GSW9: Festival Report VII

Tess Elliot has this report from the final day of the Great Small Works 9th International Toy Theatre Festival in NYC:

We saw Laura Heit's miniature theater, called “Bureau of Small Requests: the 76 Departments of Tomorrow” and for the smallest show, they put the most people in the theater to see it. I think the reasoning is that she designs her shows to be displayed on video (though the color on the video was really bad). But I saw her today performing her miniature circus in the Family Program and it was an entirely different kind of experience that mattered to me, so I wanted to write about her work in one report. For the adults, she has a much more complicated set, but keeps an emotional distance that bothered me. She talks about a true story about having a wandering eye, and all the surgeries that went on to fix it. Her entire point is that her eyes don't get along, so how can you trust what you see? You need that other point of view, she says. She even gives you an anatomical picture about it. Nothing seemed to help. Then they did an experimental procedure by inserting Botox right into the eye muscles that won't get along. It's all like a science hall lecture, when I want more from her about her feelings. I know that without stereo vision, you can't have depth perception. How did she feel seeing that way? My brother is legally blind from having wandering eyes, and was never allowed to drive. He and his pals at school, also in the same boat, hung out telling Helen Keller jokes. They were fierce in their “nothing is sacred” way of laughing at handicaps. They were not always treated kindly by normal kids. My late husband lost the sight in one eye, and broke almost every glass trying to wash them in the sink. I would hear the glass breaking, and then him swearing at the glass and his inability to know how not to break it. He wouldn't drive after that, either. How did Laura deal with things that are really personal in a flat world?

Yet, when Laura pulls out her miniature circus for the kids—she keeps them tuned in and laughing at the imaginative way she invents a paper circus that is matchbook size. The grand old joke about all the clowns getting out of the car was a scroll inside a matchbook car full of impossible things like a whale coming out, along with her Mom holding a pizza and being chased by hungry teenagers and a dozen clowns, etc. Everyone was charmed and laughing, and Laura herself was obviously having fun. The kids sitting next to me who were bored at the more kid like show just loved the miniature circus. They were my litmus test. Somehow, that emotional truth ought to be for adults, too. I wanted it. She is smart, creative and often an ingenious designer of tiny set pieces, and I guess I just want her to be able to show me how she felt having to cope with that terrible uncertainty. She gave us all little tags to pose uncertainties on, and I am tempted to find one and send it to her care of her university in Los Angeles.

Dr. Neff's Incredible Puppet Company
Rip Van Winkle

Okay, right up front I must say that I do love traditional toy theater, and their little stage is a beauty. They are the couple (George and Ann Neff) who made Trish's toy theater. Their own theater is just a jewel. The sets are like beautiful watercolors, and part of the story is on tape while they speak the rest of it. It felt like a good balance of technology that didn't get in the way of the story but allowed them to have some sound effects they didn't have to make. But it was the only show where after about 15 minutes, five teenage girls sitting in the front row, got up and stoop-walked out of the show. I was so tempted to trip them! A kind person would have sat there and contemplated something interesting or their navel, rather than disrupt the performance. It didn't help that Rip Van Winkle was one of my favorite stories, and I treasure my book illustrated by Arthur Rackham. But crawl out they did, and the Neff's (being consumate pros) never gave them the slightest look. They were smooth, and precise in their timing. I wanted to curl up because it felt like being read to when I was little (no relative was safe from me). Perhaps that is why I love the traditional performances as much as the more demanding ones.

This was just a delightful re-telling of a familiar story with wonderful scenery and perfect characters. I am grateful to the Neff's for keeping that traditional art alive. I hung on every line, thanks to my fondness for Rip!

Justin Lander and Rose Frieman
(with her soon to be born bundle of joy...)
The Jolly Banker

This show was very funny indeed. The stage looks like a rebuilt old chicken coop, with mouse traps all around the proscenium outside, and string lights around the opening. They sing a twangy rustic harmony that is pleasant to hear, and was the interval music. It is a home-made Punch and Judy, only their cardboard characters have an edgy modern look, like Picasso drew them before he had his coffee. Their eyes are flounder-like on one side of the head, and each character also has a floating mouth full of grid-like teeth, to give you an idea of their cartoony style.

Punch and Judy are fighting over money, which everyone wants but no one has. At last, Punch decides to go to the banker to get some money with absolutely no concept of what he is doing. He gets a bag of money which Judy has already spent, and the banker proceeds to take their house in court. Punch goes to the police, a lawyer, and a congressman to no avail, though they all have their hands out for money, too. Punch at last believes they are all in cahoots to rob the people, and egged on by Judy, goes on a killing spree. Those mousetraps all had caps in them and were set off. At the end, Punch is consigned to Hell by God for messing up his good economic plan. I wasn't sure where I stood on that part, but punishment for killing is usually a good enough reason for a person going to Hell. Where was Judy in all this? Did she get off on a technicality? She is never seen again.

