“Moira is drama!” exclaims personal makeup artist Lucky Bromhead when discussing Catherine O’Hara’s iconic character from “Schitt’s Creek.” Personal hairstylist Ana Sorys concurs that “Moira is all about the mood.” These two creatives help O’Hara transform into the wacky, self-absorbed matriarch of the Rose family. Both Bromhead and Sorys received Emmy nominations for their work on the final season of the hit series. Watch the exclusive video interview above.
They compete in different categories at the Emmys, but both artists are nominated for their efforts in the series finale, “Happy Ending.” At the wedding of David (Dan Levy) and Patrick (Noah Reid), Moira enters in an extravagant Pope themed outfit. Her eyes sparkle amid heavy eye shadow. Her hair nearly reaches the floor, and a braid of it encircles the base of her hat.
Sorys admits that the brim of “hat hair” was difficult to get right. “I had to construct a piece that ended up being like a stuffed pantyhose,” explains Sorys. She wrapped hair around the structure, but had trouble getting it to stay put. This one element required two weeks of work and a search for just the right type of glue. As for Moira’s long locks, the hairstylist went more extravagant than planned after the first fitting. “I added 20 inches to the 40 inches that I had for her,” says Sorys.
Bromhead contributed an exaggerated version of Moira’s signature smoky eye to the papal showcase. This eye look, or some variation on it, has become a staple for the character because of how serious she takes her appearance. “She goes to sleep in her eye makeup,” describes Bromhead with a laugh. The makeup artist was inspired to go big for the wedding look because of a line of dialogue where Moira thinks she has to be the one family member to keep her emotions together during the ceremony. The thought of O’Hara delivering that line with streaks running down her face was too delicious to pass up.
With the series now wrapped, these artists reflect on how attached they grew to the show and their work as time went by. Sorys notes that the work became “very personal.” She would start shopping for wigs for Moira’s every mood all year round. “It was almost as if I wanted to spend time with her even though we weren’t shooting,” suggests the hairstylist. All that shopping actually came in handy since wigs were usually chosen on the fly based on Moira’s mood.
Bromhead has a similar experience. “The creative approach didn’t change that much and I’m very grateful for it,” she says. Though the structure behind the work remained constant, there were still moments where she “had to absolutely throw that out” to make a surprise character discovery work. The makeup artist suggests that “it was like a master class in improv, via hair and makeup, via Catherine O’Hara!”
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