Theatre Design & Technology - Spring 2010 - 51

photo by harlan taylor

Figure 4. Adaptations of the prosthesis for the 2009
production. The color was changed, more hair was added
to the top and face, and the nose was reshaped. Below, The
Monster (York Walker) prepares to bite Mina (Natalie Allen).
Note Mina's wig, one of the few non-gruesome pieces.

Alterations n
The design for the 2008 incarnation of The Monster (figs. 2
and 3) emphasizes the ghoulish, rotting skin. Figure 4 is from
the 2009 production in which I tried to nudge The Monster
closer to his man/animal nature and farther from the "undead"
look by using heavier brows, more hair on the face and cheeks,
and a slimmer nose. The colors of the prosthesis in 2009 also
changed to match the dark skin tones of the actor, York Walker.
The makeup colors changed accordingly with a heavy stippling
of red and green, with yellow for highlights. The 2010 monster
will undoubtedly have a few modifications, but probably will not
undergo significant redesign.

Devilish Crones n

Using danny's life cast, I sculpted a brutish, Neanderthal
forehead that tapered into a snarling nose (fig. 2). liquid latex,
instead of foam latex, was used for this project. Then, additional latex was layered on to create the look of waxy, putrid
flesh, after which permanent markers were used to add color,
texture, and dimension. The colors-greens, blues, and reds
to play up the monster's ghoulish pallor-were influenced by
lighting designer Tony Penna's use of deeply saturated blues.
At this point, I had a workable latex mask that covered the
entire upper head, forehead, brows, and temples. Attached to
this was a prosthetic nose and flexible cheek pieces that could
be glued down quickly. These cheek pieces were actually the
primary anchoring point for the prosthesis, since gluing to the
actor's cheekbones allowed flexibility in his lower face, as well
as clear peripheral vision. All that was missing was the lupine
mane and eyebrows.
The hair was relatively simple. A three-quarter cap wig
was built using long, crinkly black hair, leaving the front edge
empty so it could be bonded to the face piece with liquid latex.
Once the latex had cured, hair was punched through the seam
to cover the joint. The Monster now had a natural, albeit grotesquely receded, hair line as seen in figure 2. The same hair
was used in the brow area.
The final steps were to fit the prosthesis on the actor and
figure out what makeup to use to conceal the edge of the mask.
In order for the makeup to read, given the lighting design, the
makeup colors needed to be high-contrast and cool pigmented.
The goal was twofold-to obscure the edges of the prosthesis
and to add grisly texture to the actor's otherwise smooth and
healthy skin. After several experiments, the best results were
achieved with a heavy stippling of greens and blues with additional contour stippling in a neutral grey to hollow out the
cheeks and enhance the wolfish shape of the nasal area.

Though The Monster is a significant piece to create, it is not the
only work in the show. The Count has a harem of devilish crones
in addition to his monstrous alter ego. These three vampiresses,
the so-called brides of dracula, needed to have grotesque features as well, but also be sensual and feminine. And, because the
three brides were played by actors in other roles, their special
effects makeup needed to be pieces that could be put on and
removed quickly. This limited the options to a mask.

Figure 5. Preliminary
sketch for redesign of
vampiress mask and wig
for 2010 production.

The quick changes prevented the use of any
makeup for these characters, so the masks were
matched to the actor's skin tones and color was
used to create accents, shading, and features
such as veins.
S P R I N G

2010

theatre

design

&

technology

49



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2010

Contents
Theatre Design & Technology - Spring 2010 - 1
Theatre Design & Technology - Spring 2010 - 2
Theatre Design & Technology - Spring 2010 - 3
Theatre Design & Technology - Spring 2010 - Contents
Theatre Design & Technology - Spring 2010 - 5
Theatre Design & Technology - Spring 2010 - 6
Theatre Design & Technology - Spring 2010 - 7
Theatre Design & Technology - Spring 2010 - 8
Theatre Design & Technology - Spring 2010 - 9
Theatre Design & Technology - Spring 2010 - 10
Theatre Design & Technology - Spring 2010 - 11
Theatre Design & Technology - Spring 2010 - 12
Theatre Design & Technology - Spring 2010 - 13
Theatre Design & Technology - Spring 2010 - 14
Theatre Design & Technology - Spring 2010 - 15
Theatre Design & Technology - Spring 2010 - 16
Theatre Design & Technology - Spring 2010 - 17
Theatre Design & Technology - Spring 2010 - 18
Theatre Design & Technology - Spring 2010 - 19
Theatre Design & Technology - Spring 2010 - 20
Theatre Design & Technology - Spring 2010 - 21
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Theatre Design & Technology - Spring 2010 - 26
Theatre Design & Technology - Spring 2010 - 27
Theatre Design & Technology - Spring 2010 - 28
Theatre Design & Technology - Spring 2010 - 29
Theatre Design & Technology - Spring 2010 - 30
Theatre Design & Technology - Spring 2010 - 31
Theatre Design & Technology - Spring 2010 - 32
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Theatre Design & Technology - Spring 2010 - 35
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Theatre Design & Technology - Spring 2010 - 37
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Theatre Design & Technology - Spring 2010 - 49
Theatre Design & Technology - Spring 2010 - 50
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Theatre Design & Technology - Spring 2010 - 65
Theatre Design & Technology - Spring 2010 - 66
Theatre Design & Technology - Spring 2010 - 67
Theatre Design & Technology - Spring 2010 - 68
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com