Remembering Paul Huntley

I had the pleasure of working with Paul Huntley, the legendary Tony-winning wig designer (who has like 1,000 Broadway credits) on Thoroughly Modern Millie – my first Broadway show as a Company Manager. 

Before that show, I never understood why wig design was so important (and so expensive). Watching him work, listening to how and why he crafted each wig the way he did . . . it was like watching a master sculptor or painter . . . just with a different medium. 

He created some of the most recognized hair designs in the industry, including Sweeney Todd, Evita, and the 2008 revival of Gypsy (just to name a few of the 1,000).

His work will continue to live on however . . . he did the design for Diana, which opens (finally!) on Broadway this fall. 

RIP, my friend.  I have a feeling everyone up there is going to look a heck of a lot better with you around looking after their locks.

  • Fred Landau says:

    “Cryptogram” was such a tough sit even at less than 75 minutes, but I had to read it a while later, and found it a beautiful piece of writing, where I’d go back and re-read a section that was brilliant on the page but had hardly registered when watching it. But then I got what Herb Alpert might have had seen in it when reading it to want to help Margo Lion get it onstage. Maybe I just expected something different because of Mamet’s name.

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