An interview with Bettie O. Rogers, ‘SNL’s’ Emmy-winning head hairstylist

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It’s a good bet you’ve seen the work of Bettie O. Rogers. The alumna of the VCU theater program in the School of the Arts has worked as a hairstylist on cultural touchstone “Saturday Night Live” since 2002, including holding the role of department head hairstylist on the television show for the past seven years – a tenure that encompasses more than 100 episodes. She’s been responsible for some of that program’s most distinctive and hilarious looks and managed the hair and wigs of  many of the entertainment world’s biggest stars during their one-week stints as guest stars.

Rogers’ work takes place behind the scenes, but her work has not gone unrecognized. Most prominently, Rogers has earned Emmy nominations for outstanding hairstyling for a multi-camera series or special six years in a row. Rogers and her team have captured the Emmy twice – in 2008 and 2012. In addition to “Saturday Night Live,” Rogers’ credits include work on feature films and theater productions. However, Rogers revels most in the madcap chaos of “SNL."

In an interview with VCU News, she discussed her career.

 

How did you get involved in this aspect of performance?  

As a costume design-concentration, theater major while at VCU, I did an internship with Theatre Virginia, a theater which, devastatingly to me, no longer exists. I had no interest really in costume design but a strong inclination in costume construction which made for an incredible experience at Theatre Virginia. The internship led to my first professional theater gig – employment as the assistant wardrobe supervisor. As in most regional theater, there isn't a hair supervisor/hairstylist, so wardrobe people ultimately maintain not only the costumes, but any wigs designed for the show. I had no hair experience but was forced into it, as my immediate supervisor had no interest in maintaining the hair. Ultimately, a wig designer, Steven Bryant, noticed I had a "knack" for styling/maintaining wigs and asked if I wanted to do a summer apprenticeship under him at the Santa Fe Opera. It was there I learned how to make wigs and enhance my styling skills. From that point on, a combination of  honing my workaholic nature,  and circumstantial luck of meeting the right people at the right time, I continued being a wardrobe supervisor, while simultaneously designing/making wigs for several regional theaters.  Eventually I landed a design gig for a show going to Broadway, “Swinging on a Star,” moved to New York, in 1995, continued to be a workaholic, became a member of the wardrobe union (IATSE local 764), became a member of the makeup and hair union (IATSE local 798) and continued on that road of circumstantial luck!

What attracted you to the field then and what excites you about it now?

The thrill of watching creativity evolve from the ground up – the process of collaboration among all departments from initial design through tangible production.

What are the challenges of working on “Saturday Night Live?”

Each new episode IS live; there is no other show compared to it and time constraints combined with last-minute changes lend to a little anxiety and pressure. I am constantly having to make something work regardless because "no" is really not an option!

How open are the regular cast and guest stars to the many looks you provide? How much work do you do with writers and performers to develop the look for a character?

It is truly a collaborative effort and I check my ego at the door so I am completely open to facilitating requests, but when there aren't any specifics, my cast and writers trust my instincts. Guest hosts vary in involvement in the design process, but I always meet with them individually to go over their looks and solicit their input. Costume and makeup design are also crucial to this process, not to mention the particular set and lighting are integral to achieving the look.    

What are the rewards of working on the program?  

“SNL” is incomparable to any other production and to be a part of a show that has been on air since 1975! I still get excited/chills walking down the main hall that leads to Studio 8H.  

How big a thrill is the repeated Emmy recognition?  

It is such an honor to be recognized and an incredible sense of validation that our hard work is noticed.  

You've worked on theater productions, feature films and television programs. How similar are the experiences in those different formats. Do you prefer one to another?

I prefer “SNL” overall, because again, there is no other show like it. Every new episode provides a new set of challenges, problem-solving, designing, hand-making, collaboration among people most with whom I have worked for 10-plus years, and it's in-the-can within five days ... so fast-paced. The shoe fits me so well! I still love designing for theater/Broadway and budget limitations are usually the challenging but fun part for me to manage. Other films and TV are the "hurry-up-and-wait" for which my manic nature doesn't have patience; it's very monotonous and way more "waiting" than I'd prefer.

Since you mentioned MacGruber, yes, I am responsible; any mullet as far as I am concerned without fail gives me a sense of pride and joy.

Are there specific hairstyles or wigs over the years that you've felt particular pride in developing? Particular performances or performers that were a thrill for you? Are you responsible for MacGruber's do?

I am most proud when I am able to perfectly match/emulate an actual person/hairstyle. It is always exciting to meet and work with the latest in mainstream entertainment on a weekly basis and to have recurring hosts or former cast who acknowledge/trust my work. Since you mentioned MacGruber, yes, I am responsible; any mullet as far as I am concerned without fail gives me a sense of pride and joy; I myself, fell victim to the permed mullet in the late ‘80s!  

How was your experience in the theater program at VCU? Were there memorable shows, experiences or teachers that had a large impact on you and your career?  

Theatre VCU gave me a strong foundation in the elements of design combined with the understanding of costume construction which have not only guided me but instilled the confidence that has led me throughout my career. Liz Hopper, my adviser and former costume professor, is largely responsible for this, aided by several grad students (Sherri Harper-McCombs and Leslie Pope), whose understanding, patience and humor helped me along my way.  



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