There was a funny interval (set changes are usually frequent in toy theater), where a chicken comes out of one side slot and trots across the proscenium to meet an egg coming out of the other side, finally answering the famous question: what came first, the chicken or the egg? The chicken was definitely first!

There is a very angry undertone in this story that fits perfectly into the tradition of Punch and Judy, along with the violence. There are many, many people who lost their homes in the crash that appears to have been caused by greedy, unregulated bankers making it look so easy to live beyond your means to millions of people. I applaud being able to take that anger and transform it into art, instead of resigning oneself to being helpless in the face of such massive power. Anyone remember the countdown for someone to go to prison for the Enron scandal?

Thanks, Tess, for the incredible reporting throughout the festival. I must admit I especially loved this last one since it included an individual who I consider a mentor - albeit an online one (the only way possible at present) - Ann Neff.

Christmas Production

The Neffs, about to perform...

George and Ann Neff have been sharing the Christmas spirit in a very unique way over the past day or so on Facebook.  I still can't believe I didn't figure it out right away!  Ann was hinting a couple of times...

"They are almost to Bethlehem now, to be counted. May YOUR travels in preparation for the holiday be safe and blessed.", and

"They made it to the manger. The Babe is born! Hope you all are having a most Merry and Blessed Christmas. Ann (and George ) Neff"

As Ann posted the updates, I wasn't noticing at the time, but I'm thinking now that her Facebook profile icon was changing to different scenes from their "Nativity" toy theatre play.  They were once again putting it on this Christmas season, and from the series of photos from it that Ann posted today, it looks like an amazing production. 

The first angel tells the shepherds, "Be not afraid!"
[Click to enlarge]

I asked Ann if I could share about it here, and she kindly said yes.  In Ann's words, she describes it as "...The Neff's toy theatre production of The Nativity, as conceived and drawn by Stephen Langdale for A Service of Lessons and Carols. Watercolour, stage and lighting by the Neffs." (All Photos used here are from a 2008 production of this play...)

Shepherds come to the manger to adore the Baby Jesus...
[Click to enlarge]

George & Ann Neff

I recently heard from George & Ann Neff, two individuals very active in toy theatre and other associated endeavors...

We do the "other" puppets, too. The winter and spring were spent coming up with a new script and puppets for our faux Sicilian rod marionette presentation. And we have also been developing a circus hand puppet show for outdoor fairs and such. Our last circus booking was on July 22, and we needed a rest and to get caught up somewhat on house and yard tasks.

And now we have agreement to do Stephen Langdale's Nativity at our Episcopal church for a Service of Lessons and Carols the Sunday before Christmas. Jon Bankert constructed and used to perform that play. And we hope to go to Holland this coming May. So we are back in toy theatre exclusively at the moment.

Oh, and in February, we also did a 2 week residency over a month with a nearby Quaker school. The entire third grade class researched, designed, created and performed a hand puppet show on "The Underground Railroad". That was rewarding! We did offer a toy theatre workshop at their summer camp, but it did not get enrollees.

Sounds like they've been quite busy. It's folks like the Neffs that carry the torch and help expose new generations to the wonders of puppetry, particularly toy theatre...

Commission Toy Theatre Update #5 - Teaser!

From Ann Neff comes the following teasers; by the way, the theatre is on its way to me in the mail (excitement does not begin to describe it...!)

This not the final formal portrait, but I couldn't keep you totally in suspense. This how the Redington will be pasted on. Of course, there is the tip piece, too.

By the way, that Reddington she is using is a high quality photo copy I had sent to Ann to use while designing and building the theatre, and is not the copy I will be using to color and mount on the frame.

If you click on the image (or any of the images in this post), they will open up larger; if you look closely at this one, you will notice the little holes for the footlights!

Here we see the toy theatre in its collapsed form; it was made this way purposely for two reasons - I live in a small apartment, and storage comes at a premium, and also for convenience when travelling with it.

Note that the main part of the stage is reversible so it can be used with or without grooves.

And here is Ann's husband, George Neff - tester (This morning, husband George and the German automechanic neighbor George took my instructions on a trial run. With papers in hand, they put the whole thing together right from the box! I needed to add a few more comments -"Make sure you have removed everything from the base box before you fasten the stage floor down", etc.), but the instructions appear to do the trick...) - packing the theatre up to send on its way to me...

