Showing posts with label events. Show all posts
Showing posts with label events. Show all posts

Wednesday, August 12, 2020

Great Small Works holds Benefit


Art, Justice, and Pasta: A Benefit for Building Stories


Join Brooklyn-based theater company Great Small Works on Friday, August 14 at 7:30 Eastern Time for a free, online version of the company's long-standing Spaghetti Dinners, entitled Art, Justice, and Pasta: A Benefit for Building Stories. This exciting array of over a dozen new activist performances, puppet shows, films, and music (as well as a live cooking show revealing the secrets of Great Small Works' beloved spaghetti recipe) will feature performers including: Great Small WorksBoxCutter CollectiveThe People's Puppets of Occupy Wall StreetChinese Theatre Works, the Inanimate Intimists, Nathan Leigh, Raphael Mishler, Marina Tsaplina, Jacqueline Wade, and chef Roberto Rossi.

Viewers can connect to Art, Justice, and Pasta via the Great Small Works facebook video page:


Opportunities to make contributions to Building Stories will be available during and after the event. Donation link is here:


Since 2017 Great Small Works has shared space, projects, and enthusiasm with Building Stories, LLC, a Brooklyn-based community of artists, teachers, builders, designers, writers, filmmakers, organizers, performers, and thinkers who collaborate with organizations working toward economic and racial justice, environmental protections, labor equity, prison reform and immigrant rights. The Building Stories shared studio in Gowanus is a design, construction, and rehearsal space for multiple overlapping projects involving puppets, masks, banners, costumes, and signs, as well as film and video editing.

Art, Justice, and PastaA Benefit for Building Stories will include performances by the following Building Stories members:

Marina Tsaplina and Alexandra Zevin, who will present their short video
  • What is Building Stories?, a you-are-there tour of the Building Stories workshop and studio in Gowanus.
People's Puppets of Occupy Wall Street, founded in Zuccotti Park in the first two weeks of the 2011 Occupation of New York City, is a collective that helps other activists build beautiful and effective visuals for actions. People's Puppets will present:
  • Masque of the Red Death: 2020, by Alexandra Zevin, a digital adaptation of a work by Edgar Allen Poe, in which the rich are partying during a pandemic, and a fracking executive steps away from the masquerade ball.
  • Surviving the Storm: A Shadow Puppet Show, Kim Fraczek’s video about a mourning dove protecting her nest eggs in the tree outside Kim’s window in Brookly during a day filled with violent winds and rain; the dove’s resilience and tenacity recall the story told by 1,000-year-old Redwood tree named Luna to her protector.
  • The Luxury You Deserve, Alexandra Zevin and Morgan Jenness's video reconciling anger and panic in response to recent political events, with an understanding of economic structures that influence history: we are living in the grips of settler colonial histories and a corporate takeover of the living world. Where are we going?
BoxCutter Collective, an extended family (Sam Wilson, Jason, Hicks, Tom Cunningham, and Joseph Therrien) of puppeteers, painters, performers, builders, educators, workers, union organizers, and mischief makers who have been working together in various forms for the last 15 years. They will perform:
  • A Series of Questions for Those Not Yet in Favor of Police and Prison Abolition, a picture performance by Tom Cunningham.
  • How to Overthrow a Statue, a how-to toy-theater instruction video by Jason Hicks.
Chinese Theatre Works, co-founded by Kuang-Yu Fong and Stephen Kaplin, who have collaborated together on dozens of theatrical productions that fuse Chinese opera with Western puppetry practice, will perform:
  • The Warrior, based on a Japanese Zen parable, as interpreted by the great, late, master storyteller Ken Feit.
Great Small Works, a collective of six theater artists–John Bell, Trudi Cohen, Stephen Kaplin, Jenny Romaine, Roberto Rossi and Mark Sussman–who create original performances aiming to keep theater at the heart of social life, drawing on folk, avant-garde and popular theater traditions, will present:
  • What Kind of Bear am I?, a video conceived and directed by Jenny Romaine, based on a song by Geoff Berner, and part of a larger production, The Revival of the Uzda Gravediggers, about life in the "mostly ordinary town" of Uzda in Belorusia before the rise of a nation-state.
The Inanimate Intimists (Ali Goss and Liz Oakley), who animate objects in order to explore their inner thoughts and desires, and have performed on their fire escape, from inside a bathtub, on their stove, and on their stoop, will perform:
  • The Future of Pigs, a hand-puppet lecture by Professor Pig about the violent history and imagined future of the humans giving pigs a bad name: the police.
Nathan Leigh, a member of People's Puppets of Occupy Wall Street, will present:
  • I Know What It Means To Be Free, a video animation created in collaboration with Israel Adeyemi Adeniji, who spent 190 days in ICE detention, and the Brooklyn Community Bail Fund's "Let My People Go" campaign to release our immigrant neighbors in detention; and
  • The Immortan Joe Memorial Highway, a stop-motion animation video Leigh made for a tune by his band Nathan Leigh and the Crisis Actors.
Raphael Mishler, a visual designer for New York theater productions, will present:
  • Quarantine Stroll, a collage crankie based on walks through the artist's neighborhood during the beginning of social distancing.
Jacqueline Wade, a professional hybrid filmmaker/storyteller/actress/puppeteer/fabricator/activist, and graduate student in the MFA Integrated Media Arts Program at Hunter College, will present
  • A Slice of History, a multi-media triptych perspective on Human Zoos, Teddy Roosevelt, and the Young Lords, created, written, directed, and edited by Jacqueline Wade.
Marina Tsaplina, a transdisciplinary performing artist, disability advocate, and scholar in the medical/health humanities, will present:
  • Body Poem #1: That Place of Freedom, a short meditation; an exploration of body, place, breath, sound, and image.

