John was born in the northern New South Wales town of Grafton,
Australia. As he approached school age, his parents
moved to Sydney, where later, almost by accident, he fell
into the world of theatre, in particular Opera. This
led to his becoming Dame Joan Sutherland’s make-up artist.
He recently spoke to our feature writer, Neil Case.
Tell me John, how did it all begin?
It grew out of my interest in the theatre. I was often
taken to the theatre by my parents. I did have ideas
about becoming an actor, but that didn’t come to pass.
In 1973 I did a make-up course, as there seemed to be a demand,
particularly in film and TV. This year also saw the
opening of the Sydney Opera House with The Australian Opera’s
production of ‘War and Peace’.
This was a big production and they were looking for dressers.
Dressers help performers in and out of costumes, especially
quick changes (sometimes in the wings), and generally look
after the artist by taking care of mundane things so all they
need to think about is their performance. I worked that
Opening season, and later the summer season. In 1974, the
company needed an additional staff member, and I was employed
as wardrobe and wigs assistant.
This position required a good knowledge of wigs and false
hair, and of course male and female costumes, plus any supernumeraries
(extras - spear carriers, etc.) the production required.
This led to my first tour with the company to Adelaide, and
thereafter - Sydney, Melbourne, Brisbane, Adelaide again,
even to New Zealand.
This double role for so many people became very onerous, so
I chose to work with wigs. I preferred this, as it puts
you in close contact with the artist on a regular basis.
I worked with all the principal artists at that time, like
Dame Joan Sutherland, Luciano Pavarotti, Kiri te Kanawa, Sherrill
Milnes, Yvonne Kenny and Leona Mitchell, a gorgeous, black
American soprano who came out to sing Madame Butterfly, with
whom I’ve remained friends to this day.
I see Dame Joan if I’m back in Sydney and she is at
performances or rehearsals when I’m there. She
often attends dress rehearsals as this is more convenient
for her, especially if her husband, Richard Bonynge, is conducting.
We usually stop and have a chat.
How was it that you became her make-up artist?
Others working for the company knew that I had done that make-up
course, (which also included wigs and false hair), and
at some stage, I was asked if I would do Joan’s make-up
(she wasn’t a dame then). After I had gulped a
bit, and thought, ‘Wow! Joan Sutherland’, as I
was much in awe (and still am), and most respectful of that
great lady, I said; Yes!
It is one thing to work with her and stand in the wings and
listen to that voice; quite another to work on a one-to-one
basis where you spend quite a bit of time making her up.
I was fortunate enough to do that for many performances.
I do receive a credit in the book which her husband produced
of Joan’s time with The Australian Opera. I also
looked after Luciano Pavarotti. His make-up was minimal,
but his wig took some work and some maintaining.
What do you mean by ‘maintaining’ a wig?
After each performance you must clean the wig, removing any
traces of make-up and glue, then the wig must be restyled.
Many operas are ‘period pieces’, so styles can
be very elaborate. Other pieces like moustaches and
beards require similar work.
Another well known soprano I knew was June Bronhill.
I first met her when she sang Maria in ‘The Sound of
Music’ and pushed my mother into taking me backstage
after a performance in the old Tivoli Theatre in Sydney. (I,
too, first met her like this, but in Melbourne - NC) I
had the chance later to work with June Bronhill in the opera
company many, many times.
I resigned from the Opera Company in 1986, and started coming
to Bali regularly in ‘87/’88, certainly in 1988.
On my return to Sydney, I was asked by the Wardrobe Master
of ‘My Fair Lady’ (my former colleague at the
opera) if I would like to look after the principals’
wigs for that musical. June, by this time, was also
playing ‘straight’ (non-singing roles).
She had a great success as one of the dotty old aunts in ‘Arsenic
and Old Lace’ and played the role of Mrs. Pierce in
MFL. She was great fun to work with and tour with.
Although I had resigned, the Opera company often called me
in on a free-lance basis; especially when Dame Joan
returned to Sydney to do her make-up. I also toured
with her toMelbourne. I was fortunate enough to be there
for her last performance as Marguerite de Valois in ‘Les
Huguenots’
As a Melburnian, and having also worked in both venues, the
Sydney Opera House and The Melbourne State Theatre, I couldn’t
resist asking John which of the two he preferred. He
was most diplomatic: Both have their advantages and
disadvantages. It’s well known that the Sydney
Opera Theatre stage and the Orchestra Pit are less than ideal.
The backstage facilities of the Melbourne State Theatre are
excellent, but it’s all underground and could be any
theatre anywhere in the world.
The view from both without and within the Sydney house is
stunning; there is one more advantage in that The Green Room
(the name traditionally given to a place where ladies and
gentlemen of the theatre meet socially for a meal, plus the
odd jar or three - NC), serves both the Opera/Ballet
Theatre and the Concert Hall. It’s amazing who
you might see there. (True! I once saw Dame Joan
sally forth from her Opera Theatre dressing room to the stage
of the Concert Hall in her ‘Merry Widow’ gear.)
I remember one occasion when the opera was performing in the
theatre and Birgit Nilsson, a great Wagnerian soprano, was
performing in the Concert Hall. I often saw her there.
Another time, Vanessa Redgrave was rehearsing at the Opera
House, and like any trembling young neophyte, I approached
her for an autograph. She was absolutely charming, perhaps
even more so when she discovered my connection with Dame Joan,
whom she had also always wanted to meet. She had worked
with the Australian designer John Truscott in film, and Joan
with him for the stage, so they found much to talk about.
A final question - Why Bali?
Dare I say the toss of a coin? Bali or where?
Bali or Thailand. Do you spend ‘winter’
in Bali and ‘summer’ in Sydney? More or
less, though I once rented a house in Sanur for five
years. I have been very lucky in my work, doing the
things I have done and meeting the people I have met.
I’m also lucky in that I can afford to live in Bali
and Sydney without the need to work. I enjoy Bali!
I like the people: I always have.
