Issue link: http://digital.copcomm.com/i/1256324
42 • THE ARTISAN SPRING 2020 DARLENE BRUMFIELD: Three years ago, in our fi rst season back, we did a period Christmas carol, "Gay Olde Christmas." Julie Hewitt was doing Debra's make-up at the time and we worked weeks prior to shooting. Countless hours researching and were so proud of the fi nished product. I designed a Hello, Dolly! wig using many hairpieces and a diamond antique brooch creating the classic "Gibson" turn-of-the-century look. Those same production values are what we all wanted for our "We Love Lucy" episode. We adore our creators, Max Mutchnick & David Kohan. Luke, Tim and I have known them since they were cub writers on The Dennis Miller Show at KTLA. Luke and I did their fi rst sitcom pilot, Boston Common. They wanted to create a true celebration of the I Love Lucy show. As the end drew near, the network set it in action. Getting permission from the Arnaz estate, how could we not do it? This was the perfect cast to pull it off. We used the same scripts written for the show word for word. The body language and actions were exactly like the original episode with the exception of Karen always being Karen and toting her Martini glass with her Fred, her Ethel and her Lucy. The episode starts with the cast discussing how each one of them would be the perfect Lucy and Will is certainly Ricky. Our challenge was for our team to create each character as they saw themselves. Grace, perfect Lucy, Jack creating his own version of an over-the-top thespian and Karen who is always Karen without fault. We got Lucie Arnaz as a guest star. This episode carried our team of make-up and hair into countless hours of research watching not only I Love Lucy episodes but drag queen how-to videos on blocking eyebrows. It sounds simple but when your show is primarily formatted for beauty and speed, getting it perfect is a must the fi rst time. The audience was waiting. Bruce Fuller and Mark Garbarino were brought on for our bald caps and applying the hairpiece and adding a few Fred strands of hair to blend. They were so prepared and worked quickly on each cast member, cutting time as much as possible. Megan would then fi nish in make- up for her fi nal Karen look. Blocking the eyebrows on Jack's Lucy and Grace's Lucy was our largest hurdle. Elaine used the technique of applying multiple layers of Elmer's glue stick and powder. It was challenging as Debra's brows are course and dark. They weren't completely eradicated texturally, but once the new brows were painted on the rest of the characters, the illusion worked. Layering product, rolling it fl at, powdering, sealing, drying and beginning again as quickly as possible is much more diffi cult than it sounds. She'd contoured the fake new brow bone and it looked amazing, so I had her help me with my application but decided to try Baldiez and sealer on Jack with the suggestion from Bruce and Mark. Farah and I worked on opposite sides of Sean overlapping and crisscrossing each other to create Jack's Lucy with Tim and Nicole placing and applying the wig. We had a studio audience and network waiting to see the fi nal work. Then you have to take it off and apply another character. For Jack's Lucy, I had the pleasure of working with Lucille Ball on the The Mike Douglas Show and was in awe of her blue eyeshadow she had on that day. I was transfi xed on her eyes! That was the color I wanted for Jack. With that blue in mind, I called George at Nigel's and he guided me to Besame Cosmetics for period make-up colors. My favorite was their Crimson Creame Rouge and Red Velvet lipstick. Dusty Rose was used on the Ethels. I found Cuban Ricky at Morphe across the street. Mixing four shades of water-based foundations and adding the fi fth for contour and dimension. Building this texture and dimension to completely cover Eric's undertone we started with Joe Blasco's beard stipple. Intense preparation began four weeks prior. Researching, purchasing the perfect products and formulas, wig purchasing all on a budget. "Was this episode fun?" There's a part of us that says, "Of course!" But then it's a lot of work, research, nerves on edge, time restriction and you always wish you had more time. Then the pressure of pleasing so many people is overwhelming. Even though diffi cult, we decided we'd enjoy our wonderful experience together. We wanted this show to stand out as one of our greatest accomplishments. ELAINE OFFERS WOULARD: Rounding off the fi nal season with the "We Love Lucy" episode was quite emotional for me as Lucie Arnaz, Lucille Ball's daughter, was with us during shooting and actually told Debra it was like seeing her mother when she fi rst laid eyes on Grace as Lucy. Darlene and I collaborated with Debra on every look during the entire run. Her skin prep was extremely important using products such as Pixi by Petra Flawless and powerless Primer and Koh Gen Do's Maifanshi Color Bases in green and lavender pink to neutralize and brighten before make-up. NARS natural Radiant Longwear Foundation worked the best for her skin. I'll always have fond memories collaborating with every department but mostly the rock-solid make-up and hair department. Local 706 proud! PATTY BUNCH: We became a strong team over the 11 seasons. We are lucky to be part of the James Burrows A-team, along with his camera crew for all his pilots and shows. When Jimmy picks his crew, his number one question, "What do they bring to the table?" We provide loyalty, teamwork speed, and creativity. •