Monday, May 04, 2020

May Fayre Memories Documentary


For 45 years Maggie Pinhorn and Alternative Arts have organised the Covent Garden May Fayre and Puppet Festival. In this video Punch and Judy professors, puppeteers, entertainers and puppet builders discuss what makes the day so magical, why people travel from across the globe to attend, and thank Maggie for her unparalleled contribution to British puppetry.

Tuesday, April 28, 2020

Article: Toy Theatre Thrives Online During Quarantine

Great Small Works, a New York-based performance collective, recently organized the first virtual Toy Theatre Festival, providing an online platform for international artists who responded to an open call. 
And boy, did they respond!  In a matter of just days - sometimes hours - performers from around the world stepped up to volunteer performances in the time of our mutual pandemic quarantines.
John Bell (Great Small Works) hosts the festival with two alternating puppets designed by Isaac Bell. 
The result has been magical!  The first two evenings were last month, and the next two are later this week and early next week.  I invite you to come watch, to join in, LIVE, as amazing small stage productions are streamed out to the world...

Saturday, March 28, 2020

Isolating Together: Virtual Toy Theater Festival


COMING TO A PERSONAL SCREEN NEAR YOU!

*** I s o l a t i n g    T o g e t h e r  ***

Great Small Works' Online Toy Theater Festival

Day 1: Thursday, April 2, 2020 @ 7:30 - 9:00pm EDT
Day 2: Friday, April 3, 2020 @ 7:30 - 9:00pm EDT

Toy Theater practitioners from around the world will offer original (very) short shows. From the intimacy of the Victorian parlor to the intimacy of your personal viewing device, puppeteers transform the traditional form to reach out during these days of separation.

Some of the lineup of performers:
Dirk and Barbara Reimers, Papiertheater Polidor (Germany)
Modern Times Theater (East Hardwick, VT)
Great Small Works/Stephen Kaplin (Jackson Heights, NY)
Dan Van Allen (Baltimore, MD)
Dan Hurlin (NYC and Hawley, PA)
Ira Karp and Peter Schumann (Glover, VT)
Katherine Fahey (Baltimore, MD)
Katya Popova (Boston, MA)
Eli Nixon and Ida Marcus (Providence, RI)
Lindsay McCaw (Detroit, MI)
Tianding He, Yiru Chen, Ge Gao, An Hua (NY, NJ and Shanghai)
Laurie McCants (Bloomsburg, PA)
Amelia Castillo (Santiago, Chile, via Glover, VT)
Isabel Bazan and Mauricio Martinez (Mexico City)
Joshua Krugman (Glover, VT)
Kate Brehm (Brooklyn, NY)
Birthe Thiel, Theatre Mont d'Hiver (Germany)
Miss Pussycat and Quintron (New Orleans, LA)
Alissa Hunnicutt (North Hollywood, CA)
Michael and Valerie Nelson (Vallejo, CA)......and many, many more!

Friday, October 27, 2017

Driveway Follies

There is a very special place in Oakland, California, where a very special program is performed every October 30th and 31st.  It all started with an idea from the mind of Larry Schmidt...



Below are some highlights from the show - excerpts that demonstrate the sharpness of wit,  skill of puppetry, and comic brilliance - that you'll be sure to enjoy.  First up, Mysterious Mose, followed by, The Skeleton and the Roundabout, and finally, Hanky Pank's T'ain't No Sin! Check them out...





