Happy Birthday to Our Favourite Make-Up Artist!

Today is the birthday of Aleksandra Alekseevna Gauer, who has worked at our theatre for 58 years. As a make-up artist, she does one of the theatre world’s most important and well-respected jobs. We warmly congratulate Aleksandra Alekseevna on this outstanding milestone and wish her many happy returns of the day, as well as good health and boundless energy. Her devotion to the theatre has been evident throughout her entire professional life.
 

Aleksandra Alekseevna, you have spent more than half a century at the theatre. Do you remember your first day here?
 

I don’t think so, to be honest. Not anymore. It was so long ago, after all. I joined the company back when it was still called Chamber Ballet, under Lenconcert. The director was Pyotr Gusev. Then Leonid Yacobson came along, and the entire history of the theatre unfolded before my eyes. Askold Makarov, Yuri Petukhov – and now, of course, Andrian Gurievich Fadeev.
 

When people start working at a theatre, it’s either for the love of the game, or by complete accident. Which was it for you?
 

I used to make wigs at an atelier. One day we got a visit from Konstantin Sulimov; he worked at Lenconcert and invited me to give theatre a try. He became my mentor, and I stayed at the theatre for the rest of my life. So I suppose it was more of a happy accident.
 

In your line of work, how important is it to maintain an emotional connection with the performers that you prep for the stage? They are all very different: some might need support, a soothing presence, or words of encouragement, is that right?
 

I have worked with all kinds of actors, but they have all been good people. None of them have been harsh or mean-spirited. And they are all so interesting to be around! I even got a chance to work with Mikhail Baryshnikov, back when he played in Yacobson’s Vestris. What matters most is to remain calm. No sudden movements, or you will hurt the actor. That’s our motto: keep calm. So I do, no matter who I work with, a soloist or a regular performer, a boy or a girl. And my touch calms them down too.
 

The make-up artist is essentially the last person to interact with a performer before they step out into the spotlight, right?
 

Second to last. The very, very last is the dresser. First, you put on make-up, then, you get into the costume.
 

Do you find it interesting to watch how the person who, just moments ago, sat in front of you in the make-up chair, transforms on-stage?
 

Yes, I do come out to watch them play. But first and foremost, I do it to spot my mistakes, what I did wrong.
 

Who is easier to do make-up for, the Beauty or the Beast?
 

Beasts are more interesting. But you don’t get a lot of beastly characters in shows these days. Maybe Rothbart in Swan Lake.