In Ajijaak on Turtle Island, chicks are hatched, buffalo dance, and butterflies flutter overhead to the delight of young theater-goers. The multimedia piece is the creation of Heather Henson in collaboration with an array of First Nations performers and her famed father Jim Henson’s Creature Shop. Storytelling is imparted through song, dance, and projections in addition to the expected marvelous marionettes.
Ajijaak on Turtle Island © 2018 Richard Termine
A synopsis is included in the program and should be shared with children before the curtain rises to help them get the most from the experience. We are on Turtle Island — now known as North America — at a time when animals could talk to one another. A young whooping crane named Ajijaak has been separated from her parents during a fire. Her journey to find them on the Gulf Coast puts her in touch with deer, buffalo, coyotes, crabs and a few two-legged beings. Each interaction teaches her something valuable and contributes to her “medicine bundle.” These lessons will help her heal the world when the time comes to confront Mishibizhiw, the violent creature who is awakened from sleep whenever the earth is being exploited.
The visuals are quite stunning and work in harmony. Multimedia images of nature are combined with music and movement in support of the environmental message. Indigenous pieces by Dawn Avery & Larry Mitchell, Kevin Tarrant and Ty Defoe are punctuated by two drummer/chanters along with conventional instruments. The script — also by Ty Defoe based on a story by Heather Henson — is episodic, as is typical of a work geared to children. The narrative breaks down in spots and some of the dialogue is stilted. These weakness are largely overcome by the charm and warmth of the narrator Grandma Moon as embodied by Joan Henry. Mishibizhiw’s entrance happens without an inciting incident, which seems a lost opportunity to really hit home the overarching theme. A highlight comes shortly after when the audience participates in the unique song meant to restore balance to the world. It is a tune you will hear little voices continuing to sing throughout your walk to the subway, briefly pushing Baby Shark to the back of your mind.
Complementing Ms. Henry is Henu Josephine Tarrant who gives Ajijaak a soaring angelic voice worthy of a bird. The remainder of the performers — Tony Enos, Wren Jeng, Adelka Polak, Sheldon Raymore — are uneven in skill, but all provide enthusiasm and heartwarming interaction with the audience. Dancers Jake Montanaro, Jennifer Sanchez, Euni Shim and Dormeshia Ward fill the background and theater aisles, uplifting spirits, sometimes with the aid of kites representing, birds, butterflies and such. Traditional dances choreographed and performed by Tarrant, Raymore and Enos add spark and authenticity.
The set by Christopher and Justin Swader features six drum heads representing the heartbeat of Turtle Island. These also function as screens for the dramatic projections designed by Katherine Freer. Rather than the all-black garb favored by most puppeteers, these artists sport bright colors in their wardrobe designed by Lux Haac with some pieces by Donna Zakowska. This is in keeping with the cultural roots of the characters and plays up the relationship between the animals and their handlers.
Presented by Ibex Puppetry, an entertainment company founded by Heather Henson that creates spectacles promoting themes in support of a healthy planet, Ajijaak on Turtle Island is intended as family entertainment. Adults firmly in touch with their inner child should find enough to engage with here. The recommended age is 7 and up, though I saw many pre-schoolers in attendance.. Your child should be able to sit still for 75 minutes, not interfere with performers in the aisles, and hold questions until the curtain falls. There is an opportunity for them to participate in support of Aijijaak in the way past generations clapped in order to keep Tinkerbell alive. Performances run through March 10 at the New Victory Theater. For information and to purchase tickets visit https://newvictory.org.
The Cake
The Cake is like one of those imperfectly filled jelly donuts: a few sweet spot surrounded by too much bland. At a time when we could use serious conversation and considered insight into the critical issues that divide us as a nation, this comedy by This Is Us producer Bekah Brunstetter offers too little that is satisfying. Though it concludes with some timid steps towards a “love is love is love” message, it gets there via worn out arguments on both sides of the issue of gay marriage.
Fans of That 70s Show may delight in seeing Debra Jo Rupp as Della, the owner of a sweet shop in Winston-Salem North Carolina (Brunstetter’s home town) about to find fame on a national baking show. Her opening monologue cleverly lays the groundwork for the rigid discipline Della applies to all areas of her life. Soon after, she is reunited with Jen, her deceased best friend’s daughter, who is in town preparing for her October wedding. Initially Della is thrilled when asked to provide the wedding cake. But when she discovers Jen’s intended is another bride, she clumsily rescinds the offer. Their ensuing awkward discussion leaves both Della and Jen rattled and searching for the roots of their beliefs and accompanying feelings of shame.
Director Lynne Meadows does her best with a space that is too wide for a story this intimate. Rupp is her usual perky self, delivering most of the better lines with comic flair. To some ears, Della will simply come across as a bigot (though a chirpy petite one) who uses someone else’s pleasure and pain to mend her own relationship. But there are moments when Della’s turmoil feels genuine. Rupp is most grounded in her scenes with Dan Daily, who has the most joyful character arc in the role of her domineering husband, Tim. (Daily also provides the voice of the appropriately oily George, the host of the American Baking Show who functions as Della’s conscience.)
Rupp and Angelson in The Cake. Photo by Joan Marcus.
The relationship of the lesbian couple is more problematic. Disappointingly, though the words are often there — particularly in Jen’s vivid and horrifying description of her heterosexual encounters — there is no palpable connection between the two actresses. The fresh-faced Genevieve Angelson brings a sweet restlessness to Jen as she is tossed between the realms of her conservative childhood and newly found freedom discovered in New York. As her betrothed, Marinda Anderson gives Macy some well-earned rough edges, though the script occasionally requires her to speechify. But as a couple, they never seem to click.
The overall look of the piece is spot-on. Scenic designer John Lee Beatty has chosen candy colors to surround his baker, with mint green and strawberry cream pink swirling through her shop and home. In contrast, the engaged couple is staying in the only earth toned room on the set. Wardrobe by costume designer Tom Broecker follows a similar scheme, with Jen alternating palates. Philip S. Rosenberg’s ’s lighting sharpens the intensity of Della’s inner dialogue and softens the conversations between lovers.
With The Cake, Ms. Brunstetter has tried to make the point that recent cultural shifts have occurred too quickly for some goodhearted people to catch up. The irony is that since the time the play was first produced, those same shifts have given rise to a slate of superior projects with bolder things to say. From our current cultural vantage point, this work is a disappointing use of Rupp’s comedic talent as well as a waste of several delectable-looking cakes.
The Cake is playing through March 31 at MTC at New York City Center – Stage I. Theater-goers under 30 qualify for special $35 tickets. Full priced tickets begin at $89 and can be purchased online at www.nycitycenter.org, by calling CityTix at 212-581-1212, or by visiting the New York City Center box office (131 West 55th Street).