Friday, October 16, 2015

The Ghastly Dreadfuls: Vaudeville Puppet Theatre



An amazing show called "The Ghastly Dreadfuls:  Raising Spirits" is being performed right now, through October 31st, at the Center for Puppetry Arts in Atlanta, Georgia.
Reporters...recently had the pleasure of attending a performance of the award-winning The Ghastly Dreadfuls, and were astounded by the beautiful mixture of live music and dance combined with incredible elaborate puppet shorts. From the set design to the choreography, this production proved to be one of the most cleverly crafted and executed theater sets this reporter has seen in recent years. 
A well rounded production introduced the audience to the Dreadful Family of ghouls who rise from the grave during this time of year and take human form. Rising from the dead, it seems, involves a lot of wonderful showmanship and musicianship in Victorian inspired costuming. Each of the Dreadful is introduced in turn by the ring master of this frightful circus, Simply Dreadful. 
The show continues by interspersing vaudeville styles shows with a selection of puppet vignettes representing puppet stories from around the globe. Some of the vignettes include songs such as the opener, “La Petite Vampyr,” and others work through voice over or dramatization, such as the compelling “11:59″. Not one of the pieces or songs fell flat. In a very real way, this production combined the best of early 20th century live theater with the best of modern puppetry.           
- Ghastly Dreadfuls Sell Out at Center for Puppetry Arts  


Lady Dreadful (Reay Kaplan)

Dapperly Dreadful (Bryan Mercer)

Dizzily Dreadful (Scott E. DePoy)


Shockingly Dreadful (Spencer G. Stephens)

Daftly Dreadful (Kristin Haverty)

Catly Dreadful (Jason von Hinezmeyer)

Simply Dreadful (Jon Ludwig)


Above and below - Cast: Scott DePoyKristin HavertyReay Kaplan, Jon Ludwig, Spencer G. Stephens, Bryan Mercer, Jason von Hinezmeyer


All portraits by Clay Walker

Saturday, August 22, 2015

Coming Soon: Three Countries, One Great Show!

GREAT SMALL WORKS  &  FACTO TEATRO  perform together
gsw  facto1  iglesia  duraznos
TWO NYC SHOWS  -  MANY SHOWS THROUGHOUT NEW ENGLAND
Three countries meet on one small stage: Great Small Works members Trudi Cohen and John Bell are teaming up with Facto Teatro from Mexico City and Barbara Steinitz from Berlin to share a program of Paper Theater for venues across New England and New York City.

Facto Teatro's Don Chico con alas (Don Chico with Wings) is based on a story by the Mexican writer Eraclio Zepeda. To go from one village to another Don Chico must come down the mountain, cross the jungle, then the river and up the opposite hill. He decides he needs to build himself a pair of wings and fly, to reach the sky before national holidays.

Great Small Works' Living Newspaper, Episode Two: Sidewalk Ballet contemplates the life of the city, featuring Jane Jacobs, Robert Moses, a burning bush, and the sidewalk.

Where noted, Living Newspaper will be replaced by Great Small Works' Lyzer the Miser. Based on a story by Isaac Bashevis Singer, clever Todie teaches greedy Lyzer a lesson about generosity.

In Facto Teatro and Steinitz's collaboration Duraznos azules (Blue Peaches), Pedro asks his grandmother why the peaches in her garden are blue.

In Paper Theater, also known as Toy Theater, flat paper figures evoke grand worlds, as they did centuries ago in the living rooms of European homes. Through international Toy Theater Festivals in New York and Mexico City, performances around the world, and workshops for people of all ages and persuasions, Great Small Works and Facto Teatro have been responsible for a resurgence of interest in this accessible, inexpensive form. The grandest of tales with the simplest of means! And—you can do it yourself!

TOUR ITINERARY:

Sunday, August 30, 5:30 PM: Bread and Puppet Theater, Glover, VT. FREE. www.breadandpuppet.org

Wednesday, Sept. 2, 7:30 PM: AS220, 95 Empire Street, Providence, RI. $15 https://www.as220.org/event/paper-theatre-by-great-small-works-and-facto-teatro/

Thursday, Sept. 3, 7:30 PM: Ballard Institute and Museum of Puppetry, University of Connecticut, 1 Royce Circle, Storrs, CT. $12 http://bimp.uconn.edu/

Saturday, Sept. 5, 7:30 PM: Mayo Street Arts, 10 Mayo Street, Portland, ME. $12/advance, $15/door. http://mayostreetarts.org/event/trudi-cohen-john-bell-with-members-of-great-small-works/

Sunday, Sept. 6, 7PM: Temple Stream Theater, Temple, ME. $10/general; $5/students and seniors; pay what you can

Tuesday, Sept. 8, 7PM: Pontine Theater, 959 Islington Street, Portsmouth, NH. $18. 
http://www.pontine.org/

Sunday, Sept. 13, 11AM and 3PM: Puppets in the Green Mountains Festival, Latchis Theater Ballroom, 50 Main Street, Brattleboro, VT. $10/general, $8/seniors and students. Bell and Cohen will present "Lyzer the Miser." http://puppetsinthegreenmountains.com/great-small-works-toy-theater-workshop-and-performance/

Tuesday, Sept. 15, 6:30 PM: Russell Library, 123 Broad Street, Middletown, CT. FREE. "Lyzer the Miser" will be performed.

