Tag Archives: Puppets

Petunia’s Big Day – Streaming On Demand

Musical, On Demand January 23, 2022 Leave a comment

Children experiencing everyday anxiety and stress have a fluffy new role model.  With her fuchsia skin and sky blue ponytail, Petunia (creator Laura Kay Clark) is a sweet relatable “Everychild.” Chatting with her friend Pumpkin Duck (puppeteer John Pickup; voice T.J. Bolden) she is excitedly picking out a jacket for her first day of school.  But before she can eat her chocolate chip pancakes, the Anxiety Monster (Christopher Isolano) arrives with his alluring backup troupe.  He conjures images of mean teachers and unfriendly classmates until all she wants to do is get back into bed.  Fortunately Mom (Renee Titus), who has regular doubts of her own, comes to the rescue with a series of mindfulness exercises. Petunia is only too grateful to learn new skills and even experiences the joy of passing them on to a new friend (Amanda Spencer). 

Petunia (Laura Kay Clark) confronts the Anxiety Monster (Christopher Isolano); photo provided by Party Claw Productions

After regrettably having to cancel in-person performances for safety reasons, New Ohio Theatre has made Petunia’s Big Day available On Demand.  The Party Claw co-production is warm from the first note, with the cast greeting us at the door and leading us through the auditorium accompanied by upbeat piano.  The book by Laura Kay Clark is based on her own Petunia’s Playhouse, an award-winning web series she created to give young children tools to better cope with the stress brought on by the COVID pandemic.  With the shift to an online format, this lively show can now be experienced by families around the country.

On Safari, the video streaming was very stable and the audio well mixed with just a slightly muted mic on Petunia.  While some of the opportunities for interactivity with younger audience members has been lost, the ability to see the details of the puppets (designed by Puppet Kitchen artist Eric Wright with additional puppets by designer Myra G. Reavis) and the fabulous touches in Petunia’s bedroom are improved from the cameras’ vantage points.  As directed by Christina Rose Ashby, Petunia is in a window above the tiled stage so that she and her human cast-mates can see eye to eye.  The brightly colored bedroom set designed by Reavis with its drawn-on doors and bed frame build on the musical’s storybook feel.  The company of six (Puppeteer Julia Fein also lends a hand… BOTH) ably delivers the serviceable songs by Billy Recce.  And there are still moments when a child at home can breathe along with the heroine or warn her of approaching Tummy Butterflies.  

Aimed at theater-goers aged 6-12, Petunia’s Big Day is childlike, but not childish. The demonstrated tools are practical and easy to apply.  It contains an important reminder that the practice of self-care isn’t only essential when there’s a virus circling. The common events depicted may even stimulate conversation about how to manage other uncomfortable emotions. 

Running less than half an hour, the production is streaming On Demand through February 6.  Tickets are $25 per household and can be purchased at https://watch.eventive.org/newohiotheatre/play/61d8bc1cc9d1230044fa7ff2.  You’ll have 7 days from the time of purchase to start watching, and 24 hours to complete your viewing.

Advertisement

Django In Pain – Streaming on Demand

On Demand, Play October 11, 2021 Leave a comment

A play about a young man so depressed that he wants to kill himself may not sound like an appropriate match for our national state of mind.  But the journey Antonio Vega and Ana Graham invite us to take in Django in Pain is a beautifully rendered one.  Filmed by Graham mid-pandemic on a cellphone, it features handmade puppets, with props and scenery fashioned from found objects.  And just like in the parable made famous by The West Wing, Vega has been down there and he knows the way out.  The 2016 election kicked him in the soul and the earthquake in Mexico the following year affected him more than he could comprehend.  But the time he found himself in COVID lockdown, he could hardly function.  An invitation to be part of a creative project — the one that resulted in this innovative work — is what motivated him to push away the mental cobwebs and seek help.

