AS one door closed, another opened for York theatre director Stephen Outhwaite, who now specialises in historical make-up and effects using prosthetics.

You may have seen the latest results of this skill in York Stage Musicals’ production of The Phantom Of The Opera last week at the Joseph Rowntree Theatre.

“In 2012, I decided to retire from the post of director of Flying Ducks Youth Theatre in York after 17 years, but I still design their sets and am working on a production of Grease,” says Stephen.

“This has allowed me more time to pursue my passion for stage make-up. For a number of years I’ve designed and applied the make-up in a variety of shows and I now give workshops and talks throughout the north east for groups, schools. Last year, I was approached by West Yorkshire Playhouse in Leeds to take workshops there.”

Stephen’s prowess in historical make-up and effects involves using prosthetics and he also does crepe wool work to produce moustaches and beards.

In 2012, in his most high-profile commission, he was asked by York Theatre Royal artistic director Damien Cruden to create and make the prosthetics for the October premiere of Susan Watkins’s play The Guinea Pig Club.

“The production required copies of the skin grafts made by plastic surgeon Sir Archibald McIndoe for the burned pilots in the Second World War,” says Stephen, whose historical and crepe wool work has been used in films too.

York Stage Musicals was the latest company to call upon him. “As challenging opportunities are few and far between, I didn’t have to think twice when YSM asked if I could design and make the prosthetics for The Phantom Of The Opera,” says Stephen.

“I involved a colleague, Sharon Pickup, who created the bald caps, and I made the latex prosthetics for the Phantom, who was played by Ashley Standland.”

The procedure was intricate and time consuming. “It involved taking accurate measurements of Ashley’s head and face in order to produce the bald cap and cast the latex pieces to which the make-up would be applied,” Stephen explains.

“Each latex piece required nine layers applied over a period of hours, allowing it to dry in between layers. For every performance, a new bald cap and prosthetic had to be fitted, coloured and shaded, taking into consideration it would be seen under stage lighting, with Ashley in the make-up chair for over one and a half hours for each of the five shows.”

What will be the next challenge? Nothing is set in place yet, but theatre or film companies can contact Stephen through Dress Circle of York, the theatrical and fancy dress costumiers, on 01904 769243.