Gerry Masters

This summary encapsulates an interview with Gerry Masters, recorded in Auckland, Aotearoa New Zealand. During the conversation with Gareth Watkins, Masters reflects on the experiences as a participant in the "Queen of the Whole Universe" beauty pageant. The recording from June 3, 2012, spans for a duration of 43 minutes and covers content predominantly from the 2010s decade.

Masters, an English teacher by profession, starts by describing how the spectacle of the pageant incites curious debates among international students when shown a DVD of the event. The blurred lines between gender representations in the pageant become a topic of interest, leading to discussions that challenge perceptions.

Recalling the first attendance at the pageant, Masters reminisces about the electrifying energy between the performers and the audience, and the unforgettable swimsuit parade. It’s emphasized that the preparation is extensive, yet the individuals primarily take care of their own costumes, apart from some support in aspects like sewing or adding additional elements like angel wings or halos.

The interview then delves into the essence of being a supporting performer on stage, which is anchored in flexibility, helpfulness, and a knack for making the main performers shine without adding unnecessary stress to the director. Masters also walks through the rehearsal process, including the intensive dance practices, the camaraderie with other performers, and the support provided to newcomers.

As Masters describes the pageant's backdrop, it becomes apparent that there is a warm, accepting atmosphere, distinct from other large groups or community events previously experienced. The focus is placed on the spirit of inclusivity found amongst the varied participants, without the presence of contentious egos.

Beyond fostering a sense of community, the interview touches upon the considerable diversity in ages and experience levels amongst participants, expressing how these aspects contribute to the dynamic nature of the choreography and overall performance. Masters notes the role of patient choreographers who help to transform the process from overwhelming rehearsals to a cohesive, one-time onstage spectacle.

Several practical aspects of the stage production are briefly outlined — the fast-paced wardrobe changes, the management of props, the cooperative stage crew, and the complex logistics backstage. Masters narrates notable moments like costume malfunctions during rehearsals and the rush of opening night.

The passion and effort invested by Act two performers are evident, as they not only aspire for the winner's trophy but also cherish the journey of crafting choreography, designing sets, and finalising performance elements with their teams. In the end, despite the nerves and challenges, the interview reveals a deep appreciation for the connections made, the joy of the creative process, and the spirited ambiance that reigns throughout the pageant experience.

The closure of the interview infers a bittersweet tone regarding the upcoming final edition of the pageant. While acknowledging that all good things come to an end, Masters expresses a sense of pride in contributing to a cause that supports communities affected by AIDS and HIV and hopes to find new avenues to continue giving back.

This summary is created using Generative AI. Although it is based on the recording's transcription, it may contain errors or omissions. Click here to learn more about how this summary was created.

Gerry Masters

2010s, aotearoa new zealand, arts, auckland, gerry masters, performance, queen of the whole universe, theatre

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