Wednesday, Sept. 16, 6:30 PM: Fair Haven School, 164 Grand Avenue, Fair Haven, CT.  Sliding scale $5-$15, pay what you can.

TWO SHOWS IN NYC:

Thursday, Sept. 17, 8 PM: Jalopy, 313 Columbia Street, Red Hook, Brooklyn, NY. $12/adults, $5/children. Facto Teatro and Steinitz only, with guest performance by Sam Wilson and Joseph Therrien.

Saturday, Sept. 19th, 3:00 PM: Teatro SEA, 107 Suffolk Street, New York, NY. $20/adults, FREE/children. Facto Teatro and Steinitz only -- en espanol!

Tuesday, March 10, 2015

David Lewis Worobec Documentary


David Worobec's Enchanted World from Narratively on Vimeo.

Recently the amazing David Lewis Worobec was the subject of a short documentary.  For those of us who follow David from afar, it was the closest we've had yet to the "next best thing" to actually being there...

Earlier this year, David and his mother Polly were featured in a story on Maine Public Broadcasting...

Wednesday, October 16, 2013

2013 Paper Theatre Festival in Harderwijk


Held this past May, here are highlights showing some of the performers, theatres, and actual clips of performances...

Friday, September 13, 2013

Classic Paper


Homer’s cornerstone of literature is vividly told with beautiful illustration and masterful puppetry. Cinematic projection and cunning tricks transform a suitcase full of cut-out paper puppets into an array of living characters and striking landscapes. A silent film is created before your eyes, set to a captivating live score from exceptional musicians.
If you live near Brighton, you're in luck!

The Paper Cinema will be putting on performances next week of their amazing adaption of the Odyssey.

Don't miss it!

Saturday, July 13, 2013

GSW10 Performance on Video: Bradley Manning



Filmed June 15, 2013, 10pm. The latest episode of Great Small Works' signature production, "The Toy Theater of Terror as Usual", focuses on the trials and tribulations of Bradley Manning, and freedom of information. Performed at Great Small Works 10th International Toy Theater Festival, St. Ann's Warehouse, Brooklyn.

GSW10 Review: Miniature Theatre, Grand Ideas



When William Shakespeare wrote, 'All the world is a stage,' he probably meant a bigger stage than you can find in the world of Toy Theater, a tabletop universe, usually no more than a meter wide, where big things happen - from Hamlet, to political satire, broad-brush comedy, dreamscapes and everything in between. VOA’s Adam Phillips went behind the scenes at a New York toy theater company.

Sunday, July 07, 2013

Politicizing Puppets: GSW10 Review

A well-done review of the recent GSW10!

Politicizing Puppets at St. Ann's Warehouse
By Emma Wiseman

Great Small Works’ International Toy Theater Festival is in its 10th year of celebrating miniature puppet works of all kinds.  The last two weeks saw the festival transform St. Ann’s Warehouse in DUMBO, Brooklyn into a family circus-style labyrinth festooned with hand-painted banners, dividing the space into several individual makeshift theaters supplementing St. Ann’s usual venue.

The festival program describes toy theater as “a do-it–yourself storytelling form which can be elaborate yet simple, grand yet inexpensive, full of deep critical thinking yet accessible to all.”  A toy theater piece is typically self-contained within its own mini proscenium and in general is characterized by its small size. In an age of CGI and 3D printing, there is a certain nostalgia and familiarity to be found in all styles of puppetry, though perhaps more so in toy theater, evoking as it does childhood living rooms, scissors and tape, and the excitement of putting on a show for the grownups.

