The story, behind the story

Suzie Harrison

As part of Heritage Month, the heroes and heroines of the Pageant of

the Masters were on hand for a free backstage tour and a glimpse into the

rehearsals for this year’s event.

To see how the pageant all comes together backstage, from casting to

production and all the infinite details in-between, is indescribable and

very hard to put to words.

Marketing director Sharbie Higuchi pays special attention to every

aspect and detail of the pageant. It’s like putting together the pieces

of a puzzle and ending up with a masterpiece.

The order of the show is displayed through a framed picture of each

piece. Since 1935, the Last Supper has been the crowning last piece with

the exception of two years.

The stage is where art comes to life.

Most of the 3-D objects that are part of the painting are made out of

Styrofoam with a wood base and steel reinforcement. Everything has a

safety belt so when the cast is put in a position to exact the picture;

they have the support needed for a hard pose.

The stagehands help with the lighting. Each light bulb is individually

switched and controlled by a light board. Some tableaux have actual light

on the set that is built into it.

From a crane, pieces are dropped to the stage. The sets above are

built in place. On the outer left side of the stage is a turntable that

rotates the set.

The sets start in a carpenter shop and progress to a paint shop. To

draw and paint the scenes, two scenic artists take a projection of a

slide and project it to scale to make sure the scale is correct, and they

draw the scene from there.

Usually the sets are 12 feet tall.

“Sometimes we have several different versions of the art as a tool

because a work can have several different variations in detail and

color,” said Sharon Lamber, a behind-the-scenes pageant worker. “We make

sure what we produce is the most pleasing.”

The height of the cast is determined first, then the shoulder

dimensions to determine the intricacies of the set. Sometimes a person

will have to be seated behind the set to make it just right with a hole

cut out for their face or what’s needed. But usually their full body is

out, Lamber explained. They also paint all the costumes.

The sculptor shop even furthers the detail process. The objects are

carved in Styrofoam, using sheets of Styrofoam and then laminated. They

build the Styrofoam art around the steel and plywood frame that has been

welded together. They have to know exactly every angle that will show and

they figure it out by doing projections. Their endeavor looked like the

most difficult.

Costumes are another integral part of the pageant. Mary O’Malley,

Pageant costume director, showed us how challenging it can be. On stage

every night O’Malley works as a poser and puts the cast in position. They

have to become accustomed to having to redo and change costumes.

“We make them and then sew in the movement -- in the way we shape

things we have to structure it accordingly,” O’Malley said.

Casting director Charli Andreasen’s domain is the cast patio. It’s the

check-in point for the actors.

She has to make sure everyone is right on time. There are two casts of

approximately 130 each. The cast is chosen through an open curtain call

for people of all ages who volunteer their time to be a part of the show.

Some people return year after year and it becomes “such a family,” she

said.

Makeup and costumes are both an integral part of making the art look

believable. In this department, they have models -- Styrofoam heads

made-up exactly as they will be in every performance, a model for every

tableaux. These become the visual aids for the 22 makeup artists.

During the 60 days of the pageant, which runs from July 7 through Aug.

31 this year, they will use over 100 gallons of makeup.

“We copy what the artist does. We try to cover or highlight colors or

produce shadows,” said Joy Trent, the pageant’s makeup director.

* SUZIE HARRISON is a reporter for the Laguna Beach Coastline Pilot.

She may be reached at 494-4321.