Bride of Wildenstein – Pump That Pussy, Phoenix (performance)

2009 ©Marsian De Lellis
2009 ©Marsian De Lellis

On September 4th and 5th, 2009 I performed Pump that Pussy, an excerpt from Bride of Wildenstein –  The Musical at Great Arizona Puppet Theatre in Phoenix Arizona. Bride of Wildenstein – The Musical is centered on an aging socialite grows fur and claws to recapture the attention of her philandering game hunter husband. In Pump  that Pussy, protagonist, Jocelyn Wildenstein, finds herself amidst an illegal junk yard pumping party, after being estranged by her husband.  She encounters a rat doctor with a caulking gun he uses to inject partiers with non-medical grade silcone, a worried pigeon recovering from a beak job, and a cockraoch who has gotten his thorax pumped.

The performances were part of Great Arizona Puppet Theater’s puppet slam (an evening of short-form puppetry for adults that was hosted by Stacy Gordon and Mack Duncan.

Described as “demented, touching, and inherently strange” by Flavorpill (Los Angeles), Bride of Wildenstein is a weird and tragic love story that examines the making of a monstrosity through one woman’s personal struggle, and the loss of her sense of self. As her marriage dissolves, she begins to reinvent herself through drastic measures – surgical procedures to become more feline, which only further heighten her sense of estrangement. The heroine’s story is loosely inspired by tabloid accounts of the real-life “cat woman”, Jocelyn Wildenstein. In it I hope to gently turn the abrasive glare of the mirror onto the face of the audience and pose the question, Have you ever gone too far for love?

 

Bride of Wildenstein – The Musical
Written and Performed by Marsian De Lellis
Written with P.J. McWhiskers
Directed by Derron Wood
Musical Composition by Josh Senick

Sarah Marie Ibrahim (Vocal Coach)
Costume Design – Rachel Weir
Puppet Builder -Sarah Sowell

Special Thanks: Leila Ghaznavi (Original Co-Director, Dramaturg), EuGean Seo (Originating Set Designer), Jennifer Koblosky (Originating Co-Producer), Brandon Stirling Baker (Originating Lighting Designer), E. Martin Giminez (Originating Sound Designer), Amanda Smith (Originating Scenic Artist), Alice Boehm, Chi Kyung, Byung Lee, Chris Barecca, Ellen McCartney, Greg Ballora, Heather Henson, Janie Geiser, Larry Seigel, Leslie Cararra-Rudolph, Lynn Jeffries, Lynn Rosenfeld, Marianne Kubik, Marty Robinson, Pam Arciero, Rafael Lopez Barantez, Richard Termine, Robert Smythe, Ron Binion, Steven Levine, Susan Simpson, Tyler Bunch, Vandy Wood, Z. Briggs,

Developed at CalArts School of Theater with the Costen Center for Puppetry and the Arts, REDCAT Studio, and the Eugene O’Neill Theater Center. Made possible with the additional support from The Durfee Foundation ARC (Artist’s Resource for Completion) Grant, CalArts Special Projects, Office of the President, The CalArts Interdisciplinary Grant, and CalArts Student Council.

* Note according to the Urban Dictionary, a “pumping party” is:

Similar to a “tupperware” gathering, this type of growing underground movement is an ILLEGAL gathering where mostly transgender individuals inject silicone into their bodies to create curves, breasts, hips, etc. These parties are sometimes attended by non-transgender individuals also looking for a low-cost solution to the desire for cosmetic procedures. These procedures are performed by non-professionals in unsanitary conditions. This term was brought to light by the death of Vera Lawrence in March of 2001. The trial for her murder was coined the “pumping party trial”.

The action of putting the needle into the skin of the paying customer and pumping the silicone into their body, followed by treating other customers afterward from that same gathering is the root of the term PUMPING PARTY.