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St. Ann’s transformed by the arrival of Great Small Works’ 10th International Toy Theater Festival

The work on display at the festival, which closed on Sunday and included both live shows and a “Temporary Toy Theater Museum,” arrived from all over the country and from several cities around the world.  While all could be categorized under the umbrella of “toy theater,” many of the pieces took that concept and exploded it, incorporating other puppetry and performance styles. While I wasn’t able to see all of the performances, I did catch several wonderful pieces and some pretty stunning examples of just how effective this medium can be.
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Detail from Annie Silverman, “The Great Danes,” part of the Temporary Toy Theater Museum

Erik Ruin and Maryann Colella of Providence, Rhode Island presented One Touch of Nature Makes the Whole World Kin, an exploration of several different disasters — notably the San Francisco earthquake and fires — and the coming-together of affected communities in response to these events. The construction of the piece was in classic toy theater style with a stand-alone proscenium arch piece, made instantly eye catching by a bold, almost Art Deco looking image of two figures holding hands. Ruin is a prolific printmaker with a striking visual style that pervades One Touch… Rather than individual figures moving through the space, the puppets of this piece are large fragments of landscapes, all done in complex lines that reminded me of woodcuts.  These pieces are hung from the top of the proscenium and fit together in a dense collage, capturing both the crowds of a city or town as well as the chaos of a major disaster.  Both performers narrate the story, with Ms. Colella helpfully pointing out individual figures and images within the dense artwork.

One Touch… stood out to me among the other shows in its particular program, all of which shared the theme of “Disaster!” Great Small Works, the presenting company for the festival, grew out of a collaboration with Bread and Puppet Theater, and as such has an activist vein running through much of their work.  Whether it is their influence over the art form or that there is something about toy theater, and puppetry in general, that complements political dissent, some of the Disaster pieces made me want to call out “I’m sorry!” Overt, talk-y messages about the dangers of global warming and the evils of government were washing over the audience like a Superstorm surge. I believe fervently in the importance of theater to a larger political discussion, but the nuances of that is a conversation for another day.  Suffice to say that One Touch of Nature Makes the Whole World Kin, by taking a historical view and by making well-executed performance its first priority, was a compelling breath of fresh air in a program hot with indignation.


Hand painted signs welcoming people to the Festival
Claire Dolan came to the Toy Theater Festival from rural Vermont, where she works as a nurse, she explained in a disarmingly un-theatrical way at the beginning of her piece. She also brought her neighbors along to help her tell a “very simple story.” Elephant has a narrative woven from Dolan’s personal experiences in Shanghai, her changing relationship with her mother in the last weeks of a mentally debilitating illness, and actual facts about elephants.  Specifically, the piece explores the nature of memory: in Shanghai entire neighborhoods have been razed to make way for more modern buildings, which in turn are torn down in favor of fake historical buildings for tourists; tribes of elephants mourn over the dead body of a companion and then return much later to the same place to actually cradle the bones with their trunks; a mother ceases to recognize her own daughter.  I was utterly charmed and transported by the work, which, while in reality being far from simple, was presented in a clear and measured way by performers with a sincerity that I actually think receiving a BFA can often kill.  Ms. Dolan was also appearing as a representative ofThe Museum of Everyday Life, for which she serves as the Chief Operating Philosopher.

I was completely surprised at the parallels I found between Elephant and Beth Nixon’s Lava Fossil, which was presented in a different program.  For one thing, both pieces were inspired at least in part by the death of a parent. Nixon presented her story using several suitcases containing pop-up sets, taking a traditional toy theater format and running with it. She talked about the death of her father and mused on the nature of time, and a dead person’s place in it. Her childhood dentist also made an appearance, as did some passionate dinosaurs, Pompeii victims and several different types of volcanoes.

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Amanda Villalobos, “Sister Adorers in the Cardboard Convent” at the Temporary Toy Theater Museum

I was struck by the way in which both Ms. Dolan and Ms. Nixon constructed their stories: juxtaposing seemingly unrelated topics and coaxing out significance, breaking down an idea into layers of meaning and sifting through. Puppetry is particularly powerful when it is used in this way; not simply as a visual aid but a method by which ideas can be furthered and explored. Furthermore, I think that creating artistic work out of personal pain is a complicated affair that can often slip down a theater-as-therapy path, and I was very moved by each of these pieces, both of which were incredibly well thought out and artfully composed while remaining intensely individual.

Zach Dorn, from Pittsburg, Pennsylvania, performed Five Excruciatingly Ordinary Toy Theater Shows, one or two in between each of the other live performances in his program. Each brief, hilarious piece came from a diary entry in a “particularly boring notebook” that Mr. Dorn found among his belongings. One of my favorites was entitled World of Poop. His cartoon-y sets and figures were very small, and he used a handheld camera to direct the audience’s attention.  Mr. Dorn’s work brought smallness to the forefront, as did Kevin P. Hale’s Poe-Dunk, which examined the life and works of Edgar Allen Poe with puppets stuck to matches and matchbook-sized sets.  In these situations especially, a screen above the stage that provided rock concert-like close ups of the work via a live feed camera was invaluable, though for most pieces in the festival it was still a helpful perspective.

photo (12)
View of one scene from Janie Geiser’s “The Reptile Under the Flowers”

Janie Geiser’s The Reptile Under the Flowers was presented in one of the festival’s makeshift individual theaters to which audience members were admitted eight at a time, every fifteen minutes. The piece comprises twelve scenes, each of which lives in its own stand-alone light box-theater and describes part of one family’s history. It was the miniature Sleep No More of the Toy Theater Festival.  Some of the scenes only allowed for two audience members at a time to peer through eye-holes, creating a unique and intimate viewing experience.

