Suzie Harrison
The term seeing is believing is suspended when it comes to the magic
of the Pageant of Masters. There are whispers as the audience shares
the disbelief that great pieces of art have actually come to life.
It's called "tableaux vivant," or living pictures. Not only is the
art extremely moving -- it's actually alive. Through the use of
makeup, lighting and talented artists, volunteers are magically
transformed to be the art.
Every year there is a different theme in this 71-year tradition.
This year, nine-year veteran pageant producer-director Diane Challis
Davy has chosen the theme "Portrait of the Artist," a show that
emphasizes the personal aspect of the lives and works of artists.
Works dating to 1553 Benvenuto Cellini's bronze "Perseus," to
Viktor Tilgner's 1896 marble "Mozart Memorial," to pieces by Matisse
and Picasso to today -- many medium are represented.
Kasey Perry and John Spenker, held their pose as subjects in
"Nijinski and Ida Rubenstein," with cameras flashing like it was the
Academy Awards at a press preview Monday. They kept still much longer
than the usual three minutes that is required during the show.
"It's my eighth year, I've done all different [pieces], I like
them all," Perry said.
She said there is a bit of trepidation for the first few weeks of
the show, especially the first couple of performances, where they are
trying to make sure they are on mark holding their positions right.
"I like doing it, being onstage with the audience clapping and
coming back each summer and seeing everyone," Perry said. "After
eight years you meet a lot of people and it's something you enjoy."
Spenker said it takes about a half an hour to get in full makeup
and costume. To keep still he tries to keep his mind off what he is
doing.
"This is my third season, it's a good way to spend your time, to
see the production of your labor" Spenker said. "I like their
purpose, what they're doing with the art community, it's a really
good cause."
Wardrobe supervisor Catherine Esera talked about their process.
"We have to recreate what it looks like, not what it is," Esera
said. "We make it how it appears."
That includes sewing in the movement to a piece so it looks as if
it is flowing.
"This was my first year building it, sewing the costumes," Esera
said. "There are around 120 costumes. 'Nijinski and Ida Rubenstein'
was the most labor intensive, the beading and adornments, with these
sculptures we had to do all of it."
The scenic artists paint the actual costumes.
