Tenth stage. Rouging the lips. Stein's moist lip rouge, medium. If the lips are left their natural color the footlights bleach them white and colorless. Shape the upper lip into a cupid's bow and round out the lower lip. Dip the little finger into the rouge and press it tightly against the lips, being careful not to smear it; open the mouth and draw the upper lip tight over the teeth. When necessary the upper lip can be shortened in appearance by blending and putting the cupid's bow a little higher. Do not put color on the lips beyond the angle of the nose, otherwise it will make your mouth appear very large. A blonde should not apply the rouge full strength, as it is too dark for her. The lips should not be heavily painted, and the line about the edges should be soft and smooth.
Eleventh stage. Finish with a little powder, dusting the face very gently, using a swan's-down puff. Put a very little powder on the lines about the eyes, but not enough to dull them.
Now look in your mirror with critical eyes. Your handiwork should have resulted in a velvety, soft yet rich complexion that will stand the strong lights of the modern theatre.
What you have just put on is known as a grease-paint makeup. There is also a cream makeup, so called, but it is less desirable for the modern professional stage. It fails to give the right effect for a real musical show with powerful lights. I have used both and do not hesitate to give this opinion based on my own experience.
There is also a dry makeup, with powder, known in theatrical parlance as a "lazy" makeup, suitable only for a "dumb" chorus girl who has no interest in her work, who comes in late and does not care whether she appears to advantage or not.
To complete any makeup, apply liquid white with a soft sponge to the neck, chest, arms and other exposed flesh that is not already made up. If, as in some of the modern revues, the legs are not covered with stockings or tights, they too must have an application of liquid white. To look right, any flesh that is exposed must be made up, because the lights bleach the exposed flesh, making it appear bloodless and giving one a gruesome, corpse-like color.
You are wise if in the matter of makeup you study your own face. Experiment, and note the results. When you are certain you have acquired the best for your own purposes, practice it often, till you can put it on properly and always with the same result. Don't seek to look made-up, ever, but to look your best for the part you are playing, always. If the makeup ingredients are in evidence to the audience you have not created the proper illusion and must practice making up until you acquire skill. It usually takes about one-half hour to put a good makeup on after you have perfected the process with your own features.
Removing Makeup. First remove the beads of cosmetic from the lashes. Then get rid of the little red spot in the inner corner of the eye. Work this toward the nose with cold cream. Then take plenty of cold cream on the fingers of both hands and massage the face thoroughly, to soften the makeup all over. Wipe it off with cheesecloth or an old towel, that you can throw away. Now wash the face with warm water and soap, dry thoroughly, apply a bit of powder, and you are all ready to dress.
SOME MAKEUP NOTES
You makeup for the lights of the theatre, which nowadays are very strong, and may come from many directions and in various colors. The switchboard controlling all the lights is in the first entrance of the stage, and the electrician in charge has his plots and cues all carefully planned for each act. He does not throw lights on or off for the fun of it or at his pleasure, but exactly as carefully designed and mapped by the show's producing director.