I found the Toy Theater Festival to be thoroughly enjoyable in the way that a difficult yoga class is. The theater was a million degrees, some shows were harder to sit through than others, and I started to recognize the diehards who were coming back day after day. In terms of the scope and breadth of the work there is really nothing like it to be found in New York, and for $10-$15 it’s the most cost-effective way to experience the great St. Ann’s Warehouse.

Monday, June 24, 2013

GSW10: Greatest Smallest Parade Floats

Two floats from the "Greatest Smallest Parade" that were on display at Temporary Toy Theatre Museum

Tess Elliott reports in with photos taken during the just-finished 10th International Toy Theatre Festival.  Tess will be sharing her final reports from the festival in the next few days.  She was extremely busy this year not only taking in the shows and documenting them for this blog, but also volunteering at the festival.  See her photos of some of the small floats that took part in the opening day parade...

Sunday, June 23, 2013

GSW10: Family Programs

10th International Toy Theater Festival Family Programs

Schurzpiepegal (Like Master, Like Dog) / Berlin, Germany

This story is based on the picture book written and illustrated by Barbara Steinitz , with music direction and accompaniment by Bjorn Kollin.

The illustrations freed from the book, are lovely, telling a story about two people who oddly do not have dogs that look like themselves. They cause merriment when they go out walking, and people make fun of them. The stage is a suitcase filled with grooves, so that with each set change, pieces of scenery stand up and are removed quickly, in a graceful arc by Barbara. She speaks very clearly (which my challenged ears loved), and liked to make faces for the children. She had some moments when the story got a bit complicated and the very young children became restless. We adults in the audience were right there with her. These were short moments, and she managed to bring them back into the story every time. She is still reading from her book which slows her down some, and more performances will make her better and faster. She seems very naturally happy performing—a different world from art and illustration where you usually work alone. The music was very nicely done, and I wouldn't have minded to hear more, though Barbara can't be a puppeteer and play her odd instrument at the same time. It looks like a mixture of fiddle, steel guitar and horn. It sounds more like a fiddle with an edgy, more metallic sound when she uses her bow. Bjorn plays her straight man, and is an excellent guitarist in the bargain.

What was wonderful was the way the characters come to life, so that you want them to have a happy ending. It is true that often people choose doggy versions of themselves but in this story the odd group worked perfectly when they were ALL together. This happy ending comes after a false ending when she gets into a discussion with Bjorn who objects that all is not perfectly well when the couple first exchanges dogs. They cared too much what other people thought, and learn (for their dogs' sakes) you just can't care what anyone thinks. Here is her website.

Vrooom! / Puppet Junction Productions  (Brooklyn, NY)

Created by Serra Hirsch, Playwright B. Walker Sampson, Original Music by Arlen Hart, Puppeteers Bill Remington Hubner, Ildi Kiss, Serra Hirsch, Set by Hubner, and Sound by Ien DeNio

This was another fun show that opens with a woman vacuuming. Turns out the set is the inside of the vacuum, with a family of spiders trapped inside. They are charming puppets, each a different color so you can tell them apart. It was a very creative approach, and the bugs were not a bit scary. The little family does what families always do—help each other, sometimes argue, and try to work things out together. The star is Art, a very scared young spider who makes webs that are pretty, as opposed to webs that catch things to eat. In the long run, Art's web stops up the vacuum which frees them all. This story was very cute, though a little complicated for the youngest children. The older audience was quite charmed. The little puppets are very cute, and have a very nice movement the way their legs are strung together, but I searched their website and could not find a photograph. Check out their website.

Sleeping Beauty / You and Me Puppets (Reading, MA) 

This was a treat, to finally see Judith O'Hare do her thing. She has been an enthusiast, written books about how puppetry helps every aspect of education, performed and made incredibly beautiful toy theaters, as well as commissioned them. She sells her own design of toy theater that also can be used for shadow puppets. Her long experience is the foundation of a confident and friendly performer.

