As anyone who has read our make up features on the official Phantom of the Opera website will know, the actor playing the lead role is transformed each performance using tailor made prosthetics which, along with the specially designed make up, produce the disfiguring effect which is revealed so dramatically when the mask is removed.

The prosthetics have to withstand movement, heat, moisture and of course allow for the actor to sing so to ensure the most secure fitting each piece is produced specifically for each actor (including the understudies and covers) and are used only once for each performance. In order to ensure a regular supply of perfectly fitting pieces can be produced the workshop work from a mould of each actor’s face.

This same process will continue for Love Never Dies and we were privileged to be invited along to a landmark day in the count down to the new show when we went along to the workshop to witness Ramin Karimloo being immortalised in plaster and rubber!

Also at the studio were Naomi Donne, who is overseeing the make up for Love Never Dies, Neill Girton, the owner of the studio who are making the prosthetics, Campbell Young, the Wigs Supervisor for the show and Ivo Coveney who will be making the Phantom’s mask.

It was the first time the team had met with Ramin who will be playing the Phantom and it was a great opportunity to discuss exactly how the Phantom will look ten years on.  It was also the ideal time to talk about how the prosthetics will be removed on a nightly basis!

As Ramin has been playing The Phantom for the last two years he is no stranger to the rather unique, and not entirely pleasant, sensation of having your entire head encased in plaster.  The process begins by the hair being covered by a bald cap which is fastened securely.  Campbell then began taking measurements of Ramin’s head and covering his skull with cellophane tape to form a cap which will be used as a basis for the production of the wig(s). Neill then begun drawing around Ramin’s hairline with a special paint which will transfer the markings to the inside of the mould.  Ramin’s eyebrows were covered in cream to stop them from sticking to the mould. 

Assistance was called in and the process began of soaking the Mod Roc bandages in water, then wringing out before applying to the head.  Neil explained that they would begin by covering the back half of the head with the bandages as this half would require a less detailed plaster shell. The front half of the head however would need an intricately detailed mould so this would be covered in Alginate, a bright blue rubbery substance produced from algae, which would then dry and peel away from the face smoothly capturing every minute feature. To stabilise the mould the alginate would in turn be covered in the same Mod Roc bandages as the back of the head.

The bandages were applied to form a distinct ridge which would allow for easy separation and removal of the cast in two halves.  Once the back was complete the blue alginate powder was mixed with water to form a thick paste.  As Ramin would be totally covered during the process (aside from two nostril holes to enable him to breathe!) and would therefore be unable to speak Neill briefed him on what to do if there was a problem and he needed the mask to be removed immediately.  A thick layer of alginate was then swiftly applied to his face – as the application was underway you could see the material begin to dry and set very rapidly.  As soon as a uniform layer had covered the face this was then topped up by the soaked plaster bandages.  Throughout the process Neill kept Ramin informed what was happening and gave regular updates to let him know what stage had been reached.  Neill confirmed that he, and anyone who was involved in the headcasting process, had undergone a headcast themselves so they could empathise with the person experiencing the procedure.

The plaster hardened almost immediately and it was clear that the cast had become very heavy.  Support was given as the back half of the cast was gently prised away.  The front half was slightly more delicate so was very slowly worked away from the face.

The mould was taken away to be cleaned up and prepared. Neill then took headshots of Ramin which he will use in Photoshop to create the desired look and feel of the prosthetics before starting to model them in three dimensions. Once these prototypes have been approved then production starts in earnest.

Check out our video blog of the process. Sorry to tease you but we have had to remove some of the audio as we can’t reveal too much detail at this stage – you will have to wait until February to find out just how the Phantom will look ten years later!