Category: Puppetry

REVIEW: La Manékine

Published on by chelseajinaLeave a comment

Rating: 4.5 out of 5.

MimeLondon kicks off this January with a bang by means of La Manékine, a haunting yet hopeful tale told with rapturous skill by French theatre company La Pendue 

La Manékine, based on the Brothers Grimm short story The Girl Without Hands, tells the chilling tale of a young girl who is mistakenly sold off to the Devil by her father. She takes off on an adventurous yet twisted journey filled with unexpected characters and poignant metaphors. While the story itself is incredibly engaging, the real stars of the show are the incredible skills displayed by the company, cast, and creative crew of La Pendue. Hailing from Grenoble, France, La Pendue enlist a variety of puppets to tell this story – hand puppets, carried puppets, masks, and more – that not only give the piece its unique and delectable quality, but also provide a wholly unanticipated performance. The aesthetic employed by La Pendue for this piece is exquisitely fitting for an allegorical, old-timey tale that evokes the Everyman plays of yore. The production is shrouded in darkness, the backdrop displays soft, grainy images in black and white, costumes, dark and drapey, do not distract from the artistry of the puppets. The puppets themselves are a sight to behold, in their myriad of forms. Estelle Charlier, the mind behind the piece’s artistic direction, puppets, and masks, as well as one of the two performers onstage, is an incredible theatrical-auteur of this work. In addition to Charlier, Anthony Lopez, Andi Luchsinger, Martin Kaspar Orkestar, Romuald Collinet, are the skilled artists behind the creation of these sets and costumes; their work is vital to the brilliance of this piece.   

Estelle Charlier and Martin Kaspar Orkestar are the sole performers onstage for the duration of the production. Martin Kaspar Orkestar, who doubles as the mind behind the music of the production, is a literal one-man band. He sits holding an accordion, a clarinet, surrounded by multiple drums, and a few other instruments that seem to appear like magic. His music throughout the piece is itself magical, shimmering, hopeful yet seeped in horror, setting the chilling tone that drives the narrative forward. Martin Kaspar Orkestar’s ability to play a mind-boggling number of instruments quite literally simultaneously with such deft skill was incomprehensible in the best way. He sings too. Very well.

Kaspar Orkestar works in exciting collaboration with Estelle Charlier, who plays most of the piece’s characters. Charlier shifts between characters with remarkable ease and clarity, swapping out puppets and masks in a flash, and shifting tone and physicality with the flourish of a puppeteering-magician. Her ability to breathe life and personality into various kinds of puppets with an incredible sight to behold. 

La Manékine gripped the audience from the very onset and left us desperate for more. While their run at MimeLondon may be sold out, you would be remiss not to keep an eye out for the soonest return of this amazing production. 

IN CONVERSATION WITH: The Puppet Barge

Published on by Tabitha JamesLeave a comment

We sat down with the creative team at the Puppet Barge whose current show Captain Sandy and the Sea Monster is running until 26th January 2025. Get tickets here!

How did you develop the story for Captain Sandy and the Sea Monster to appeal to such a wide age range, balancing the needs of younger children with the more complex humor and themes for older audiences and adults?

During the R and D process for the show, the creative team developed the physical comedy and visual story telling elements to compliment Maddie Dai’s script and ensure there is something for everyone. 

It’s a difficult balancing act between making the show atmospheric and mysterious while ensuring it feels safe and not too scary for the young ones. 

Puppetry requires a unique combination of visual storytelling and performance. What were some of the creative challenges you faced in designing and animating the sea monsters and other elements of this nautical adventure?

A lot of the story takes place with characters floating in the sea, either on boats or swimming. The challenge of how to best portray water on stage found us experimenting with bits of blue cloth and lighting effects but we eventually discovered that the puppet movement combined with audience imagination (to fill in the gaps) was the most successful technique. It seems to have worked as we’ve had more than a few children ask if there was real water backstage !

The show uses dramatic music, lighting, and theatrical effects to create an immersive experience. How do you ensure these elements enhance the story without overwhelming younger audience members?

It’s true that younger audience members can easily get scared in a puppet show and we find that it’s important to balance theatrical effects so as not to create too much of an intense experience. For example if the the sea monster is visually quite scary then it must be accompanied by upbeat happy music and bright lighting to balance out the visuals.

How does performing on a barge influence your creative process or the experience of the audience? Does the waterborne setting add a unique atmosphere to a seafaring tale like this one?

The setting is certainly appropriate for this story but we always find that the Puppet Barge manages to transport audience member to another world even before the show has begun. The venue comes with its challenges though, mostly due to lack of space so this must be considered from the very start of any new project. 

Sea adventures often carry themes of courage, exploration, and community. What key messages or takeaways do you hope audiences—both children and adults—will leave with after seeing Captain Sandy and the Sea Monster?

Captain Sandy and the Sea Monster leverages sustainability within a narrative of anti bullying. The overall message behind the show is be kind to your friends, listen to others and don’t throw your rubbish in the sea !

