Lorne Jackson meets a man who makes sure actors are always made up for the part.

When theatregoers and movie buffs recall a performance they particularly enjoyed, they probably think about the affability of the actors.

The dazzle of the dialogue.

But what about the sizzle of the scalp? The hirsuteability of the hairline?

Wigs are the unsung heroes of the drama game.

Rarely is a wig rewarded with a rapturous standing ovation. Even the most flamboyant comb-over is unlikely to enjoy a brush with celebrity.

The humble wig is never ‘papped’ stumbling drunkenly out of Stringfellows at four in the morning. Or allowed to perform Hamlet’s famous “toupee or not toupee” speech at the RSC.

Yet what would Sean Connery be without his AstroTurf topping? Not a lot of Scot, is the answer.

And picture William Shatner bare of bonce. Captain James T. Kirk would be forced to baldly go where no man has gone before...

Andrew Whiteoak is one man who knows the importance of a stunning stage wig.

He’s the Birmingham Rep’s head of wigs and make-up. Adept at both his specialist disciplines, though it’s the hairy stuff he’s most passionate about.

We meet at the Crescent Theatre, where the Rep’s Christmas show, Sleeping Beauty, is being performed. Which means lots of wacky wigs and madcap make-up for Andrew to get his teeth into.

In a 17-year career he’s made wigs, devised make-up and fashioned hair for hundreds of productions, including Cabaret, The Wizard of Oz, A Christmas Carol, The Witches and Peter Pan.

He’s worked with the best foreheads in the business. Maureen Lipman, Dame Eileen Atkins, Jason Donovan, Gary Barlow, Stephanie Beacham and Charles Dance have been topped off by his talents.

Even Andrew’s spare time is hair time. He regularly lectures on wigs and make-up.

So how did this passion begin?

“I went to Bournville School of Art,” he says. “Fine Art and sculpture were my main focus. At that time it was all the Damien Hirst stuff. I knew that wasn’t me. I wanted realism. I just wanted to paint what I saw.

“I’d always been interested in horror films. And I thought: ‘That’s quite like painting and sculpture. So if I can get into that, maybe I can make a career out of it.’ I guess you could say I was a Dr Frankenstein looking to make my own monster.”

So before hair, there was hair-raising horror. But first there was a tight training schedule to follow.