Isabelle Basham is hand-crafting masks for The Comedy of Errors — and learning as she goes.
When Colorado Mesa University theatre student Isabelle Basham took on the role of mask designer for the Department of Theatre Arts' upcoming production of The Comedy of Errors, she knew she was stepping into unfamiliar territory. She had sculpted before, but this process — building custom masks from scratch for a full theatrical production — was something entirely new.
"I hadn’t tried it before, but it sounded super intriguing and interesting," Basham said. "I always want to push myself into learning different aspects and trying new things, because you never truly know what your niche is until you try it."
The process, it turns out, is more intricate than it might seem. It begins with the actors themselves. Basham applies greased plaster strips directly to each actor's face, building up two to three layers to create a sturdy mold. Within minutes, the plaster dries and lifts away, leaving a base that fits each performer like a second skin.
"It's kind of fun for them because it is made specifically for them," she said.
From there, Basham moves into the sculpting phase, adding clay to the plaster base to shape the contours, bone structure and features of each character's face. Working from renderings she developed in collaboration with the director and costume designer, she has the freedom to exaggerate brows, reshape noses and dramatically alter how a character reads from the audience.
"The possibilities are endless," she said. "You can truly play around with what you want."
The aesthetic direction draws from two theatrical traditions: ancient Greek theater and Commedia dell'arte, both of which used masks to convey character from a distance. Rather than the bold, decorative look of masquerade masks, Basham is aiming for something more grounded — masks that read as skin, with naturalistic coloring but exaggerated facial features. Some characters may feature bolder makeup choices, but the overall goal is a look that feels like an extension of the actor rather than a costume placed on top of one.
Painting comes last, and Basham approaches it the way a makeup designer would approach a face under stage lights — layering shadows and highlights in exaggerated ways so that expression and dimension carry all the way to the back row.
In all, in the space of six weeks, Basham is creating twenty masks and several head dresses, including one giant mask you have to see to believe.
For Basham, this project is the latest in a growing list of design credits at CMU. She served as hair and makeup designer on Tartuffe, wig stylist on The Marriage of Bette and Boo, and costume designer on Knives in Hens. She also served as assistant costume designer on Urinetown and is currently set to co-design costumes for the department's upcoming production of Into the Woods alongside fellow student Ella Joseph.
“As a teacher, one of the greatest joys is watching a student designer bring an idea to life that I never could have imagined myself,” said Associate Professor of Theatre Jill Van Brussel. “Isabelle embraced an entirely new design challenge, experimented fearlessly and is creating something that feels exactly right for the production. I've had the privilege of watching her process unfold from rough concepts to realized pieces, and even in their unfinished state, the work has already inspired the actors during rehearsals. Her creativity, resourcefulness, and dedication are truly impressive, and I can't wait to see the finished result.”
The Comedy of Errors opens runs October 1-3 at the Asteria Theatre. Tickets are available at CMUstages.com/tickets.