She does a different sort of Sleeping Beauty story rather than the gruesome European folktale, and it is humorous and not at all scary for the children. There are fairies, one of whom is grumpy and curses the newly born girl over a snub from the Queen, and another fairy sort of fixes it. Her stage is a large pop up book in simple designs and bright colors. Her puppets are on Rods and can stand on their own, which is very handy for multi-character scenes.

Ms. O'Hare knows how to entertain children. She always smiles, makes eye contact from time to time and even talks to some of the closer children. The story is fast-paced and I didn't hear near the restlessness in other shows as compared to the quietness of hers. Once a few of us started laughing, everyone chimed in, and the entire show seemed to flash by. Love seeing a performer who really knows how to work with children.

Friday, June 21, 2013

GSW10: Video Report


A nicely-done video report by the Wall Street Journal on the 10th International Toy Theatre Festival, ongoing right now!
"People are really excited about seeing the handmade and the hand-operated," said Ms. Geiser, "and the kind of magic that happens when you actually see how something is being done and you still believe in it."
Read more about the festival in the accompanying WSJ article...

Tuesday, June 18, 2013

GSW10: Program One

One of the gorgeous stages at this year's festival...


Program One of the 10th International Toy Theater Festival
- Reported by Tess Elliott

The People's Puppets of Occupy Wall Street

They performed a political piece about How Do We Show Solidarity, which was streamed live between them and Cairo during the Egyptian uprising. Here is the Ustream link.  They also have a Facebook page.

It was a show of cut out cardboard figures, and collages of events and politicians (The newly elected Egyptian President and Obama, mostly) haggling at the people's expense, with harsh police tactics on the rebels. I can imagine how I would have felt, had the new president changed his mind about his promises and suddenly made government more able to spy on it's people, and have more power to contain what they consider dangerous groups. Oh, by gosh I DID feel that way, just like the Egyptians. How do we show Solidarity? Support, agreement about issues, spreading the word. These young people are dedicated to doing this across the country and across the world. People are tired of bullies. People are tired of corruption. It is down on the ground front lines art, with simple, primitive techniques that speak articulately because they are simple. Good work.

The Garment Workers Tale, by Valeska Populoh of Baltimore, MD

This show starts with a still life of a cluttered old sewing machine desk, boxes and stacks of materials. Valeska comes out in period costume, and sits for awhile sewing with brutal focus, unsmiling and tired looking until she finishes a line of what I thought were old time collars. It is like a beautiful sepia tone photograph, where you can't see the wear or soil on old things—plain things. Then she changes the tone by picking up a photo and remembering, which turns into the first puppet she uses. All that clutter turns out to be set pieces and puppets to tell the story of immigrants coming to this country hungry and dying for work. I thought it was ingenius the way she used the “scenery” to tell the story. She finds a garment factory and tells the tale of relentless brutal hours, culminating in the great Triangle Factory Tragedy. She tells the story of protests by many of those same immigrants trying to work safe, trying to live, and giving birth to the first unions in that industry. She never speaks a word, but speaks volumes through her props. This was one act that does not translate well to the overhead projection of the last rows because the color is entirely lost, and the cropping is as damaging as TV is to movies. I am thankful to have it, but was sitting behind a person who blocked the whole scene and I only got to see the real thing for a few seconds at a time. I made a point of trying to sit up front after that program. It might have been helpful to put her scene on a raised floor, though I can understand how the extra expense might make that impossible. This is what much of toy theater faces with every performance.

Eli the Luthier by Little Did Productions of NYC

This was a tragic love story, conceived by Jessica Marie Lorence, played out on a large pop up scenery “book” by a troup of singer/puppeteers, and original music played on the Cello by Luke Santy, who sang and played as the narrator of the story. The singer/puppeteers were : Alison Novelli, Sam Parrott, and Elizabeth Spano. Pop up scenery can be a lot of fun, because it is instant as a new page is opened. I can't even imagine the labor involved in creating such an oversize pop book but it worked like a charm. The puppet characters interact with the scenery in the traditional way for the most part, but sometimes they are presented as large closeups as if they were illustrations on an imaginary page. I think there has long been a major love of comics and graphic novels that is well adapted to toy theater here. I see it again and again in the other shows. The story is a bit gruesome, but the music is haunting and beautiful with excellent voices playing off the soft cello (I am a fan of cello). It is the typical story of a lonely musician hopelessly in love with a baron's daughter who returns his love. When Toy Theater is accompanied by good music, it takes on a bigger charge of electricity, so to speak. It draws you in faster, and moves you in a deeper way. Canned music is good, too, though live is more immediate. This is the first production I have ever seen accompanied by a cello.

