup needs to last throughout the entire evening, durability is of utmost importance when choosing a product. While Knott’s Berry Farm provides a full range of supplies, the artists still scour supply stores during the year to find products to complement their makeup. “Imagine them bragging about finding the perfect plastic ants or rubber worms,” Mier says, reminiscing.

Mier and Barham work hard to make their different shows, scare zones, and mazes stand apart so visitors have unique experiences. To do this, their artists and designers need to apply minimal but specific boundaries to their art. While they have freedom in their creations, certain aspects are important—like the green tint of a witch’s face matching a zombie’s green skin tone. “Artists need to understand all of the characters in a certain maze need to look like they come from the same world,” Mier says. “It’s a matter of being given a set of rules and making the most of them, rather than feeling limited by them.”

The two managers speak highly of their entertainment team and say its reliability is especially important considering the high volume of nights the attraction runs. For this reason, they look for artists with wellrounded backgrounds and abilities. “Every year I get sent resumes with many photos of the same style,” Barham says. “The more valuable employee is one who is able to handle any character they’re assigned, rather than only specializing in blood and gore.”

Dressing for Success
Blood and gore aside, other largescale production venues, such as Dollywood in Tennessee, depend largely on their entertainment teams as well, as they put on up to seven shows each day. “As much as the stage set, costumes are a critical part of the visual landscape of any show,” says Paul Couch, the park’s director of entertainment. “They contribute as much to the style of a show as any other element of the production.” After experiencing the magnitude of shows like “Babes in Toyland” and the “Dixie Stampede,” Couch has learned the importance of costuming and brought several top designers to his team, whom he says are not only talented, but also educated on stage-craft.

One thing these designers must consider when sending those elaborate outfits on stage is how entertainers’ movements affect clothing durability. “Actors, dancers, and acrobats all have different needs,” Couch says, “and a good designer knows how to design and build costumes to account for the full range of movement so the look holds up throughout the performance.” He suggests aspiring costume designers experience as many types of performances possible, so they can familiarize themselves with the needs of certain types of shows.

“It is better to have fewer costumes of high quality and added detail than more costumes that reflect a poorer quality,” adds Marilyn Gespardo Bertch, costume manager at Busch Gardens Africa in Tampa, Florida. Bertch knows a thing or two about challenging costume situations, having contributed to a multitude of outfits for shows involving animals. “I’ve learned how to create a snake charmer costume so that a Ball Python doesn’t get entangled in the trim and I’ve had the pleasure of working with animal trainers at SeaWorld San Diego to solve the logistics of a mermaid costume,” she says. “Who wouldn’t love challenges like that?”

Bertch’s enthusiasm for the profession comes with experience and learned lessons on simplifying the process when possible. “Our original makeup plots for ‘HowlOScream’ featured very intricate designs, but we realized the lighting was so low, we could simplify the makeup designs and achieve the same effect,” she says, adding the same logic can be applied to costumes. “If they’re only going to be seen from the shoulders up, use generic bottom wear and spandex backs.”

Each show or performance is specialized and requires different talents—one might require a bit of snake charming; another, the perfect application of rubber ants to the skin; or maybe it’s the flexible fabric that allows performers to dance, spin, and fly across the stage. But the similarities on each makeup or costume team come in the passion they have for their work. Audience members can sense it, says Bertch: “Never underestimate the intelligence and savvy of your audience. They notice quality and appreciate it.”