CROWNS: Makeup and Special Effects Department.

All makeup design has been done by Kate Spencer.

Make up and special effects adds another layer of visual elements to a production. As a make up and special effects designer, one has to think of varying factors to do with the cast, involving how the make up will react with one's skin as well as how much make up the cast needs for all shows that they are performing in their season. To work on this department one has to have an experienced mind in terms of make up as well as creativity and inventiveness. All ideas from the make up designer are unique to that make up designer. As well as this, all make up and special effects that are pitched to the director must be approved by that same director, and adhered to the theme of the show as well as the unifying image of the show.

The image of Geoffrey Rush as King Lear from the Sydney Theatre Company. (Dir. Neil Armfield, 2015).

As part of the recent production meetings Kate has have established a clear direction and pathway that she would indeed like to take with Make up and Special Effects for the our production of CROWNS.After having discussions with creative designers in the Annexe theatre she has been inspired by a recent photo of Geoffrey Rush who was King Lear in a recent Sydney Theatre Company Production.The promotional material for King Lear, which was directed by Neil Armfield, shows an undressed Rush dusted in white make-up and wearing a crown of twigs.Upton said the image was meant to convey the vulnerability of Rush's character: "There's a sense that when he goes to Dover, having gone mad on the heath, that he has in some way been stripped down and reduced to the garland crown.
This inspiration therefore has been pitched and further discussed in production meetings. As a team we have discussed the idea of ‘stripping back’ the actor and allowing the character’s objectives, physicalisation and stage present to steal the show. The use of white also allows for a neutral base as when power strikes it revolves more around the crown than the actual external figure. This therefore has allowed me to play with ingredients and such to paint the characters faces white. Alongside the base of white in clothing and layering upon that which I will closely work with costume on. Although the use of selected colours for the different families within the production is also something that I will further develop. The use of simple symbols, coloured eye shadows, penciled figures on faces or the simple use of lipstick may help with identification and royalty within the play. Use of eye-liner or make up that can deteriorate over time is something that I am most definitely interested in.

I believe having the characters hands free of any paint or base, may add a different dynamic and be a focal point for the actors. As visually the hand show how parts of the characters are stripped back to their bare background and their naked selves. The bare hands/non- painted would also be something common within the group and actors especially when killing those that are due to face death. Colours for Families and royalty groups:Titus – Orange – Fiery – Whether that’s painted nails, hair or a flame symbol on face. Macbeth – Green – whether that’s hair, scarf, dress, lipstick or amour. Hamlet – Light Blue – see above Lear – Purple – aging, bruising Richard – Pink – hairspray.