How does a Blue Man become blue?
Building a character. Ultimately, that is what the make-up artist for film and stage does. Whether it's exaggerating a lip, extending a brow, or molding a scar, it is a process of adding, defining and constructing.

The use of sound-(specifically percussion)-rather than language is as innovative as the use of make-up. Make-up is used to remove facial features and hair, rather than to emphasize features. Sounds and make-up are the two essential elements that bring these beings to life-and give that life an other-worldliness.

Chase Tyler is in charge of make-up and costumes for Blue Man Productions, the parent company of all the Blue Man Group shows. In addition to the New York production, now in its ninth year, Chase oversees shows that can currently be seen in Las Vegas, Chicago and Boston. In an exclusive photo shoot for Make-Up Artist Magazine, Chase demonstrated a private showing of the deconstruction process with veteran Blue Man performer Chris Bowen, who not only performs, but also directs and trains new actors for the productions.

 

 The hour-long procedure to become bald and blue begins by cleaning the inside of a bald cap with alcohol, as well as the forehead, neck, and in front and back of the ears. Chase and Chris work simultaneously. Chris applies the Pros-Aide adhesive to the front of his
  face, while Chase brushes the adhesive onto Chris's neck. Adhesive is used on the skin only, not on the cap, which make it easier if the cap needs to be lifted away from the skin during the preparation process. After the cap is glued down, Chase punctures tiny holes in the back of the cap and behind the eras to help release perspiration. 

Chase Tyler is in charge of make-up and costumes for Blue Man Productions, the parent company of all the Blue Man Group shows. In addition to the New York production, now in its ninth year, Chase oversees shows that can currently be seen in Las Vegas, Chicago and Boston. In an exclusive photo shoot for Make-Up Artist Magazine, Chase demonstrated a private showing of the deconstruction process with veteran Blue Man performer Chris Bowen, who not only performs, but also directs and trains new actors for the productions.
The hour-long procedure to become bald and blue begins by cleaning the inside of a bald cap with alcohol, as well as the forehead, neck, and in front and back of the ears. Chase and Chris work simultaneously. Chris applies the Pros-Aide adhesive to the front of his face, while Chase brushes the adhesive onto Chris's neck. Adhesive is used on the skin only, not on the cap, which make it easier if the cap needs to be lifted away from the skin during the preparation process. After the cap is glued down, Chase punctures tiny holes in the back of the cap and behind the eras to help release perspiration.

Unlike a traditional application of a bald cap, the ears are covered, rather than exposed. Eliminating the ears is an important part of the deconstruction process that adds another dimension of other-worldliness to the performers. Chase applies PAX made with ultra-violet cobalt blue latex paint mixed with Pros-Aide to the neck of the performers, where the costume might remove grease make-up. He also uses some PAX on the center of the bald cap as a safety measure, in case any of the grease paint dissipates during the show. However, this seems an unlikely event. Each performer uses approximately four cakes of Blue Man Blue petroleum-based, cream cake make-up by Mehron for each show. Mehron has an agreement with the company that this electrifying shade of blue, distributed through Alcone, will be sold only to Blue Man Productions.

Unlike a traditional application of a bald cap, the ears are covered, rather than exposed.  Eliminating the ears is an important part of the deconstruction process that adds another dimension of other-worldliness to the performers. Chase applies PAX made with ultra-violet cobalt blue latex paint mixed with Pros-Aide to the neck of the performers, where the costume might remove grease make-up. He also uses some PAX on the center of the bald cap as a safety measure, in case any of the grease paint dissipates during the show. However, this seems an unlikely event. Each performer uses approximately four cakes of Blue Man Blue petroleum-based, cream cake make-up by Mehron for each show.  Mehron has an agreement with the company that this electrifying shade of blue, distributed through Alcone, will be sold only to Blue Man Productions.

Occasionally, Chase will use a pre-colored foam latex bald cap if one of the performers is to be seen in a commercial or on high definition TV. All other times, Chase prefers using grease make-up rather than PAX paint on the caps, as well as the skin, for several reasons. Of course, make-up is kinder than PAX to the skin, and the grease has the shine that helps the beings look alive. But, perhaps most important, is the volume of make-up that is used on each performer. Chase says, "I like the effect that using so much make-up has. It blurs the face and makes the guys look something other than human."

The Mehron grease make-up is easy to touch up and keeps the men blue and blurry throughout the show. Strategically placed make-up stations are situated backstage, like rest stops on the road. The make-up is constantly freshened and re-applied between bits.

And there is yet one more benefit to grease make-up. The Blue Men not only learn about percussion and art, they also discover eating. A particularly funny moment in the show is when one of the beings finds a box of Captain Crunch cereal. When tasting the food, much of the cereal gets stuck to his face. The grease make-up becomes a perfect adherent.

While grease make-up is perfect for blurring features, adding shine and acting as an adhesive, it's not suitable for use to color the performer's hands the same shade of blue. So the Blue Men wear latex gloves that have been dyed blue. The costume is a one-piece black uni-tard, which is referred to as a "mantard". The gloves are taped to the performer's arms with waterproof duct tape, then taped again with matte black duct tape to cover the shine. The result is effective. Even at close range, it's hard to tell where the gloves end and the costume begins. This is one more technique that succeeds in clouding the line between character and being.

Blue Man Productions is a self-contained company that creates and stocks supplies for all the shows. The costumes are made in Brooklyn, and every six weeks 1800 pairs of gloves are dyed blue and delivered to the shows in all four cities.

The process of becoming a Blue Man has become has become much more streamlined  and sophisticated since the inception of the production in 1991, when it's creators Matt Goldman, Phil Stanton and Chris Wink first breathed life into their beings. The three friends wrote, composed and produced the show, but also starred in every performance for the first three years. For each performance, they applied their own bald caps and painted themselves an electrifying shade of cobalt blue. And they dyed their own gloves in water boiled on a hot plate.

"These guys knew what they wanted when they came to us back in the '80s and invited us to their show at La Mama," says Vincent Mallardi of Alcone Theatrical Supplies. "We were one of 15 people in the audience. And now, I just saw their show in Vegas, which seats 1200. It brought tears to my eyes to see what these guys have done." Vincent is delighted to have a credit in the Blue Man Group Playbill.

"These guys," have not only expanded by forming their own production company and adding shows in various cities, they have expanded the concept of art, communication, and theater itself.