Alan Boyle(I)
- Make-Up Department
Alan Boyle was born in Glenside Avenue, Windhill, Shipley, West Yorkshire.
In 1955, when he was 21, he worked at the hippodrome theatre in Derby, a Variety theatre. First as a stagehand, then as assistant stage manager.
There were so many shows the acts that were top of the bill in the 50s at the Variety Theatre; Issy Bonn, Harry Worth, Hal Read to name a few. Wilson Keppel and Betty were a support act, Ken Dodd and Morecambe and Wise were halfway down the bill, the same bill as Harry Worth. Dickie Valentine appeared at the theatre in March 1955. Dawn White and her Glamazons were a rather buxom dance group, who also performed.
After Derby, Alan moved to London.
In 1956/57 he took a room in Earl's Court. It was a bed sit , and the rent was (£1/50.) 30 shillings a week. This included evening meals Monday to Friday, but not on weekends. Later he moved into a room in a house owned by a GP who also owned a house in Ballycastle, Northern Ireland.
RKO radio pictures in Wardour Street was Alan's first position in London where he was employed as a barring Clerk. He was responsible for booking films to hospitals, army camps and any other small groups. He worked for Anglo Amalgamated Films until he quit, taking a job on the maiden voyage of the SS Canberra.
Getting the job on the SS Canberra was quite a long process. Alan was required to join the Seaman's Union, which took quite some time. The sea trials were a very interesting time for him waiting at table etc., everything was a new experience. His references were quite genuine but did not ever say that he was a waiter or a steward. They said that he was honest, trustworthy, efficient and able to work on his own Initiative. One of the two references said he had worked as a general factotum for a general practitioner. All true, they were not trying to hide anything.
He had decided that the trip on the maiden voyage of SS Canberra would be the only one he would ever do. So when he returned, he had to find another job. He went to an employment agency in London's Baker Street, where he spoke to a man who advised him that he was going to have lunch with someone who would be able to tell him about a position that may be of interest.
He was asked to go for an interview with a director of Wig Creations, a company which made wigs for the theatre and films. He was employed by them for four years. During this time he was taught by the ladies in the workrooms how to make and dress wigs. He was also taught how to make beards and moustaches. He learnt how to knot hair into wigs with a tiny hook and also to make foundations. Wigs came in from most of the West End theatres to be dressed and returned the same day.
After wig creations, he worked alongside Kenneth Lintott, setting up the wig and makeup department for the Royal Shakespeare Company, at the Aldwych theatre, as well as in Stratford-upon-Avon.
His first film was "The Persecution and assassination of Marat, as performed by the inmates of the asylum at Charenton, under the direction of the Marquis de Sade". The show was first performed at the Aldwych theatre in London. From there it went to Broadway in 1965, and was subsequently made into a film in Pinewood Studios in 1966. The company arrived in New York City on the 22nd of December 1965, just before Christmas. Alan rented an apartment in 325 W45th Street, a block called the Whitby, just across from the Martin Beck Theatre where the show was playing. This is just around the corner from Times Square.
When he arrived back in England from New York, he went straight to Pinewood Studios to start working on the Film of Marat/Sade. Kenneth Lintott co designer of the makeup for the film, had prepared a lot of the wigs and bought most of the make up. He wasn't a member of the union and therefore had to employ a union make up artist to run the film. This makeup artist was Bunty Phillips.
In 1967 Alan was still working for RST and was asked to do another film for the RST. Still not a member of the union, he had to have a union member present, this turned out to be Neville Smallwood.
He worked on a Midsummer Nights Dream directed by Peter Hall, starring Judy Dench, Helen Mirren and Diana Rigg.
From then on Alan went on to work on many successful films as listed on the rest of his profile.
He was a BAFTA Nominee for his work as a Make Up Artist on The Dresser in 1985, a CableACE Nominee for his work as a Make Up Artist on Frankenstein in 1994. He won a Primetime Emmy Award in 1987 for his work on The Last Days of Patton.