REVIEW: War Horse

Published on by Marianna Morante1 Comment

Rating: 5 out of 5.

A powerful and heart wrenching piece of theatre with a captivating story and cast. 

I don’t know how to put into words the impact this beautiful show has had on me as both an audience member and performer in training. War Horse, based on the novel by Michael Morpurgo, follows the story of Albert Narracot and his horse Joey. When Joey is sold to the cavalry to support the efforts of World War one, Albert goes on a mission to be reunited with his beloved horse.

Firstly I would like to commend Tom Sturgess whose beautiful portrayal of Albert was what made the show as devastatingly beautiful as it was. He has certainly mastered his craft. The supporting cast were equally as talented and their ability to perform alongside one another so naturally was what made the performance really hit home.

The life-sized horse puppets, created by the Handspring Puppet Company, are a marvel of theatrical invention, bringing remarkable emotional depth to the stage. The use of puppetry is really what makes this show different than any other. The capacity of the performers and the puppeteers ability to make you believe that the horses are real, from the physicality to the noise of its breath, is so effective that you are emotionally invested in the show and the relationship between Joey and Albert from start to finish. The beautiful montage of watching the horse grow from a foal into a thoroughbred was a highlight and the reveal of the horse as an adult was incredible to watch. The projections and minimal set featured in the performance transported the audience from rural Devon to the War torn fields of France.

It’s no surprise that the National Theatre is touring War Horse again, given its enduring popularity and universal acclaim. This unforgettable production continues to captivate audiences with its powerful storytelling and breathtaking stagecraft. War Horse was given a standing ovation which I think was completely deserved, the production is a perfect example of an outstanding piece of theatre. War Horse is at the Lowry from the 18th to the 28th September.

REVIEW: Breathe

Published on by Feiyang XiangLeave a comment

Rating: 3.5 out of 5.

 A simple and heart-warming story, with expressions of hope and vitality.

Produced by Half a String company, “Breathe” is a puppetry play combined with live music performances, uses real-time photography to present the story. The story follows a “Seedling” puppet as they hatch from and acorn and experience the hectic forest floor, explores the inner workings of trees. 

The most impressive aspect of the show is the versatility and seamless coordination of the three performers. They take on multiple roles, serving as storytellers, puppeteer, musicians, cameramen, and even responsible for scene changes. The show features many beautiful pieces of music, which are also available on Spotify and Apple Music. The original drums and bass, along with the live ethereal folk music, create a warm atmosphere for the growth of the little acorn, and also drives the narrative forward. The play magnifies the micro-world of nature through real-time photography, requiring the performers to switch between seasons and different scenes on two platforms. The three performers work seamlessly together, using the lenses of two different devices to transition time, all while maintaining a smooth projection on the big screen. At times, the performers have to make rapid scene changes, and their coordination on stage, moving props, and changing sets is as fluid as a well-choreographed dance.

This is a simple and heart-warming story, full of expressions of hope and vitality. However, the play lacks dramatic tension or conflict, and the pacing is slow. While the interactions between the bugs and birds, and the little acorn and leaves, are very interesting and touching, the absence of dialogue makes it somewhat tedious. The audience can only engage with the show through real-time images and puppet performances. For children, this is a very innocent and charming work, and for those experiencing this type of micro-world puppetry combined with real-time photography for the first time, it may feel fresh. But for adults who have seen this format before, the show might seem a bit dull. Moreover, the dark, stuffy, and poorly ventilated theatre environment can make it easy for one to feel drowsy.

https://tickets.edfringe.com/whats-on/breathe

In Conversation with Mark Down

Published on by Tabitha JamesLeave a comment

Mark Down has been bringing puppets to life for over 20 years. His theatre company, Blind Summit, has tackled topics such as alcoholism, existentialism and even the paranormal. This year, alongside Father Ted’s Ben Keaton, the puppets are going to discuss sex. In a bid to make talking about sex more normal and less of a taboo, The Sex Lives of Puppets challenges societal norms in a safe – and hilarious – way. The Sex Lives of Puppets will be performed at the Edinburgh Festival Fringe this August.

Tell us about The Sex Lives of Puppets

Where to start? Yes puppets have sex, yes they like it, and yes they like talking about it. And that’s the show. It’s puppets talking about sex. The show is made up of a series of monologues and dialogues inspired by the National Survey of Sexual Attitudes and Lifestyles (NATSAL). The puppets talk to the audience in a sort of interview “verbatim” style. It’s funny, rude, sometimes shocking and mostly heartwarming. Puppet sex is fun, puppet sex can be difficult, puppet sex is important, we should talk about puppet sex more. We should talk about sex more!

Is Sex Lives of Puppets entertaining, educational or both?

