Welcome Backstage - Piazza Makeup

by Kristen Leinbach, Dramaturg [caption id="attachment_1972" align="aligncenter" width="212"]

Makeup and hairstyle inspirations[/caption] As our rehearsals and production process get well underway, we are ecstatic to begin seeing all of our ideas come together. At each production meeting for the show we spend time discussing design and production ideas such as costumes, the set, the lighting, the sound, the makeup and the props. Our main focus is on finding a way to bring 1953 Florence, Italy to life on our stage and for ourl audience.

For this blog post I would like to welcome you back stage to our production meetings and introduce you to concept ideas from our makeup designers. The makeup designers for The Light in the Piazza are Mary Beth Bosen and Allyson Thaxton, both students here at BYU studying Theatre Education and Theatre Arts Studies respectively. When talking with Mary about their makeup designs, she sent me the following: "Ahhh hair and makeup…what a wonderful thing! For this show, our main goal for the hairs and makeup is to visually support and texturize the 1950’s Technicolor world that Scott, our director, has established. The nature of the piece as well as our director’s concept got us thinking about ways that we could draw visual parallels to the looks of 1950’s film stars-both of America and Italy-who’s style and personalities have shaped so much of the images we associate with the time period today.

In the phases of our designs, Allyson and I been working on blending iconic silhouettes, shapes, and colors that made up popular fashion (for hair and makeup) to support the personality, lifestyle, and just overall vibe that each character gives off. [caption id="attachment_1973" align="alignright" width="147"]

Inspiration photo[/caption] For our particular production we have some unique challenges and opportunities especially in terms of hair design on a Period piece like this one. We’ve been asked to use as much of the actors’ hair as we possibly instead of wigging them up! This sounds easy enough, but considering that 50’s hairstyles were much shorter (and more elaborate) than those we sport today, this means that we have the splendid opportunity to do a lot of researching and a lot of experimenting to create pretty designs that suggest the time period as well as being functional, do-able, and maintain-able on real heads of hair! As far as the female cast members are concerned, there may be a few hair trims, but largely we will be adapting and applying period hairstyles to their current hair length. Thank goodness for bobby pins and hairspray! Oh, and a few men in our show get to grow their own moustaches in order to fit the 1950's look we are creating!"

Keep checking back as I will be updating once a week regarding further production concepts as well as blocking and staging as we continue to create the world of The Light in the Piazza.

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by Jessa Cunningham, dramaturg After the show wrapped up and people went their separate ways, Garret Rushforth, who played Wilbur, and I chatted and I asked him some questions about his experience with the play. What better way to gain insight about the show than from the actor who was in the thick of things from the very beginning? Here is what Garret had to say about this unique opportunity: Me: How was this experience of playing Wilbur? What was your Favorite aspect of it all? Garret: I loved playing Wilbur. My favorite aspect was discovering the character more and more each performance. I never really felt that I had learned all that the character had to offer. Me: What were some challenges that you faced while preparing for the show? Garret: A few of the challenges that I faced had to do primarily with transportation. My car tried to die a couple of times during the run. As far as developing the show goes, I found that the difficulties were mostly in finding the lines. Not simply reciting them, but discovering what was beneath them, motivating them and making them come to life. Me: What lessons have you learned from playing this part, or just from the play in general? Garret: I've learned that there is an amazing opportunity to find out about yourself from the character discovery process. I also learned how much a family the cast can become if given the opportunity. Me: What is your favorite part of this story? Garret: I love when Wilbur and Charlotte talk about Charlotte's death and Wilbur is so devastated. It showed how deep Wilbur's reliance on Charlotte was as well as his desire to help her too. Me: As you leave this production, what will stay with you? Garret: The friendships I've made and the things that I've learned about myself because of the show. Me: What aspects of your character did you love/latch onto from the beginning? Garret: I latched onto the loneliness aspect of Wilbur's life. For all his life, he'd not been given much of a chance, Fern and Charlotte being the exceptions. He was written off by nearly everyone until Charlotte pointed out how special he is. Me: Any final thoughts you would like to share with those who came to the show? Garret: Charlotte's a web was a show that offered a unique view of friendship and family. It doesn't matter what someone looks like or where they're from, friendship and family can transcend all differences.

Welcome Backstage - Piazza Makeup

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