RICHARD WALKER / RWALKER@STARBULLETIN.COM
At the Hawaii Opera Theatre offices, volunteers from left, Shannan Sato, Joann Takushi and Sara Nishida are reflected in a mirror, practicing makeup application to prepare for the 2003 opera season which begins Friday with "Eugene Onegin.
Unsung heroes The dramatic stage makeup, hairstyles and costumes are a few things the opera could not do without. Another must-have is a corps of eager volunteers, who, without fancy titles, nevertheless help put the magic into productions each year.
The Hawaii Opera Theatre
couldn’t go on without a corps
of enthusiastic volunteers helping outBy Nancy Arcayna
narcayna@starbulletin.comNearly 300 volunteers are needed to assist Hawaii Opera Theatre each season, whether as costumers, stagehands, security, music readers, chorus members or extras, according to production coordinator Beth Crumrine.
Their handiwork will be evident when the season opens with "Eugene Onegin," 8 p.m. Friday at the Blaisdell Concert Hall.
The department for wigs and makeup alone requires up to 65 volunteers. Richard Stead, the wig master for HOT, conducts workshops that teach volunteers the basics of makeup application. Besides his assistant Mahina, volunteers form his crew.
"I wanted to be in the theater since I was 5," said Stead. "At first, I figured I would be a director. I was a pretty good actor, but I wasn't real good at singing or dancing."
His path changed after taking a makeup class. He also started studying with wig masters abroad and has been in the field for the past 45 years.
RICHARD WALKER / RWALKER@STARBULLETIN.COM
Shannan Sato listens to suggestions from wigmaster Richard Stead. Sato's practice mannequin is Joann Takushi.
"I've done a fair amount of movies, usually a movie each year because there is a lot of money to be made," said Stead.
His first movie was "American Graffiti," and the last was "Star Trek 6," for which he created the Clingons. Opera is his real passion, though.
"I just love the excitement of live theater. Opera is the grandest of all the art forms since one can create a lot more magic. I can paint with a much bigger brush."
His theory of life is that people spend the first third gaining knowledge and expertise, followed by a third performing your job as best you can. It's in the last third that individuals are ready to give back by teaching others what they have learned.
Stead has entered the phase in which he is passing along his knowledge to his volunteers. During the workshops, they take turns applying makeup on one another.
"Eugene Onegin": 8 p.m. Friday, 4 p.m. Sunday and 7:30 p.m. Tuesday The season
"The Magic Flute": 8 p.m. Feb. 14, 4 p.m. Feb. 16 and 7:30 p.m. Feb. 18
"La Boheme": 8 p.m. Feb. 28, 4 p.m. March 2 and 7:30 p.m. March 4 and 6
Where: Blaisdell Concert Hall
Tickets: $27 to $95
Call: 596-7858; neighbor islands call 800-836-7372
"Sometimes, if people really don't want makeup on, they bring a boyfriend, girlfriend or someone else with them."
Most of the volunteers have had some makeup experience. They include beauty school students, housewives and even retirees. The difference, he said, is, "You need to think big for the theater."
"If I'm good at my job, no one knows I've been there," Stead said. "We don't want to hear, 'What a beautiful wig and makeup.' We want people to say, 'What a beautiful woman.'"
Fortunately, volunteers also get bitten by the stage bug and return year after year. Some volunteer to help with all three operas, working a total of six performances per opera, plus attending three dress rehearsals and three live performances.
"It's a huge chunk of time out of their day," said Stead. "I'm very lucky. I don't know of any opera companies that have that big of a staff. I call them the kids; they are all like my children."
THE WORKSHOP students agree that the experience is valuable.
"Many of the volunteers have used their experience to venture on their own," said Stead.
Others take the workshops because they are seeking another specialty. Most of them are working professionals.
Mary Frances Kabel-Gwin has worked in theater for years and sat on the board of the Screen Actors Guild.
