30 Occupational Outlook Quarterly.Spring 2003

Travel through time to experience the past for

yourself. With Mary Wiseman, it’s possible.

Wiseman is a historic character interpreter at the

living history museum at Colonial Williamsburg, Virginia.

She plays Martha Washington as part of a large-scale,

ongoing reenactment of the past. “I want to give people

the feeling that they are in colonial times,” she says, “to

engage them and connect them to the past.”

To prepare for her role each workday, Wiseman reads

from a collection of Martha Washington’s letters. “I look

at what Martha wrote to family, friends, and business

acquaintances to learn the details of her life,” she says. “It’s

one of the best ways to discover her difficulties, hopes,

and daily routines and her feelings for family.” Wiseman

seeks out feelings and situations that are applicable even

to contemporary visitors. “If Martha wrote a letter about

waiting anxiously for the return of her son from a trip,”

she says, “I can use that to start a conversation with a

parent from today.”

Wiseman, like all historic interpreters, fleshes out the

details of her character’s life in a number of ways. In

addition to studying Martha Washington’s written

correspondence, Wiseman culls material available in an

onsite research department. Its staff of historians and

librarians finds answers to Wiseman’s questions and

reviews her ideas. Historians also tell her about events

surrounding her character, including who and what

Martha Washington knew and the politics and gossip of

the time.

Interpreters home in on the minutiae of a life—

favorite foods, beloved pets, the distance walked while

doing errands—because they recognize that small details

are often more important than larger dramas. For

Wiseman, this means supplementing the research with

her imagination to visualize everyday events in Martha

Washington’s life. She uses the tactic only for character

development, however. Wiseman is careful to adhere to

facts when talking to the public.

Transformation into a character begins in earnest

when an interpreter dons the costume. Before meeting

the public, Wiseman dresses in 18th century garb: a shift,

two petticoats, stays, stockings, garters, hoops, gown, cap,

hat, and cape. Dressing takes at least an hour—time she

uses to prepare for her role. “As I’m dressing, I’m getting

into character,” she says. “I become more like Martha. I

even move at a more and more leisurely pace as I go.”

Ensconced in her role, Wiseman is ready for anything.

She fields visitors’ questions on countless subjects, including housework, politics, how she met her husbands, and

the color of her wedding dresses. Wiseman says of answering, “The goal is to be seamless. It has to be natural,

not rehearsed. I think in two ways at once: what information do I want to give, and how should I do it?” Wiseman

tries to re-create Martha Washington’s personality, too.

“People don’t realize from her portraits how warm

Martha was,” she says. “People wrote about her hospitality,

and I try to let that show through.”

Most of the time, Wiseman sits and talks to visitors,

often for long periods, in one of the historic buildings.

But sometimes, she gives outdoor tours or attends an

evening ball. Depending on the character, other interpreters might work primarily outdoors or in workspaces,

such as forges or stables.

Historic interpreters strive to give the public an accurate view of history, often correcting false impressions. For

by Olivia Crosby

Olivia Crosby is a contributing editor to the OOQ, (202) 691-5716.

30 Occupational Outlook Quarterly.Spring 2003
Occupational Outlook Quarterly.Spring 2003 31

example, Wiseman says some people are surprised when

she reveals little-known secrets about the complexity of

running a colonial household. Others are amazed to learn

of women’s involvement in political discussions.

 Like many interpreters, Wiseman performs a variety

of tasks related to her character. She creates and stages a

one-woman show at Colonial Williamsburg. She also

helps to develop and maintain the interpreter program

there, training new interpreters and suggesting new

research topics. She serves as a consultant for historical

movies and toys. And currently, she is writing a book

about playing Martha Washington.

Wiseman became an interpreter, in part, because of an

interest in theater. In college, she studied drama. Then,

she worked part time as a tour guide in Williamsburg

while raising a family. She became a full-time historic

character interpreter 6 years later.

No specific formal training is required for most

interpreter jobs. The ability to communicate is the most

important qualification, according to Wiseman. Knowledge of history is an advantage, but historical details can

be learned on the job. At Colonial Williamsburg, for

example, newcomers spend several months in the classroom learning history, 18th century language and deportment, and acting skills, such as improvisation and voice

control. Each year, interpreters at Colonial Williamsburg

attend refresher courses to stay current in the latest

historical research.

Some interpreters have practical experience related to

the character they play, like a restaurant owner who takes

the role of tavernkeeper. On living-history farms, agricultural experience and knowledge of environmental science

is often required. And to train for the part of a historic

tradesworker, such as a silversmith, people usually train on

site as an apprentice.

College degrees in interpreting also are available from at

least 30 schools. Most programs cover more than character

interpreting. They include recreation management, museum studies, or any other subject that relates to giving

historical information to the public in an interactive way.

Some also teach natural history and geology to prepare

students for work as interpretive guides in National Parks.

The National Association for Interpretation offers

certification in historical interpretation to those who pass

an exam and have experience. It offers conferences and

workshops, as does the Association for Living History,

Farm and Agricultural Museums.

Even with training, however, finding work can be

difficult because of the limited venues for interpretive

work. Employers include living-history museums and

farms, historic homes, travel companies, and National,

State, and local parks. Some interpreters are self-employed, performing at events or serving as consultants and

planners for museums. To gain experience, interpreters

often begin as volunteers, seasonal workers, or tour

guides.

The Bureau of Labor Statistics does not collect data

on historic interpreters. But industry sources suggest that

beginning earnings are often about $8 to $10 an hour, or

$18,000 to $30,000 annually. Earnings increase with

experience and management responsibility.

Wiseman isn’t in it for the money, however. “I love

history,” she says, “and anything I can do to make history

interesting to others is rewarding.”

Occupational Outlook Quarterly.Spring 2003 31

Illustrations based on photos courtesy of Colonial Williamsburg