Little Blue Moon Theatre

I was doing an internet search for my friends, George and Ann Neff, and came across your blog on toy theatre, then followed to your Victorian Sex Machine blog. It seemed like you might be interested in our work, which kind of combines both (in some way.) We do erotic toy theatre. Our company, Little Blue Moon Theatre, began in an aphrodisiac factory 6 or so years ago. I have found that the static nature of toy theatre figures make them perfect candidates for bondage, something I didn't realize until a friend pointed out that most of our shows involve bondage...I realized that they don't move anyway, which makes it perfect for them.

Anyway, just thought you might enjoy looking at our site, since we don't ever seem to get to Fargo.

Best to you,

Michael & Valerie Nelson
Magical Moonshine Theatre

A Way of Life

My friend Ann (who I hope to meet in person some day), her talented husband, George...and friends!
[Photo Credit:  Lori M. Nichols - Gloucester County Times]

A lovely article about George and Ann Neff, who kindly built me a toy theatre a few years ago. They are a very talented couple who love the world of puppets!

Lighting Adventures

From Ann & George Neff:

We searched all over last April to get short strings of miniature lights. Not easy. I think we ended up with 50's in red, yellow and blue. We wanted to have lights of different colors that we could dim up and down in various combinations. (George would really have loved to have his own complete theatre so he could play with lighting.)

For our big size puppets, we have lots of lights and a big programmable dimmer box. But we needed something simple and transportable. So we asked our electrician to make us up a box. You can see it in the picture with Harry's small computer speaker on top. (Back home, we discovered the charge for making that simple box was over $400! I gotta get some confidence in doing simple electrical wiring.)

But we discovered that the purchased blue lights gave off too little light. So using a larger string, we set about coloring a string of white lights blue to get a "gloomy look" inside the crypt. We located some coloring designed just for that - coloring stage light bulbs. And there sat George, dipping and hanging the bulbs up on a wooden clothes rack to dry.

Voila! We looped the blue lights over the top on a wire mesh screen. And everything was fine. We did the show several times for friends. THEN, as we were packing up on a Sunday night, for the trip the following day, the blue lights just stopped working!!!!!! No fuse blown, other lights fine, circuit was okay. PANIC. I said to George, just pack it up we'll call the company in the morning and see what they say. And then I read that little white paper that comes with most Christmas lights, and it said, "Do not mount on or near metal". Aha! Our metal grid most have shorted out the string! George plugged the blue lights directly in the wall, and they WORKED.

So now the problem was to find a non-metallic grid in only a couple of hours. One of our building contractors was driving us to the airport, so we called him, and he dropped off some rubber boat deck grid, which is what you see in the photo. Things were a bit tense until we set up in Holland, because we really had no idea if this would work, but thanks perhaps to the puppet gods, magic happened and we had "gloomy blue" lights from the top. (We used the plastic grids that the Christmas lights come in, cut up, to hold the series of red, yellow and white lights that go across the upper bars.)

Unfortunately, I did forget to turn up the footlights (white) on one scene, and one of the members of the audience (a toy theatre VIP) complained that the show was underlit. One has to be quite careful in toy theatre. Different folks hold on strongly to different standards. If you look at the Sennewald photos, you will see that Ted Hawkins, particularly, has oodles of regular lights in his set up.

How much light do you get out of your set-up? (Low but very atmospheric!)

I am anxious to see what your theatre looks like now! (I shall post new pics of it after I paint it - see next question...) Did you paint it black? (I'm about to...)

How exciting! Do the lights dim? (No) Or just go on and off? (Yes) Did you put lights anywhere else? (I intend to but was not sure which way I want to go...yet)

How is the glued-on proscenium holding up? (Very well indeed...) Which glue did you end up using? (I used PVC from Gamblin - it has worked amazingly well, no wrinkling, no cracking, no pealing - I highly recommend it...The Gamblin site has much to recommend about this PVC:

"Diluted with distilled water, PVA size is a contemporary size for fabric support. Conservation scientists recommend painters use neutral pH PVA size on linen and canvas instead of rabbit skin glue. PVA provides a good size layer that seals the fabric but does not re-absorb atmospheric moisture, swell and shrink like rabbit skin glue does. There are hundreds of different formulae of PVA. We acknowledge and appreciate the research of the Canadian Conservation Institute that helps painters and conservators identify the best PVA to use. Gamblin PVA Size is made from PVA that has a neutral pH and does not yellow. It also retains its flexibility and does not emit harmful volatiles.")

Have you performed or even practiced yet? (No) Do your grooves work? (Yes) Ours, out of foam core, do. Did you get the old fashioned sliders for the flat side? (I have copper rod from a welding store that will work great for making these slides...) George wants to try that for our next show.

