Wigs, hair and make-up artist Helen Casey on the hullabaloo, starting from scratch each day and her upcoming book with the National Theatre, Wigs, Hair and Make-up: A Backstage Guide.
Could you introduce yourself and the book?
I’m Helen, a hair and make-up artist and educator. I’ve been working in theatre for over 20 years. I have a particular interest in historical hair dressing and hair within the context of visual culture.
This book is an introduction to the skills and techniques used by professional make-up artists and has a particular emphasis on the profession in a theatrical context. I’ve drawn on my own experiences, both good and bad, to try and give the reader a well-rounded understanding of what working in the industry is like. I have also interviewed some amazing artists from the worlds of theatre design and performance to get their insight into how hair and make-up can be used to support a theatre production.
How did you first get into wigs, hair and make-up?
My mother was in an amateur dramatics group when I was a child. I remember her taking me to the local fancy dress shop to buy her grease paint stage make-up and thinking how magical it all looked. It took me a long time to realise that you could make a living putting on grease paint, but I think that’s where it started.
What’s your first memory of theatre?
My first and only on-stage performance was as a rat in Dick Whittington, aged four. I took it upon myself to perform an impromptu solo dance, which was very well received. Thinking I had peaked with that performance, I decided I’d better stick to working backstage.
What’s the best piece of advice you’ve ever received? What’s the worst?
The best piece of advice for working in a long-running production was, ‘we may have all seen this a hundred times, but it’s the first time for the audience, so it should look perfect every night’.
I can’t think of any bad advice, but I have tried to follow the examples of the people I have looked up to throughout my career, and steer away from anyone less helpful.
Any top tips for those looking to get into wigs, hair and make-up?
The work is predominantly hair skills, if you want to work in theatre, learn how to work with hair of all types. There are good introductory courses out there and lots of practice is the key.
What would you tell your 16-year-old self?
Don’t be afraid to follow your interests. There are a lot of job opportunities that will open up just from being kind and interested in other people.
Where do you draw inspiration from?
In theatrical work, it’s always important to be inspired by the script and the characters. The design process is a collaborative one, but engaging with the source material is an important first step. I am also a historical hair magpie – I can never visit a museum or exhibition without coming out with a stack of postcards.
What’s the most difficult effect you’ve ever created?
Different effects for different reasons. Some are technically challenging, like Danny Boyle’s Frankenstein. Some are more emotionally challenging; if the performer has a difficult story to tell, it’s our job to create aesthetics that help support that performer. Performers put themselves in heightened states on stage, so it has to be right for them every night. That’s the great thing about the job, each production is difficult in its own way.
Do you have a favourite wig, or style of wig?
My favourite style is called the hullabaloo. A fun, curly, ringlet-y look from the 17th century, a big hit at the court of Charles II. It just sounds like a party girl hair style!
What character would you love to create the hair and make-up look for?
I always thought the Three Witches/Weird Sisters from Macbeth would be a lot of fun to create. They have these huge, iconic scenes and you could play around a lot with femininity and what witches stand for. Also, there’s three of them, so there’s scope for some interesting juxtaposition.
What is your least favourite part of making a wig or an effect?
When using wigs and make-up for a performance, you have to start from scratch every day. Your work gets washed off or brushed out each night. In some ways this can feel disheartening, but if, like me, you love dressing wigs, the next day is just a chance to do what you love again.
Is there an era of history you take particular inspiration from in your work?
As a former archaeology student, I love nothing more than a trip to the Egyptology department at the British Museum. However, recently I have been really interested in the new developments in Artificial Intelligence design. Some of the concept art being made is truly beautiful and I think can only serve to move the industry forward creatively.
Is there anything else you’d like us to know about you or the book?
I hope this book encourages people to be creative with hair and make-up, whether you are an aspiring professional or a member of a theatre company. There are lots of accessible, affordable ways to use hair and make-up to enhance performance. Don’t be afraid to try out ideas, you might just create something wonderful.
Wigs, Hair and Make-up: A Backstage Guide (published by Methuen) is available to buy now from the National Theatre Bookshop along with Playwriting: A Backstage Guide.