Hopefully both, but mostly entertaining. When it is educational I hope it isn’t didactic. We don’t have a message. I hope we make a safe space for people to engage with diverse sexual conversations in a really fun way and I hope they inspire people to continue talking afterwards in the bar and for the rest of their lives. When we began the project, I was worried that the subject would be triggering and that people might get embarrassed or upset by it, but in fact we found that everyone loves talking about sex and I couldn’t get the puppets to shut up. 

Puppets don’t reproduce of course, so they really talk about the pleasure of sex and the role sex plays in relationships. So, the show concentrates on the juicy stuff, rather than the biology. And it’s funny!

What part of the show would you like people to be quoting or re-enacting in years to come?

Haha – I daren’t presume to know what people are going to like or remember but… some of my favourite lines so far: “Sex is such good fun”, “She wanks me off”, “Pounding away”. And my top favourite is “the cum-blob”. I think the professors at NATSAL would be very pleased if people started using the term “Sexual Wellbeing”, which is part of their proposal that everyone should think of sex as an important part of a healthy and fulfilled life. If people quoted that it would be a great legacy for the show. 

If the puppets could host a dinner party, which 3 guests would they invite?

Basil Brush, Stormy Daniels, and Monzaemon Chikamatsu the great Japanese 17th Century writer of plays for the Bunraku Puppet Theatre. I think they would all get on. You’d have 70’s foxy puppetry, political sex scandal, and epic theatre about lovers committing suicide. It would be a wild night. 

The conversation around sex is always evolving and changing and it feels like the younger generation are much more open to discussion and conversations around it. Do you agree, and does that mean there will there be a Sex Lives of Puppets part 2? 

Yes I think that is right. Certainly, I’ve learned a lot from the younger members of the company. I think they are more open and more confident talking about sex certainly than I was and probably am. So I hope the conversation is evolving and this must be a good thing in the long run. It goes wrong along the way of course, but more talking and more openness must lead to more understanding in the end. 

I like the idea of part 2, yes, great idea, but we should see how part 1 goes first. I might start calling it part 1 now though in preparation! And hey why stop at 2? Like I said the puppets won’t stop talking about sex!

The Sex Lives of Puppets will be performed at 21:30 at the Pleasance Courtyard (Beyond) from 31st July – 25th August (not 7th or 14th) 

Booking Link: https://www.pleasance.co.uk/event/sex-lives-puppets 

REVIEW: The Last Pearl

Published on by Lena HolmanLeave a comment

Rating: 3.5 out of 5.

A visually stunning exploration of resilience and environmental balance, underscored by intricate puppetry and innovative lighting.

The Last Pearl, a devised piece by Blue Raincoat Theatre Company, tells the story of a M and her daughter as they navigate and scavenge in a world devastated by a typhoon. It portrays  their capacity to adapt to a transforming environment and their struggle for survival. 

Throughout the performance, subtle allusions to James Lovelock’s Gaia hypotheses  underscore the importance of collaborative effort in maintaining life’s delicate balance, not  only within the characters of M, her daughter, and the environment around them, but also  within the ensemble. The entire cast performs with meticulous precision, moving seamlessly  as a unified entity, akin to the interdependent process described by the scientist and  environmentalist. 

The show begins meditatively, with the sound of cello and strings filling the audience’s ears  as blue waves surge onstage. The performers are focused and delicate with every touch,  creating a precise and trance-like atmosphere. No words are spoken throughout, yet  powerful visual images of nature, the fragility of life, and existence are portrayed. 

The soundscape throughout the performance remains relentless, with only fleeting moments  of speeding up beyond 80-90 bpm. This creates a sense of compression and a yearning for  release, which adds to the compelling storytelling. 

The lighting is clever and minimal, effectively directing the audience’s focus. The use of  handheld lights by the players creates the sensation of being underwater divers, joining the  characters on their deep-sea voyage. However, at times, the lighting is so sparse that some  actions on stage are almost missed. 

The use of Bunraku, traditional Japanese puppets, is amazing and enhances the beautiful  storytelling. Additionally, the incorporation of shadow puppetry and scaled models adds to  the visual richness and were a highlight of the performance. 

The devices used in the performance are simple yet repeated effectively to tell a strong story.  The use of repetition is intriguing; as an audience, we anticipate that the story would evolve  and change pace. However, the pace remained unchanged until over halfway through,  leaving me restless and observing other audience members shifting in their seats. This may  have been a deliberate choice by the team to mirror the reality of our environment and our  tendency to overexploit natural resources. Despite the powerful message conveyed, I found  myself losing concentration at times. Perhaps omitting one of the repetitive sequences could  have alleviated this issue. 

A downside was that portions of the show took place on the front edge of the stage, meaning  the audience beyond the first row missed some of the action. 

Overall, ‘The Last Pearl’ is a beautifully visual journey, albeit somewhat slowly paced and  somewhat hedonistic. The powerful performances, clever use of lighting, and innovative  puppetry make it a memorable experience, despite some pacing issues and staging  limitations.