Do you take your theatre up and down often? (not often, but I have several times and it works smooth as silk...) Is it really a bother? (not at all...)

Footlights Update

Last summer, Paul Weighell from Pollock's Toy Museum began machining his own toy theatre footlight shades. He eventually kindly offered to do the same for my theatre.

Here they are, in place. (I used a dollhouse lighting system for my wiring kit - no dimmer, very simple, but quite challenging enough for my first attempt; the bulbs were provided by Ann Neff when she built my theatre, which are 'grain of wheat' types...)

NOTE: I have traditional paper curtains on sheet metal backing to use, but also opted to have Ann include a roll-up curtain rod for which I made the red velvet curtain with beading you see here...

Commission Toy Theatre Update #3

Ann Neff emailed me the other day saying she's back to work on the toy theatre for me (yayyyy!) and that got me thinking about the 'next stage' to all this - the first play I want to do in my first ever toy theatre!

I decided to solicit for interest to artists I know and appreciate, if they might be interested in taking on a small commission from me in that regard...

While I can buy such things as the scenery and actors on what are called sheets, pre-fab, either originals or reprints, but I'm more interested in a particular play that I cannot find as being adapted for the toy theatre before (I may be wrong here but I don't think so...)

I'm asking my artist friends if they would be intersted in creating the characters (actors), and background scenery for a toy theatre adaption of SWEENEY TODD.

My interest in SWEENEY TODD is a personal one in that I tend to go for the macabre, and find the story themes in the play fascinating. I'm conducting research on it right now, boning up on the supposed core true story behind the now mythologized versions we know, trying to get a handle on how it might be told in a simpler yet compelling way for the toy theatre stage. If anyone has suggestions, I'm all ears!

Commission Toy Theatre Update

Awhile back, I commissioned Ann Neff to build a traditional wooden toy theatre. I would have loved to have done it myself, but alas, I live in a wee apartment and no access to a shop.

I was thrilled when Ann accepted the job. She's been diligently working on the project as time has allowed, and recently began sharing some highlights of the experience of building a toy theatre, as well as some images of the theatre coming together...

March 28th - All right, progress continues. The orchestra piece is delightfully bowed, though I had to cut another orchestra piece and another floor to get it the way I wanted. (Don't worry, if we ever get the Reddington front, we will have all the pieces, "seconds", but usable.)

This last week has been dedicated to "glue trials". And I mean trials! The concept is that there is a luan plywood front (thin) which folds like the proscenium, to which you will paste the paper proscenium. The plan is to cover it with muslin, which makes the hinges, and gives you a good surface on which to glue. The luan will be sturdy, and easier to attach to the stage floor. I am "practicing", or perfecting the design, with a West paper proscenium that we had.

I was told to use wall paper paste. Didn't hold. The hardware store suggested starch(!) or kitchen and bath wallpaper paste. Yecch, still too easy to peal off. Then I tried wood glue. Too much glue, though it did hold. A fellow puppeteer tried some Grrrip she had on hand, which worked well, but we couldn't find it in stores. So I sent away for it, as well as small hinges. It was frustrating, day after day, waiting for tests to dry, only to find they didn't work! But we persevere.
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March 15th - I was able to work all day on the theatre, and tried out the latest scheme to hold the wooden pieces of the proscenium in the 3D position. Actually, I got the idea for a wooden tongue, on which the top piece sits, from the pictures of the rear of the Urania theatre that was recently offered on eBay. And it all went together! I used hinges on the lower uprights, the ones next to the inside of the opening, that attach to the angled upper piece. I works, but it fights. The next time (for yours) I will use a homemade "hasp" made from a mending plate. So the prototype worked.

While I am waiting for the Grrrip glue to arrive I am rasping out the bevels on the wooden pieces for the final proscenium (yours) that "fold" backwards. George made me a jig with a 1/4" opening at a 60 degree angle in which I insert the luan piece, tighten it up in the vise, and rasp away. It beats free-handing it with the rasp and sand paper.
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March 11th - I am please to report that your toy theatre/stage is well under way. I will send some pictures when the pieces go together. I've got all the parts done. The hardest part was conceptualizing the thing from the instructions I downloaded from your website.

PuppetFest MidWest 2006

I just found out that PuppetFest MidWest has it's own blog now. It has up-to-date information they post periodically, leading up to the festival, all in this one convenient location.

The blog mentions the festival's Open Space, where anyone can demonstrate to provide exposure for their work in particular, or a genre in general - "Last year, we were treated to Ann and George Neff's toy theatre performance of The Cure - A Gothic Melodrama by Robert Poulter." Now THAT sounds fun!