Performed on a clear desk by Vega and two visible puppeteers, the piece follows Django on a series of adventures. His suicide attempt is interrupted by an overexcited dog with whom he slowly forms a bond.  The playwright often interacts with his inventions, his inner monologue taking the form of an astute vulture.  While the story has gloomy themes, there are also absurdist images such as Django eating breakfast with a noose still secured around his neck.  These farcical elements prevent Django’s anguish from becoming excruciating for the audience while still honoring the character’s feelings. 

A scene from Django in Pain

Vega’s dialogue isn’t distinctive nor is it a particularly important element for success.  The visuals are what is essential to the narrative and they are inventive and impactful.  Many types of puppets are employed including Indonesian style shadow puppets and traditional stringed puppets.  The shadows are often as prominent as the characters and set pieces, well-representing the dark and lighter moods battling for attention.  As Django’s outlook brightens, so too does the palette employed.  Music with a Spanish flavor written by Cristóbal MarYán heightens the mood.  Headphones may improve your streaming experience.

Django in Pain serves as an important reminder of the powers of connection and accountability.  Whatever our circumstances, there is always an opportunity to develop our own story.  Originally commissioned by PlayCo, the production is streaming from 59e59.org as part of their Plays in Place series.  Runtime is 56 minutes including Vega’s introduction: essential for comprehending the ending of the play.  Narration is available in both English and Spanish.  $15 tickets are available at https://www.59e59.org/shows/show-detail/django-in-pain-streaming/ and can be used on demand through October 19.  Due to the intensity of the content, there is a viewer advisory.

Journey Around My Bedroom – Live Stream and On Demand

Live Stream, On Demand, Uncategorized December 30, 2020 Leave a comment

If your little one is feeling cooped up this holiday, I encourage you to take them for a Zoom visit with Xavi.  She’s a creative young spirit and the central character of Journey Around My Bedroom, a puppet show presented by New Ohio Theatre for Young Minds.  Like many children who have been isolated by the pandemic, Xavi is bouncing off the walls with boredom.  Instead of being stuck at home, she wants to use her homemade wings and fly to the moon.  With encouragement from her mother and an explorer who pays a visit all the way from 18th century France, Xavi learns to use her imagination to expand her space and take a trip within the safety of home.  

The enchanting production is specifically designed to work over Zoom and can bring family members from different locations together for a shared experience.  At intervals, audience members are given the opportunity to turn on their cameras and microphones and participate in Xavi’s travels.  Willing volunteers help her find the right tools in her toy chest and sing a song of encouragement to help her overcome her fears.  Post-show, they can ask the performers questions and take a look behind the scenes.  The at-home packet in the show program includes a printable template to make a self-styled puppet and map in order for kids to continue the story in their own way.

A scene from Journey Around My Bedroom

Dianne Nora developed the plot line from the writings of Xavier de Maistre, produced when he was under house arrest. From the seeds of his unusual books, Nora has grown a charming story that easily incorporates lessons about bravery and appreciation and contains just enough maturity to keep supervising adults engaged.  De Maistre literally drops into Xavi’s life when his balloon makes an unexpected landing in her bedroom, connecting the two adventurers.

The up-cycled cardboard puppets, meticulously designed by Myra Reavis with Ana M. Aburto, are similar to those used in Victorian toy theatre.  Held together with brads so that they bend at the joints, they are assisted in their movement by outside hands that surprisingly never distract.   Even Xavi’s dog Joseph is given distinct personality.  Close-ups are achieved with larger cutouts of specific body parts and props.  Miniature set pieces are organized on three separate stages that visually lead from one to the other.  The distanced cast members appear to interact with clever cutting between cameras as directed by Jaclyn Biskup.  Original songs and music by Hyeyoung Kim add to the joyful atmosphere.

Spoken word artist Starr Kirkland is our welcoming guide, appearing both as herself and as M. de Maistre.  Giving voice to Xavi is Ashley Kristeen Vega whose upbeat warmth inspired one little girl in my audience to practically bounce into the performance.  Rounding out the team is multi-hyphenate Laura Kay who subdues her comic chops and grounds the storytelling as the narrator and Xavi’s mother.