In 1955, when he was 21, he worked at the hippodrome theatre in Derby, a Variety theatre. First as a stagehand, then as assistant stage manager.
There were so many shows the acts that were top of the bill in the 50s at the Variety Theatre; Issy Bonn, Harry Worth, Hal Read to name a few. Wilson Keppel and Betty were a support act, Ken Dodd and Morecambe and Wise were halfway down the bill, the same bill as Harry Worth. Dickie Valentine appeared at the theatre in March 1955. Dawn White and her Glamazons were a rather buxom dance group, who also performed.
After Derby, Alan moved to London.
In 1956/57 he took a room in Earl's Court. It was a bed sit , and the rent was (£1/50.) 30 shillings a week. This included evening meals Monday to Friday, but not on weekends. Later he moved into a room in a house owned by a GP who also owned a house in Ballycastle, Northern Ireland.
RKO radio pictures in Wardour Street was Alan's first position in London where he was employed as a barring Clerk. He was responsible for booking films to hospitals, army camps and any other small groups. He worked for Anglo Amalgamated Films until he quit, taking a job on the maiden voyage of the SS Canberra.
Getting the job on the SS Canberra was quite a long process. Alan was required to join the Seaman's Union, which took quite some time. The sea trials were a very interesting time for him waiting at table etc., everything was a new experience. His references were quite genuine but did not ever say that he was a waiter or a steward. They said that he was honest, trustworthy, efficient and able to work on his own Initiative. One of the two references said he had worked as a general factotum for a general practitioner. All true, they were not trying to hide anything.
He had decided that the trip on the maiden voyage of SS Canberra would be the only one he would ever do. So when he returned, he had to find another job. He went to an employment agency in London's Baker Street, where he spoke to a man who advised him that he was going to have lunch with someone who would be able to tell him about a position that may be of interest.
He was asked to go for an interview with a director of Wig Creations, a company which made wigs for the theatre and films. He was employed by them for four years. During this time he was taught by the ladies in the workrooms how to make and dress wigs. He was also taught how to make beards and moustaches. He learnt how to knot hair into wigs with a tiny hook and also to make foundations. Wigs came in from most of the West End theatres to be dressed and returned the same day.
After wig creations, he worked alongside Kenneth Lintott, setting up the wig and makeup department for the Royal Shakespeare Company, at the Aldwych theatre, as well as in Stratford-upon-Avon.
His first film was "The Persecution and assassination of Marat, as performed by the inmates of the asylum at Charenton, under the direction of the Marquis de Sade". The show was first performed at the Aldwych theatre in London. From there it went to Broadway in 1965, and was subsequently made into a film in Pinewood Studios in 1966. The company arrived in New York City on the 22nd of December 1965, just before Christmas. Alan rented an apartment in 325 W45th Street, a block called the Whitby, just across from the Martin Beck Theatre where the show was playing. This is just around the corner from Times Square.
When he arrived back in England from New York, he went straight to Pinewood Studios to start working on the Film of Marat/Sade. Kenneth Lintott co designer of the makeup for the film, had prepared a lot of the wigs and bought most of the make up. He wasn't a member of the union and therefore had to employ a union make up artist to run the film. This makeup artist was Bunty Phillips.
In 1967 Alan was still working for RST and was asked to do another film for the RST. Still not a member of the union, he had to have a union member present, this turned out to be Neville Smallwood.
He worked on a Midsummer Nights Dream directed by Peter Hall, starring Judy Dench, Helen Mirren and Diana Rigg.
From then on Alan went on to work on many successful films as listed on the rest of his profile.
He was a BAFTA Nominee for his work as a Make Up Artist on The Dresser in 1985, a CableACE Nominee for his work as a Make Up Artist on Frankenstein in 1994. He won a Primetime Emmy Award in 1987 for his work on The Last Days of Patton.
