Transformations

A number of people have asked me how I get so many different looks for my enactments, so I will “tell all.” I usually start with the costume; most often, it’s something I already own. I might buy a few items, but not much.  Fortunately, I’ve collected a few wigs over time, often finding them at the Good Will store right after Halloween. My finds were in original packaging and haven’t been worn.

Then I proceed to the shoes.  The actress Lynn Redgrave once said that when she knew the kind of shoes her character wore, she had the essence of the personality. I keep this in mind.

For Beatrix Potter I chose clogs.  She wore wooden ones around the farm, and mine are not that, but clogs nonetheless.  For her outfit, I settled on a long grey suit with a cameo and a big straw hat. I do an English accent too.

For Tilly Olsen, the best choice was bedroom slippers and a cotton house dress with a baggy cardigan, a choppy beige wig and almost no make-up. I do a slightly Yiddish accent for her.

Bertha Palmer, who was wealthy, needed a more elegant look, so I chose a wine-colored long gown and pumps, a little fur cape and lots of jewelry, including a small tiara and a silver wig. For her I do a Southern drawl.

Betty Friedan got an old pair of my leather pumps, a Chanel-style dark suit and some adjustments to her face.  That included a cotton ball that I split in two and stuffed into my jowls and a pinch of cotton stuffed into each nostril.  Betty knew she wasn’t one of the pretty girls, but she was smart and concentrated on that. For her I do no accent, but have to lower the pitch of my voice.

Amy Tan was the most challenging for me because I have flat cheeks and she had those great high cheekbones. I did find a beautiful red, silk jacket and a black wig that helped. I also focused on the make-up, tilting my eyeliner upwards and using a bright red lipstick, her favorite. My goal was to create an Asian flair, even if it wasn’t a good facsimile of Amy Tan.