This imaginative production of Journey Around My Bedroom — fitting for this peculiar year — runs an attention-holding 35 minutes.  Best viewed on a laptop or desktop, it’s being offered as a live stream on weekends thru January 11.  This format will best suit outgoing children who will enjoy the interaction, as well as parents with flexible schedules.  After the conclusion of the initial run, a prerecorded version of the show will be available on demand until February 11.  All tickets are Pay-What-You-Will (suggested price is $25 for up to two viewers) and can be purchased through Ovationtix: https://web.ovationtix.com/trs/pr/1033538 for live performances and https://web.ovationtix.com/trs/store/34708/alldonations/35894/dept/1499 for on demand.

TornKid at Lady Fest

Off Off Broadway, Play, Uncategorized August 10, 2019 Leave a comment

As the name would suggest, Lady Fest theater festival in New York shines a light on womanhood in all its wondrous forms.  In the supportive atmosphere of The Tank, female and female identifying artists are provided the opportunity to be heard by youthful spirits of all ages.  Currently on stage in the smaller of the two houses is Tornkid, a multimedia fable for the times, presented in partnership with Baltimore Asian Pasifika Arts Collective (BAPAC).  Written by Katelynn Kenney, the script vividly illustrates the emotions underlying the immigrant experience, using Southeast Asian and Pacific Indigenous creation stories as a springboard to explore the quest for belonging.

Struggling to fit in with both traditional Asian family life and the typical school experience of American children, Tornkid literally tears themselves in two.  Sadly, their other half runs off with the voice, pointing out that Tornkid hasn’t really made use of it.  Refusing to be doomed to a life of silence, Tornkid journeys through mystical lands, determined to be reunited with the parts of themselves that have been lost.

Use of the inclusive pronoun “they” to describe Tornkid is significant since exploring identity is essential to both the story and the storytelling technique.  Tornkid is pulled apart by two distinct ways of being as well as an environment that constantly shifts between comforting and strange.  The actors, too, morph identities as they move from role to role, often employing intriguing masks created by Tara Cariaso and Aaron Elson of Waxing Moon Masks.

The experience is similar to the ones frequently offered at The New Victory on a Saturday afternoon.  Typical of myths, the story is very episodic, though the through-line is strong.  A dragon-headed magical guide addresses the audience directly, explaining that we are the ancestors.  She elicits our help at critical junctures, encouraging us to participate by adding claps, slaps and clicks and other sound effects.  Metaphors are creatively made concrete by most of the characters.  Each interaction makes Tornkid stronger and brings the goal into clearer focus.

tornkid(76)

Tree Spirit in a previous workshop of TornKid

Surasree Das lends tremendous warmth and stirs compassion as she pantomimes her way through Tornkid’s unusual journey.  Her most powerful encounters are with a Tree Spirit and a Sea Warrior, two fantastic puppets created by Jess Rassp and given voice by Elizabeth Ung who also provides unique hand-decorated costumes.  The narration supplied by the Magic Teller is sometimes stilted, but actress Kim Le sweetly and enthusiastically engages with the audience.  Marela Kay Minosa and Mika Nakano round out the cast, playing a half dozen roles between them.

Co-directors Cara Hinh and Donna Ibale don’t yet have the knack for arranging movement appropriately in 3/4 round, staging too much of the action for the center section.  But this is a minor distraction with so much creativity clearly in evidence.  The puppet movements are nicely choreographed and literally extend the actors performances. There are also wonderful props by Pauline Lamb which draw on childlike images.  Sounds not provided by the audience are designed by C. Swan-Streepy with the mystical atmosphere capped off by Miranda Poett’s lighting.

