Austin360 blogs > Out & About > Archives > 2008 > December > 24 > Entry
Mother Ginger was a blast!
If you are unwilling to poke fun at yourself, you probably should not be the newspaper’s social columnist.
Last night, I finally appeared as Mother Ginger in “The Nutcracker.” Almost 10 years ago, Ballet Austin’s executive director, Cookie Ruiz, visualized local celebrities playing the traditional burlesque role, whose over-sized hoop skirt hides a bunch of bon-bons, played by adorable children. (Ann Richards came to her in a dream, the way I heard it.)
The manifestly generous Forrest Preece has acted as the Mother Ginger wrangler ever since. Countless other ballet companies have adopted the celebrity practice. Within the newspaper, I followed the distinguished hoop-skirts of former editor Rich Oppel, retired food writer Kitty Crider and inimitable humorist John Kelso. (I had refused the offer in the past because of potential conflicts with my job as arts reporter, then entertainment editor, my former assignments.)
I was particularly nervous following the performance Friday of my Austin Chronicle counterpart Stephen Moser, who arrived with three changes of clothes, including two fur coats and two fragrances, as well as armfuls of radiant jewelry. From all accounts, Moser set a very high bar. My only option was to unleash the inner ham, contrasting that with my soft-spoken public persona.
Preece and Ballet Austin image-maker Lance Johnson served as my keepers, ushering me to ripe spots backstage so I could watch the action (my bit was a mere 3 1/2 minutes long in the second act). They also shared a Whole Foods spread in the star’s dressing room with my party, which included my partner Kip Keller, the big-hearted Austin newcomers Craig Rancourt and Oliver Everette, dear friend and teacher Lawrence Morgan (who knows a thing or two about drag) and my personal trainer Alex Dotte (who does not — as far as I know).
Ballet Austin’s team runs “The Nutcracker” like a well-oiled machine. Scores of performers are precisely choreographed backstage, along with enormous stage scenery and properties. An expert make-up artist (Wendy) and costumer (didn’t catch the name) outfitted me briskly, tenderly. Ruiz and artistic director Stephen Mills spread encouraging words, as did former dance critic and current UT Assistant Dean Sondra Lomax, who visited the dressing room with her family. Backstage, some of the veteran dancers — Allyson Paino, Tony Casati, etc. — winked me luck.
So what to do onstage? Mother Ginger stands in a cage about five feet off the ground. One can move around fairly freely, but the audience only sees movement above the waist. The music is divided into three sections — fast, slow, fast. During the first, I entered with back to audience, studying a hand mirror, only to discover the audience (enormous mugs), then making up my face with giant prop lipstick, power puff and comb. For the fast segment, I mimed writing social notes, taking party pictures and Twittering (the audience responded to the first two, but my imaginary iPhone didn’t carry past the footlights). Finally, I exploded with pent-up nervous energy in the final section, doing frenetic Carmen Miranda moves, inspired by the hat. Shimmying the giant breasts was required and appreciated by a roaring audience.
Everyone was extremely kind and I had a great time. Dignity lost. Notoriety gained.
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By Sergio Durante
December 31, 2008 4:50 PM | Link to this
How awesome was that?!!! You looked amazing!!!
By tommy o'malley
December 26, 2008 10:04 AM | Link to this
i would've come back to austin just to see this!!!