Alyssa Hagerbrant sits outside the JKB Costume Shop. Photo: Gabe Cohn
In advance of Hecuba‘s Friday night premiere, Staff Writer Nina Slowinski ’19 spoke with Makeup/Hair Designer Alyssa Hagerbrant ’16, who began work on Hecuba immediately after finishing up makeup design for The Last Days of Judas Iscariot last month.
How did you get into makeup?
Freshman year, I signed up for Theater Company and I decided that being on the wardrobe crew sounded like it would be the least time consuming—which was totally wrong! And the costume/makeup and hair designer then was really swamped so she let us do a little bit of the designing process with her, which was my favorite. After that she taught me how to do it, so when she graduated she handed me the reigns.
What has been the biggest challenge in transitioning between The Last Days of Judas Iscariot and Hecuba?
The detail in the makeup is very different in the Mainstage, especially with any sort of special effects. But honestly, the biggest challenge this semester has been time. When I was finishing up with Judas, they were finalizing some major decisions for Hecuba. I was trying to keep on top of everything.
How do you prepare?
I meet with the director and find the larger themes of the show, then I make sure that my makeup designs fold into them. Lighting designs come in a bit later. It’s one thing to describe a lighting design and another thing to see it, especially with makeup. Someone’s makeup color or placement on the face can change drastically once the lighting comes in.
Once you meet with the other designers, how do you start your research?
I watch a lot of movies that are set in the time period. As long as you give me a time period, I can go on the web and find countless sources of information about the makeup and visuals of the time period. Like, what certain elements meant about someone’s personality—there are a lot of small details that people nowadays wouldn’t really think impact a story line or a character arc.
Makeup is so subtle, and yet that’s how it’s so effective. How do you strike that balance?
That’s something I deal with every show—how to balance something to be visible to the last row in the audience, but still look realistic to the person in the front row. It has to do with something called “blending application.” Every crew member has to be well-educated about how to make that effect. It’s very technical. You have to draw distinct lines, but blend them seamlessly. The only way to know if you’re doing a good job is to sit in the back row of an audience.
What do you love most about makeup?
I love the ability to transform a twenty-something into someone they couldn’t even imagine looking like.
Is there anything you would to tell people to look for in Hecuba?
Look for colors. Colors are going to be a big part of the visuals in this production—how colors play into family unity and how tribal patterns portray their allegiance.
How do you identify with the actors and find the right look for their characters?
It’s a lot of talking. I like to talk to the actors. A lot of the times I have to decide: Is the makeup going to help perpetuate a quality of the character or is that an acting decision? I feel like I could write dissertations after each show based on the reason behind why I chose this color or that placement. A lot of theory goes into makeup.
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HECUBA premieres on the JKB Mainstage Friday, April 8th, with performances running through April 17th. For ticketing information, click HERE.
Nina Slowinski is a first-year and a staff writer for the Living Newsletter.
This conversation has been edited and condensed.