Emma's Parlor by Martina Plag and Lorna Howley of Philadelphia, PA

This is a story about the early female rebel, political dissonant and passionate speaker Emma Goldman.
Lorna Howley plays her with vigor and a strong voice that carries beautifully. Martina plays the various men in Emma's life to tell the story on a toy theater set inside of a full scale set. Martina is the designer (and both are puppeteers) but an enthusiastic performer as well. I think in a more intimate space, I could have heard Martina better (not her fault I have lost some hearing), but I got most of it and she pulled off the hard work of advancing a lot of the set props. They both worked hard, to great effect. I was ready to stand up and yell “Strike, strike, strike,” with them. I really loved the design of the set, and Lorna's passionate portrayal of a famous, rather messy public speaker who worked tirelessly even in jail. She made me want to know more about Goldman. They made me mourn the union bashing American workers have suffered for the last 20 years, as well. What right does labor have to want to live decently? In our country, I used to think all people did, and that my neighbors felt the same. No so. Something we should all think about, perhaps.

Chan Thou's Tuk-Tuk by HiveMind Theater of NYC

This is an interesting Toy Theater reminiscent of Asian architecture with rather large puppets, that really seem to be more “human.” They are surrounded by collages of places and people. Chan Thou (a real person who runs a pedicab while studying to be a teacher) is one of the many Cambodian survivors trying to live with awful memories of the Khmer Rouge regime. The man who was in charge of killing Chan Thou's family, Kaing Guek Eav, (aka “Duch”), one day happens to get into Chan Thou's Tuk-Tuk—a bicycle powered taxi. This upsets Buddhist Chan Thou who has terrible dreams of revenge and an almost overpowering desire for justice. He consults a Buddhist monk about how to live with such terrible dreams and is reminded that the way of compassionate Buddha was to not allow attachment to things & desires, and accept what is, not because things will always be unjust, but that it is more destructive to our spirit to demand an outcome and live in hate. Preserve the good memories, and keep alive the love we have for those who have passed seems to be the message—and a good one. Here is a link to an article about the show:

The music was delightful and I assume Cambodian. The co-creators were Emily Leshner, Ryan Minezzi, and Jennifer Onopa, along with puppeteer Gail Shalan. They actually met Chan Thou and learned than the “Duch” was sentenced to life imprisonment for his war crimes. So patience did have a good outcome.

Sunday, June 16, 2013

GSW10: Opening Weekend

The Great Small Works' 10th International Toy Theatre Festival (or GSW10 for short) has begun.

The first day's weather was pretty 'soggy', shall we say, making it a challenge for those still bringing their theatres and sundry, to get them to St. Ann's Warehouse high and dry!

In fact, PPTC festival reporter Tess Elliott had her own adventure in her attempt to get to the venue opening night:

Tonight has turned into a disaster. I left early to add some set pieces I forgot, and within a block of the theater the wind kicked up, blew my poncho into my face, and an SUV merrily slammed through the giant puddle that covered an entire lane. I was soaked solid from rib cage to the inside of my shoes. I turned around, went home, and emailed Emmy Bean the museum director and told her I had to go back home. Felt like a drowned rat wearing a giant prophylactic...

Poor Tess!  In the meantime, here are some photos from the opening day to feast your eyes on!

UPDATE: Tess got in late, but shared this LATE last night...
I am now truly immersed in the toy theater world. Saw 12 shows. [When am I gonna write about them, Trish!] The parade was fantastic and I will try to download some pictures but I have to be back out there at 11am (Sunday/today) and JUST GOT HOME. Worked furiously upon arrival today to dress the set of the Nemo Theater and it looks great. I did not get all the balconies done on the Italian Toy Theater, and will have to put the rest on when it comes home...Lots of wonderful shows tonight. Met a lot of people serving the punch but some of the audience regulars at the last Festival weren't at this one today. It's a done deal that I must learn doing the puppets myself. It is one wacky and amusing world, most younger than me--but a few old master puppeteers. It took two energy bars to keep me going today.
Not only is she an audience member, not only is she a reporter on the event, but she is also an artist/performer.  Better pack more energy bars, Tess!

Monday, June 10, 2013

Toy Theatre Festival Begins this Week!

Tess Elliott:  Our Intrepid Reporter!


The Great Small Works 10th International Toy Theatre Festival begins this weekend on June 14th, and runs through June 23rd.

There are many readers of this blog that cannot attend in person, but would greatly enjoy hearing about the various performances and events.

I am very pleased to say that once again, Tess Elliott will be covering the festival for this blog, for which I'm very grateful.

So check back this weekend - and throughout the festival - for posts from the festival by the very talented Tess!