Step 1: A fake torso was created by heating hexalite thermalplastic over a mannequin bust. The bust was prewrapped in plastic wrap to protect it from the adhesive qualities of the hexalite. I created two halves, front and back, then glued the halves together with another strip of hexalite.
Step 2: The fake torso was then covered in a skin of muslin and sculpt-or-coat.
Step 3: We took a rolling chair, removed the back rest and had the scene shop weld a metal tripod frame to that of the chair. The fake torso was then screwed onto the metal tripod frame. The height of the frame was predetermined from the actor's measurements because we needed to simulate the stature of the actor playing the Witch.
Step 4: Some research and development was done with the actor to determine a comfortable position for her to be able to sit inside the structure and still be able to see and move the structure around.
Step 5: A hoop skirt-like understructure was built out of muslin and reinforced with spiral boning. This served two purposes: a way to hide the actor's body inside the structure and support the weight of the costume that would eventually cover the structure. The hoop skirt was open down the front to allow the actor access into the structure. After the actor was inside, it could be secured at the bottom by means of a plastic clip. There was an additional slit built into the left side for the actor to stick her head out.
Step 6: The costume shop built two identical costumes: one for the actor to wear at the top of the show (before she loses her head) and one to cover the fake body.
The production photo shows the moment in the play when the Witch enters after losing her head and proceeds to have a conversation with Hans Christian Anderson.
Step 2: The fake torso was then covered in a skin of muslin and sculpt-or-coat.
Step 3: We took a rolling chair, removed the back rest and had the scene shop weld a metal tripod frame to that of the chair. The fake torso was then screwed onto the metal tripod frame. The height of the frame was predetermined from the actor's measurements because we needed to simulate the stature of the actor playing the Witch.
Step 4: Some research and development was done with the actor to determine a comfortable position for her to be able to sit inside the structure and still be able to see and move the structure around.
Step 5: A hoop skirt-like understructure was built out of muslin and reinforced with spiral boning. This served two purposes: a way to hide the actor's body inside the structure and support the weight of the costume that would eventually cover the structure. The hoop skirt was open down the front to allow the actor access into the structure. After the actor was inside, it could be secured at the bottom by means of a plastic clip. There was an additional slit built into the left side for the actor to stick her head out.
Step 6: The costume shop built two identical costumes: one for the actor to wear at the top of the show (before she loses her head) and one to cover the fake body.
The production photo shows the moment in the play when the Witch enters after losing her head and proceeds to have a conversation with Hans Christian Anderson.