BAPAC’s inaugural production, this second iteration of Tornkid delivers an upbeat message in an inventive way.  This worthy work is being hosted at The Tank (312 W 36th Street) a nonprofit that strives to remove economic barriers for emerging artists.  Remaining performances of this workshop production are Saturday, August 10 at 3 PM and 7 PM and Sunday, August 11 at 3 PM. Lady Fest runs through Wednesday, August 28.  Tickets range from $0 – $25.  For a complete performance calendar and to purchase tickets in advance visit www.thetanknyc.org/ladyfest.

Ajijaak on Turtle Island

Musical, Off-Broadway, Uncategorized March 3, 2019 Leave a comment

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 © 2018 Richard Termine

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.

A Real Boy

Off Off Broadway, Play, Uncategorized August 14, 2017 Leave a comment

I was attracted to the concept of A Real Boy the moment I read the log line: Puppet parents adopt a human child. (This is not a spoiler. Even the most inexperienced of theatergoers is bound to notice this attribute of Max’s parents the moment they shuffle into his kindergarten classroom on their little wooden feet, strings and control handles attached.) The play lands some of the anticipated satirical punches, but it’s hard to make the argument that the darkly comic work is a total success.

To be clear, I can accept even the highest of concepts provided the writer stays within the boundaries of his own mythology.  Unfortunately parameters that are drawn in the first few minutes are broken almost immediately when a character who is supposed to live in a black-and-white world enters wearing blue glasses.  This is only the beginning of the muddled thoughts that swirl around what it means to be “puppet”.  How much do you or we acknowledge your “other part”: the obvious human member of Actors Equity who sometimes participates in a scene whenever tiny hands won’t do?  Do humans evolve into puppets simply with enough exposure?  If so, how does that translate in families with members who are not exactly mainstream?

The unclear vision of the Puppet Universe is just the beginning of playwright Stephen Kaplan’s challenges.  As the plot moves along, he creates a serious case of metaphorical whiplash. He can’t seem to make up his mind exactly what point he’s trying to make. The untraditional family stand-ins in for children with disabilities, transgender persons, and mixed race families and more before moving on to a vague “you be you.”   Any one of these statements could have been profound if followed through with conviction. Together they come up as ideological ambrosia salad.  And that’s before adding multiple snide asides about home schooling, ambitious local politicians, and online MBAs.

The cleverer sections of the work are hindered by the direction of Audrey Alford who, with the help of scenic designer Ann Beyersdorfer,  manages to ensure that every seat in the house becomes partial obstructed view.  Audience heads throughout the theater are constantly jostling for a position around the pillars, down to the floor, and over to a critical stage piece on the side.  I missed several important visual cues because they were not in my line of sight. This is fairly inexcusable given the the current configuration of the theater is about 60 seats.

ARealBoy3

Brian Michael in A REAL BOY at 59E59 Theaters. Photo by Heidi Bohnenkamp

Ms. Alford has also made some curious casting choices.  At the performance I attend, young Max is played by 20-something Kelley Selznick, a talented puppeteer, but not particularly gifted actress.  Max’s mother, Mary Ann Myers, is played by Jason Allan Kennedy George making his theatrical debut.  He’s fine in the role, but I found the selection of a tall male for the part a distraction from what more obviously makes Mary Ann different from other members of the PTA.  It is also hard to figure out how Max would find comfort with Miss Terry, played at a near-vibrating pitch by Jenn Remke.  More successful is Brian Michael, striking all the right notes as Max’s father distraught father, Peter Myers.  Breaking the tension with great timing is Jamie Geiger in the role of Principal Klaus.  And of course there are the all-important puppets created by Puppet Kitchen Productions, close to blank canvases the better to project your own vision of what different means to you.

For lovers of live theater seeking an unconventional production, A Real Boy has enough artistry to make it worthy of the $25 ticket price.  It is brought to 59E59 by Ms. Alford’s Ivy Theatre Company in association with Athena Theatre, which is known for it’s unorthodox psychologically-based dramas.  Performances run through August 27.  For tickets and information visit http://www.59e59.org/moreinfo.php?showid=293.