Total Transformation: Meet Head of Makeup, Gail Kennedy

Emmy Award-winning makeup artist Gail Kennedy has been Calgary Opera's Head of Makeup for 23 years, and her work is synonymous with our onstage legacy in the 21st century. As we approach our 2026/27 season — filled with AHA! moments and epic titles — it's the perfect chance to connect with Gail about the technique of creating makeup for a large stage, and the standout moments she's collected over two decades backstage:

What's unique about designing makeup for opera, versus theatre?

Gail Kennedy: "Designing Makeup for opera is all about the style and genre of the show combined with the size of the venue. The more comedic and broad the show, the more I create towards caricature. A more modern period show would be more realistic, but the size of the venue still dictates a highly projected level of painting. We create the illusion of three dimensions using highlights and shadows. For a large stage, these highlights and shadow colours have more contrast. In motion picture, we can still do a certain amount of painting, but it is way more subtle.

"I am also responsible for the facial hair on the performers, and so even that becomes way more exaggerated. And I'm a stickler for period accuracy. And then make it larger than life as required by the style of the show.  I use prosthetics in both motion picture and stage, but again, the motion picture pieces are extremely realistic, and the stage pieces for the Jubilee Auditorium are larger and over-the-top.  Did you see the oversized toe on Dion Mazerolle as Dr. Bartolo?"

What have you learned about opera singers since working with Calgary Opera productions?

GK: "I have been working as the Head of Makeup with Calgary Opera for 23 years, only stepping away occasionally when I have had a motion picture project. I love opera. I grew up in theatre as a musical theatre performer. It gives me great joy to be around the singers. As a hobby singer myself, I am enthralled by the work and dedication these artists have to their craft. They achieve the wonderful sounds with an extraordinary amount of dedication and constant practice. They really do inspire me to work on my own singing! And they couldn't be nicer human beings! It's fun to collaborate with them — the director, costume designer, and wig designer — to get a look that really enhances their character. We all create as a unit."

What have been some highlights during your time working with Calgary Opera productions?

GK: "I love a challenge! When I have quick changes in the makeup, or one performer playing multiple roles, I'm really in my element! In The Tales of Hoffmann, Peter Blanchett wanted to take his curtain call as the second of his three characters. I would never deny a performer! So, we did that changeover in less than five minutes."

Do you have any Calgary Opera moments, either during rehearsal or performance, that you'll never forget?

GK: "My happiest times are when performers return for another opera. I'm so excited to see them, and they're so excited to see me, and there are a lot of hugs! We are often told how much they love the hair, makeup, and costume people at Calgary Opera. That gives me so much satisfaction that I'm doing my job right."