"I played the lead role in 'Harvey,' and we put on our own makeup. That is because we were using street makeup," she said.
She knows firsthand the transformative power of makeup.
"You become someone else with the correct makeup and attitude, and that is a good thing to do in this world of ours."
Wendy Miyake, another volunteer, wants to pursue a career in film, makeup and prosthetics.
"I figured gaining some experience working with the Hawaii Opera Theatre will prepare me," she said.
Serena Halsell has worked in several fields, including the health industry, as a graphics designer and as a makeup artist. Theater is her latest passion.
DENNIS ODA / DODA@STARBULLETIN.COM
Costume coordinator Helen Rodgers, left, begins the process of fitting Dorothy Ogan with her gown as key costumer Cathie Valdovino helps.
"I love to see someone being transformed. It's just amazing what makeup does for people," she said.
Volunteer Davy Paned is always looking for ways to be involved in the arts and community.
"I want to be a well-rounded person," she said.
Stead said it takes "practice, practice, practice."
In the end, opera workers are able to complete a face in six minutes.
"The first night is always pandemonium," he said. "At the third dress rehearsal, everything should be perfect."
Stead also takes his craft to schools.
"I'll find between six to eight kids who are interested in makeup as a career," he said. "The students work with the volunteer crew so they can get hands-on, professional experience. If we can get kids hooked before they know they aren't supposed to like opera, we've got them. It's all about exposure."
Before the women of "Carmen," "Salome" and "Madame Butterfly" sing a note onstage, the handiwork of volunteers like Nita Baumgartner guarantees the audience will be entranced by their spectacular costumes.
Baumgartner has been volunteering with the Hawaii Opera Theatre for the past 40 years. She started in the days when the opera was staged at McKinley High School.
"When we were at McKinley, the director had to sit in the men's dressing room. There was no other place for him to go," she said.
The opera has definitely grown since then, which makes the need for costuming all the more demanding.
Baumgartner is up to the task, traveling from Washington -- where she moved 10 years ago to care for her mother -- to Hawaii each year to lend her expertise to the wardrobe department while visiting her opera buddies. As much as she enjoys opera, "it is the people who continue to draw me back," she said.
DENNIS ODA / DODA@STARBULLETIN.COM
Volunteer Dorothy Ogan, just fitted in her costume, tests her movement.
"We are like a family backstage. Even though you only see each once a year, it's always very interesting to renew acquaintances. You meet people from all walks of life. And one of the beauties of theater is that you learn to appreciate what goes on behind the scenes. It's a very enriching experience."
Baumgartner said her favorite opera "is always the one we are working on. Each one presents its own individual problems and points of interest. Out of all the ones I worked on, I don't think I could pick an absolute favorite."
Dorothy Ogan agreed. She's been a volunteer member of the chorus for 36 years.
"I've sung in more than 80 operas," she said. "It's good for the heart and soul. Music just brings everyone together."
Ogan's mother was a singer, and Ogan has followed in her footsteps. In addition to spending about seven months preparing for the opera, she also is the director of her church choir and sings with the Honolulu Symphony.
DENNIS ODA / DODA@STARBULLETIN.COM
Seamstress Yuki Kiriu, right, puts in her first four hours of volunteer work alongside Nita Baumgartner, left, a volunteer of 41 years, and Vana Lee, a 25-year volunteer.
"The same people dress us every year and put on our wigs and makeup," said Ogan. "Once in a while, new faces appear, but the same volunteers keep coming back."
She credits associate music director Beebe Freitas with being the backbone of the operation.
"She coaches the chorus and has made marvelous accomplishments."
One of the most challenging aspects for singers is learning the language of the productions, said Ogan. Most are in Italian or French, and a few are in German.
"The Russian operas are very difficult," she said.
Many mainland companies pay their chorus members a living wage, Ogan said. But here, where everyone is doing what they love, there are few gripes.
Ogan said she keeps coming back because she loves to sing and be onstage.
"I'm a real ham at heart!"
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