Sometimes when you’re running your hands through your fake hair, it doesn’t feel right. “I touch my face and my hair as sort of a habit, and it informs my character in a lot of ways. “I’m someone that, as soon as you put too much makeup on me, or put a wig on me, I lose a sense of naturalness,” Moore says. The (R)evolution of Steve Jobs (Ken Howard, Santa Fe Opera)
But on a practical level, Moore says that removing all of makeup would require another 30 minutes to get out of the opera house at the end of the night. He also wants to inhabit the character with greater authenticity. Moore could, of course, wear on a wig and rely on the makeup department to help him develop a physical approximation of the late tech visionary (baritone Edward Parks accomplished this when playing Jobs for the Santa Fe Opera premiere in 2017). I want people to come to that opera and look at me and be like, ‘Wow, there’s a little bit of gaunt cheeks.’ For an audience today that looks at the details on a 3.5-inch screen or an iPad most of the time, seeing that kind of close detail is really important.” “I’m still having this conversation with my wife: I have beautiful, curly brown hair down to the middle of my back and I’m thinking about shaving it completely off for this role and looking somewhat gaunt.
Moore was also considering what to do about his natural hair. “I’m at the smallest weight that I’ve ever been.” “I’ve lost 20 pounds over the last year,” he told me in an interview, which appears in the February issue of BBC Music Magazine.
Can method acting enhance an opera performance? Should an opera singer look like the character they are portraying, down to their body weight and hairstyle? These questions came up recently in a conversation with John Moore, the baritone who is starring as Apple co-founder Steve Jobs in the Seattle Opera production of The Revolution of Steve Jobs (February 23 – March 9).
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