Peg Schierholz and Lori Hicks, the department heads of hair and makeup respectively, are the “Masters of Disguise.” Their trailer is packed with wigs, boxes of fake facial hair, colored contact lenses and false teeth. (Leads Keri Russell and Matthew Rhys had molds made early on so character chompers could be fitted to their mouths.) Schierholz and Hicks keep stacks of ’80s magazines — Time, Playboy, Life, Elle, Vogue and even “Soviet Life Today” — and yearbooks from Virginia for reference, and they consulted with a real spy to learn specifics.
“In the CIA, they’re all pretty dull,” says Hicks.
Schierholz agreed. “Guys love baseball caps, apparently.”
“They did get elaborate sometimes,” Hicks says, by wearing fat suits or fake pregnancy bellies. But a good disguise “has to be fast” to put on and remove.
Costume designer Jenny Gering faces the same limitations: When the Jenningses are undercover, “we’re trying to really craft the character without any characteristics.”
“We were very, very interested in disguises and knew that they would be a central and important part of the show,” says creator Joseph Weisberg. “I don’t think that we knew, going into the first season, that they’d be such a humorous element . . . [because] we were finding our way with how to do the wigs and the disguises in general. If we’d had more control in the beginning, we might have done it straight. Which would have been too bad.”
Schierholz, Hicks and their team “are really masters of disguise now,” says Weisberg. “And I mean that quite literally.” Sometimes, he says, “we’ll be working and we’ll see someone that we don’t recognize and think: Who the heck is that? And you realize it’s Keri or Matthew in disguise.”
In the hair and makeup trailer, one wall is lined with mirrors and dressing-room tables; the opposite wall has photos of the cast members in all their disguises. The effect is disorienting but fantastic: Stand in the middle of the narrow space, and multiple versions of multiple people are all around you. You never really know exactly whom you’re looking at or whether they’re in front of you or behind you. It’s a very on-theme setup.
Sometimes a script will provide scant guidance — it might just say “bureaucrat” — and often it will dictate whether the disguise is “light,” meaning only a hat or glasses are needed, or “heavy,” as most beloved “Americans” disguises are. Fernando, the in-house favorite disguise, has greasy dirtbag hair, a thick mustache, and a tendency toward brutally murdering people. I’m told that Fernando is summoned “every time there’s a vicious-type killing.”
Clark is Philip’s disguise when he seduces and marries Martha, an FBI secretary. (“I just love Clark,” says Gering. “I had a Ken doll that looked just like that in the ’70s.”) Schierholz and Hicks both say they didn’t know, when Clark first appeared, that he’d be appearing so often. Many a fan has wondered: If Clark and Martha are going at it all the time, how has she not pulled the wig off by now? Laws of physics, the strength of glue, the power of self-delusion — what is the force keeping Clark’s wig in place?
“We had this question about Clark’s wig,” he says. “It came off so easily in one episode, how did Martha not knock it off his head? Which is a very valid question! We sort of joked that this wig has an arc of its own.”
In Season Two, “there’s a little more reveal of how it’s done,” promises Schierholz.
“And women who are in love are blind a little,” says Hicks. “Or they don’t want to say anything.”
Then there’s Jennifer (who is really Elizabeth), the sister of Clark (who is really Philip; it’s kind of a Russian-nesting-dolls-of-deception situation), who holds the honor of being what Russell deems “the height of my unattractiveness.” “Americans” guest star/FX MVP Margo Martindale had an on-set nickname for Jennifer, but Russell was laughing too hard to say it out loud and it isn’t appropriate for this family publication.
“Mine tend to just be, like, ugly,” says Russell. “Every time Matthew gets one, somehow it’s strangely sort of attractive. And the girls are like, ‘We like Fernando! We like Mountain Man!’ And I come out, and everyone’s like: ‘Ooooh, that’s bad. You look like a small boy. You look like a bad dog breeder. A scary girl in sensible shoes.’ ”
She grins. “Which is fun, in its own way.”
“Sometimes, Keri and Matthew share wigs, glasses and hats,” says Schierholz. Jennifer’s wig and Clark’s stunt double wig are one and the same, which explains the dog-breeder effect.
Everyone loves the wigs, except one man: “I’m so upset about the wig phenomenon!” says Noah Emmerich. “I just don’t get to participate.” Any plans for FBI agent Stan Beeman to go undercover in the future? Maybe a great ’70s flashback scene? “It would be really, really fun because obviously he has undercover skills.”
At least Emmerich has been photographed in the “Felicity” wig, one in which everyone, including Russell, has been photographed. The curly-haired headshots are displayed in a wall of fame inside the hair and makeup trailer.
So will that wig ever see the light of screen time?
“It’s just for us,” says executive producer Joel Fields. “So far.”
FX’s Cold War thriller ‘The Americans’ enters its second season