Stuffed and Mounted was the opening number from Bride of Wildenstein – The Musical, a solo performance with puppets, loosely based on tabloid accounts of the real life “cat woman”, Jocelyn Wildenstein. Bride of Wildenstein explores the idea of going too far for love. In it, an aging socialite grows fur and claws to recapture the attention of her philandering game hunter husband. This 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 heighten her sense of estrangement.
The story begins in a luxury tent on a Kenyan Game reserve. While Jocelyn and future husband, Alec, are having rough sex, a taxidermized lion falls from the wall and hits her in the head which begins a duet between the two. For this number about falling in love, I played Jocelyn on the front side of my body and her husband Alec on the back. The double sided costume was designed by Hunter Wells with specialty corseting by Lee Perez Vargas.
“[Marsian] portrays both Jocelyn [Wildenstein] and hubby Alec with a double sided costume, allowing character switches with a spin of the high heel.”– Archikulture Digest
Stuffed and Mounted Performance History
I have performed Stuffed and Mounted as both part of the full musical and a stand alone number in Los Angeles at REDCAT, in New York at The Tank, and in Waterford, CT at the Eugene O’Neill Theater Center (Waterford, CT). I developed Bride of Wildenstein at CalArts and the Eugene O’Neill Theater Center. I have also staged productions in New Orleans at the New Orleans Fringe, and in Orlando at The Gallery at Avalon Island and Cameo Theatre. In 2010 with Automata and Ibex Puppetry co-presented the premiere of Bride of Wildenstein at the Velaslavasay Panorama in Los Angeles.
Velaslavasay Panorama (Los Angeles)
Stuffed and Mounted (Excerpt):
Bride of Wildenstein was made possible with support from The Durfee Foundation, CalArts Theater School Special Projects, The CalArts Interdisciplinary Grant, CalArts Student Council, the Emerging Artist Fund, and Ibex Puppetry.