Go behind the scenes at CMT’s ‘Shrek’ as an ogre is born — and a hard-working backstage staff keeps everything running smoothly
It’s Saturday night on the first weekend of the Children’s Musical Theaterworks (CMT)’s rendition of “Shrek: The Musical.” The second show of the day is about to start in 90 minutes. Come along with TMR intern Rachel Yepremian-Owens as she unveils what it’s like to be backstage as the complicated show counts down to curtain.
One performance remains (2 p.m. Sunday, Dec. 14). Go ahead: Count the number of costumes and ogle that ogre-green makeup. You’ll be impressed.
VISUALS AND TEXT BY RACHEL YEPREMIAN-OWENS
It’s 6 p.m.
I walk into the backstage area of the auditorium and see actors – a lot of actors. I was under the impression that Shrek, played by Randy Kohlruss, who is also the artistic director of CMT, would start his makeup process at this time, assuming he had the biggest transformation to experience.
However, there’s some other business to take care of first.
Following director Brittney Martorana, I walk around backstage, observing all of the really huge props the team was able to build in order to best tell the story of Shrek, the place he lived, the adventures he went on and the things he was able to see. I stand aside as more and more actors continue to pile into the auditorium. They are in comfortable clothes: some in pajamas, others wrapped up like burritos in blankets.
Martorana explains to me that in a few minutes she is going to take this time to smooth out some wrinkles that the production experienced in the earlier Saturday matinee, and that I can watch the process.
It’s 6:15 p.m.
All of the actors are on stage getting ready to block the famous wedding scene between Fiona and Lord Farquaad. Except where are they?
Fiona (Emma Raymond) and Lord Farquaad (Michael Seitz) are actually getting their makeup done and are OK to miss out on this scene’s work-through as they had to keep the makeup show on the road.
I follow the word “makeup” all the way into the actual makeup room and discover that Fiona is doing Lord Farquaad’s makeup. That’s a sentence I never thought I’d write.
Raymond, who is engaged to Kohlruss, has been with CMT as the head of makeup for a while now and is also the head of makeup, hair and costuming for the entire school district of Madera. Growing up, she developed a strong love for makeup design, watching videos of people’s complete transformations through the power of the art. She has experimented and grown her skillset in all three areas for several years now, in some cases in charge of over 80 actors all by herself.
“No one can quite do it like Emma…I’ve yet to find a show where I’ve really stumped her,” Kohlruss says.
Her fiancé is not the only one who wants to give Raymond flowers.
“Whenever my makeup can be done by Emma, I’m just so happy and looking forward to it,” says RJ Kent, who plays the role of Donkey. “When I got the role of Donkey and I saw that Emma would be doing makeup, I was just so excited.”
It’s 6:28 p.m.
Martorana calls for all actors to head to the “house,” or the main section of the auditorium, for a cast meeting. However, Farquaad and Fiona are still excused.
The costume team is actually going back and forth between the makeup room and the costume room, trying to test out some added velcro to keep Farquaad’s cape attached to his shoes as much as possible.
As most know, Lord Farquaad is a short fellow. Seitz spends about 30-45 minutes throughout the duration of the musical on his knees, only actually standing up when executing the concept of Farquaad jumping or being lifted.
Seitz’s costume consists of knee pads that are actually frequently used by tilers. A lot of productions are known to use these specific types of knee pads. They have thick foam, which helps Seitz not experience any strain on his knees. He also wears steel toe shoes.
“It has been a work, but we’ve gotten it there and it’s a lot of fun,” Seitz said. “I love the illusion of it. I said from the get go, ‘I want to test the limits of those knee pads.’”
It’s 6:45 p.m.
Lord Farquaad is now finished getting his makeup done. Time for Donkey. I’m able to chat with him about his experience with CMT so far, and he has nothing but nice things to say about Kohlruss and Raymond.
“I’ve loved the dynamic that has grown because of the show, especially because they’re both super inspiring to me and I look up to them so much,” Kent said. “It’s just become such a comfortable presence with CMT that I have. I started so late, but I’m really excited to continue with CMT, working wise, because I know that it’s been a great, great experience.”
Kent started with CMT last year, but is already approaching the time to age out. This being said, he wants to continue in the technical and backstage elements of CMT shows.
For CMT’s normal shows, the age limit is 21 years old. However, every few years they put on all-age shows, such as “Shrek,” where all ages can participate.
It’s 6:56 p.m.
This is where things are starting to get a little more fast-paced. We’re approaching 7 p.m. and Donkey just finished his makeup. It’s finally Shrek’s turn.
Just to remind you again: Raymond is the only person doing everyone’s makeup – and also dealing with wigs and other needs as well.
While I’m backstage, 90% of what I hear is, “Emma! Emma! Emma!” or “Mama!” (Kohlruss and Raymond’s 4-year-old son is also playing a small role in the show.)
Kohlruss mentions CMT is very family oriented. There are a lot of cast members related to each other playing different roles in the show or part of the backstage crew.
Finally it’s time for the big transformation. You know what it means when it’s time for Shrek: Green. Lime green.
Kohlruss starts by putting on a bald head mask that leaves the main features of his face showing, and covering down all the way to his neck. This mask has the little Shrek ears attached.
Raymond attaches the big nose to Kohlruss. He tells me it’s very uncomfortable because of the moisture that gets trapped inside, which starts dripping down his face as the show proceeds.
Raymond whips out the green paint and goes to town, painting all of Kohlruss’ face, slowly transforming him into the famous ogre everyone loves.
It’s 7:05 p.m.
I turn to my left and see Farquaad getting his wig combed out by, like, three different people all at once. Definitely very Farquaad.
It’s 7:20 p.m.
Big Shrek is finally done. I think everyone is done. Phew. Wrong.
Little Shrek still needs his makeup done. I’m looking at everyone who doesn’t seem to be stressed out at all, thinking, “Is curtain not in 10 minutes??”
Kudos to them because I’d be freaking out.
While Little Shrek is getting his makeup done, I follow Big Shrek over to the costume room, right across the way from makeup.
Kohlruss had already partially put on his fat suit before makeup, but he gets help putting his Shrek clothes on, and also the oversized Shrek hands.
I ask Kohlruss what the most uncomfortable part of his costume is.
“It’s the hands because it’s hard to do anything,” Kohlruss says. “It’s really hard to handle any of the props, which are also oversized…It brings a new level of authenticity to the role, for sure.”
As the getting-ready process is coming to an end, I am able to talk a bit with the awesome costume ladies, Nikki Rhodes and Heather Wiest.
“We want all costumes and pieces to be like an extension of who they are, as that character on stage,” Wiest said.
Wiest is Rhodes’ assistant. Together, they work tirelessly a full six weeks before rehearsals for shows even start, throughout the rehearsal process and are still working on costumes while the show is being performed.
In case clothing rips, a button falls off or something detaches, they’re there to tackle whatever it may be.
“If you don’t have everything done to portray and draw the audience into the world that you want them in, then costuming has broken the magic,” Wiest says.
Rhodes tells me that for this show, there are a total of between 50 and 60 actors, and she and Wiest created a total of about 150 costumes. They create primarily all new costumes for every different show CMT does. I am in awe.
It’s 7:34 p.m.
Places!”
Just the word I’m waiting for. Let the magic begin.
