In a quiet Brisbane studio lined with wooden blocks, fine lace, and carefully bundled hair, Michael Green practises one of theatre’s most intricate and least understood crafts, traditional wig making.
Michael’s path into the profession was shaped through the legacy of Brisbane’s theatrical scene, including his time connected to June Dally-Watkins’ modelling and deportment school and the mentorship of renowned wig maker Judith Bell. What began as an unexpected opportunity evolved into a lifelong vocation grounded in discipline, dexterity and deep respect for performance history.
Wig making is slow work. Each strand of hair is knotted by hand into delicate lace foundations using a fine ventilating needle, a meticulous process that can take weeks. The lace must disappear against the skin. The hairline must look effortless. Every curl, wave and part is placed with intention.
Michael specialises in period styling and character transformation. His work supports performers through subtle ageing, historical recreation and structural styling, from carefully curled moustaches to intricate updos inspired by nineteenth-century portraiture. He has also designed innovative transitional hairpieces that allow performers to age mid-production, a testament to the problem-solving ingenuity embedded within the craft.
The art of wig making is both technical and theatrical. It requires an understanding of anatomy, stage lighting, costume, and movement. It demands patience, steadiness, and an eye trained in illusion. When done well, it disappears entirely — allowing the performer to fully inhabit their role.
In an era of mass-produced costume solutions, Michael continues to practise and preserve the traditional hand-tied techniques that have shaped stage and screen for generations. His work is not simply decorative, it is structural, narrative, and deeply collaborative.
Through his hands, hair becomes history.
Through his craft, transformation becomes believable.
