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Created and Maintained by: The Photoimaging Information Council |
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Articles |
| July 24, 2008 | |||
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I'm on the stage of the Shubert Theatre, which currently hosts the musical Monty Python's Spamalot, feeling like the joke's on me as I watch the audience arrive. Why are the house seats being taken by big-time celebrities like Ralph Fiennes, Glenn Close, Natasha Richardson, and Matthew Broderick? But this is not some sort of topsy-turvy dream; in fact, per usual, I'm watching what's happening on stage more than I'm spying on the audience. Kevin Mazur is setting up his equipment for the Tony Award reunion photograph.  Although the shoot itself will only last about five minutes, there is plenty of work to be done backstage by Mazur, his crew, and the TONY organization before and after. I need to get the story, but make sure to stay out of the way while people take care of their responsibilities. © 2006 Jill Enfield
Each year, past Tony Award-winning actors assemble for a group portrait. This year's photo is particularly important because it is the 60th anniversary of the Tony Awards. Not only is the group larger, but also the level of excitement. And the award winners seem as enthusiastic about the reunion as the press does. When the Shubert Organization Chairman, Gerald Schoenfeld, welcomes them and assures them that they will all receive a copy of Mazur's photograph, they applaud. And why not? For those actors who haven't worked with him before, Mazur's reputation precedes him.  Before the audience arrives, Mazur and experts from Foto Care and Hasselblad look over the two G2 monitors that will be so useful during the shoot. All in all, there sits over $100,000 worth of photo equipment on the stage from where Mazur will photograph the esteemed Broadway actors sitting in the auditorium seats. © 2006 Jill Enfield
Mazur is one of the founders of WireImage, an international photography press agency and wire service, but even before his entrepreneurial days, he had established himself as the go-to guy for celebrity images, particularly of rock stars. Bob Dylan, The Rolling Stones, Madonna, Barbara Streisand, Nirvana, and U2 are just a few of the names on his clientele list. Some of the best career advice he received was from Robert DeNiro. When Mazur was just starting out in the realm of celebrity photography, he found himself on the set of one of DeNiro's films. Mazur began to shoot a few pictures of DeNiro who approached and upbraided him for not asking permission to take his photograph. Later in the day, DeNiro explained that he had mistaken him for paparazzi, but Mazur still follows the advice nonetheless.  All of the backstage proceedings are videotaped for publicity, including Mazur explaining the seating chart to me. © 2006 Jill Enfield
Today, Mazur's in the Shubert Theatre in an official capacity, no permissions needed. The actors are arranged alphabetically, "to avoid any confusion," Mazur explains as he looks over the seating chart in the wings. Moments later Liza Minelli shuffles through the backstage door, but even she descends to the spaces normally reserved for us common folk and takes her appointed place between Barry Miller and Brian Stokes Mitchell. But not everyone is ready to stop kibitzing and settle in for the grueling five-minute shoot. Someone suggests flashing the house lights, which works reasonably well. The final touch is accomplished by Mazur himself who climbs his ladder and picks up a bullhorn to announce, appropriately, "Places, people."  Post-it notes are the best option to enable the photo shoot producer to accommodate likely last-minute seating changes. © 2006 Jill Enfield
    The "x"s indicate day-of cancellations such as Alan Cumming, Blythe Danner, and Marilyn Cooper. With so many huge stars in the group, arranging the seating assignments alphabetically makes the most sense. © 2006 Jill Enfield
As fit and attractive as any of his current subjects, Mazur looks comfortable up there, directing. He's accustomed to working with both celebrities and groups and seems unfazed by the combination. They respond well to his relaxed voice over the bullhorn and find their seats. Judd Hirsch in an aisle seat because of recent knee surgery, a few other more aesthetic arrangements, and Mazur's ready to begin. He explains he'll count to three before each picture to ensure that no one blinks. He does the first countdown. Someone in the audience quips loudly, "Harvey blinked." As in, Harvey Fierstein. As in, at least one of these lauded actors has a sense of humor. For the next few minutes, Mazur keeps up a steady stream of minor direction, mostly coaxing smiles, and checks the two large monitors set up below. When he's satisfied, he turns the stage over to press photographers. From the audience, someone asks, "Which one's with The Times?" As in, The New York Times. As in, make that at least two with a sense of humor.  Mazur relies on his team, especially producer Sheryl Olson, to run a smooth shoot and get a great final product. © 2006 Jill Enfield
Mazur makes working with celebrities look easy, but he assures me, "situations like this can be more difficult because you're working with a large group of people." He adds, "it's important to have a team you can count on." I look around and notice their efficiency in clearing the stage. According to Mazur, no one's been as nice as his first assignment, Paul McCartney.  Edward Herrmann is the first to take his assigned seat, but Kevin and his team still have to get about 120 other actors to take their respective places. © 2006 Jill Enfield
Mazur and his team are ready to go before the actors have made their way across the street for the reception at Sardi's. It's a credit to their professionalism that the shoot went so smoothly. Mazur has come a long way from his days of sneaking a camera into concerts. But high-profile gigs such as being a staff photographer for Rolling Stone Magazine, not to mention WireImage and Contour Photo, the stock photography company Mazur and his partners recently founded, haven't gone to his head. He's still in it for the love of the game and sees himself dying with a camera in-hand like Richard Avedon. Not quite a quest for a holy grail, but a noble goal nonetheless.
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