Theatrical makeup [?] makeup that [?] to assist in [?] the appearance of the characters that actors portray during a theater production.
Background
In Greek and Roman theatre, makeup [?] unnecessary. Actors wore various masks, allowing them [?] another gender, age, or entirely different likeness. Thespis, [?] to be the first actor, [?] white lead and wine [?]t his face. In medieval Europe, actors [?] their appearances by [?] their faces a different color. Performers who [?] God painted their faces white or gold; actors [?] angels painted their faces red. [?] the Renaissance, actors [?] creative and resourceful when making-over their faces. They [?] lamb's wool for false beards and flour as face paint.
Advancements in stage lighting technology [?] stage makeup [?] beyond one over-all face color to a multidimensional craft. Originally, theatres [?] candles and oil lamps; these two sources of light [?] and [?] for crude, unrealistic makeup applications. Once gas lighting, limelight and electric light [?] to theatres, a need emerged for new makeup materials and more skillful application techniques. In 1873, Ludwig Leichner, a Wagnerian opera singer, [?] commercially producing a non-toxic greasepaint stick, easing the application of makeup.