The Greatest Exhibition

The Greatest Exhibition (Illustration for visual narrative, March 2017, Acrylic on tracing paper mixed on acetate)

 

Artist & Illustrator, Fann Peeti
[See her mouse toy theatre HERE...]

In this project, I created a replica of The Crystal Palace, the building in The Great Exhibition of 1851. This artwork shows ten (10) innovations that changed the world. 


Also, it tells the viewer that the most incredible creation is themselves, hopefully to increase viewer's self esteem.

Trailer: Doctor Who as Paper Theatre

Gepetto: Extraordinary Extremities

La MaMa in association with Concrete Temple Theatre and Bridge Street Theatre presents

Geppetto: Extraordinary Extremities

Thursday, July 30, 2020 at 2 PM – 3 PM EDT; to join this live event, go to http://lamama.org/gepetto/

We are deeply honored at this time to be able to present a live streamed performance of Geppetto!

Geppetto: Extraordinary Extremities is a tale of resilience, adaptation and ingenuity that tells the story of puppet-maker Geppetto, who is attempting to perform — all by himself for the first time ever — the grand mythical love story of Perseus, who slays a sea monster to save his beloved Andromeda. During the show things begin to go haywire, and Geppetto finds himself desperately improvising to overcome the challenges of performing solo while at the same time scrambling to devise new story lines, new characters, and even new limbs.

Geppetto: Extraordinary Extremities was inspired by a NPR story on Hugh Herr, whose legs were amputated after a climbing accident and who now designs technologically advanced artificial limbs.

“The play focuses on a longing for magic, a wish for a transformative power…A compelling performance, enhanced by haunting cello music…It celebrates human ingenuity.” – New York Times 

“It’s romantic in an old-fashioned way…lovely music…Carlo Adinolfi’s performance is charming.” – New Yorker

We dedicate this performance to anyone who has lost a loved one during the Covid-19 pandemic.

Brian Zelznick Does Doll Face as Toy Theatre!

Our newest virtual offering is a charming, zany, 10-minute toy theater show directed by Brian Selznick, writer and illustrator of “The Invention of Hugo Cabaret” and “The Houdini Box,” and the illustrator of the 20th anniversary “Harry Potter” box set. The show is based on the 1994 children’s picture book written by Pam Conrad and illustrated by Selznick.

At the time, the book was a sweet story about a doll who throws herself a party with her friend’s knife, fork, spoon, and plate. 

“Twenty-five years later,” says Selznick, “my friend Jacqui Russell asked me if I would help to turn ‘Doll Face Has a Party!’ into a puppet show.

She thought that children might especially enjoy it during this time of quarantine because Doll Face never leaves her home, throws a party because she is bored and makes friends with the items around her house.”

Creative Team:
Directed by Brian Selznick
Based on the Book, "Doll Face Has a Party!"
Text by Pam Conrad / Pictures by Brian Selznick
Produced by Jacqueline Russell
Designed, Built, and Puppeteered by Will Bishop & Grace Needlman
Narrated by James Lecesne
Music by Tuba Skinny
Additional Music by Robin Rapuzzi
Sound Design by Kevin O’Donnell

The Oz Head, Wicked Stage Model

Streaming Event: Jules Verne Adaption

HEAR YE, HEAR YE...

Each weekend, Saturday and Sunday only, you'll be able to see one of legendary productions of the famous marionette company Carlo Colla & Figli of Milan. This weekend, "From the Earth to the Moon", after the novel by Jules Verne, written in 1865, with music from Jacques Offenbach's operetta "Le Voyage dans la lune". Carlo Colla's first marionette production of this show was in 1898.

Only today Saturday 23 and Sunday 24 May will be online "From Earth to the Moon", by the Fondazione Carlo Colla & Figli, which comes from Jules Verne's novel of 1865.

In 1875 composer Jacques Offenbach composed the operetta "Le Voyage dans la Moon" which the show was inspired.

In 1898 Charles II Colla put hand to the lyrics to create a version suitable for puppet representation. The Company worked on making puppets, hand scolding them and making their clothes. The sets were commissioned by Antonio Rovescalli, to be integrated by Ugo Bellio, Achilles Lualdi, scenographers of the Teatro alla Scala, in the early 900. s.

A work of artisan effort that led to the show "From Earth to the Moon", with puppets impersonating Terrestrials and Lunari, achieving a great success.

In 1993 a new version of the show was presented at the Festival dei Due Mondi in Spoleto, last represented at Piccolo Teatro Grassi at the end of December 2019.

Student Production: Shakespeare Film Adaptation

Anglia Ruskin University's Film & Television program students created this toy theatre trailer recently. They shared with me that, "...We are going to release a very different version very soon!"

I look forward to it!

Sock Monkey Sneak Peek

Pontine Theatre Review: Storytelling at its Best

Review: Pontine Theatre’s ‘A New England Christmas’
By Jeanné McCartin
Posted Dec 2, 2019 at 9:27 AM

Pontine Theatre’s “A New England Christmas” is a brimming cup of holiday magic and cheer. Two people on a largely blank stage act out two intriguing short stories with minimal props in an easy, designed manner that transfixes their listeners. It’s rare so little offers so much.

This year, co-Artistic Directors and the company’s sole actors Marguerite Mathews and Greg Gathers adapted two short stories for their holiday fare: “A Neighbor’s Landmark,” by Sarah Orne Jewett, and “A Child’s Christmas in Wales,” by Dylan Thomas.

The most outstanding aspect of Mathews and Gathers work is its deliberateness. Every move is designed for effect, every gesticulation is poignant and graceful. Every prop, toy element and sound used is calculated for effect. They are masters of their art. 

They begin each piece with an informal setup that contains a bit of information about the author, their style, and the origin of the selection. 

The stage backdrop is a black curtain. The props are a small table, set a few feet before another, where the story’s backdrops are placed. Beneath both, hidden away, is a collection of small toy theater pieces and a handful of props. 

That’s it, a few visuals, two people and a lot of talent that bring a pair of entirely different stories to life. 

“Landmark,” set in Maine, is about a struggle to preserve two majestic, old pine trees. The trees’ owner is offered a tempting price for their lumber and leans toward felling them. His decision divides his family and sets his neighbors against him. In the synopsis, not so interesting, in the hands of Pontine, the tale very much is. 

The piece is blissfully colored by the rich language and dialogue of Orne Jewett, who had an astute ear for Down Maine dialect. The performers’ delivery demonstrates an equally canny ear. The sound alone is captivating. Coupled with Mathews and Gathers usual flawless performance, it’s simply mesmerizing. 

The structure of the piece is like a well-arranged musician’s set. Alone on stage with few props, they keep it interesting with their usual use of toy theater characters, mixed with performances by the actors without their aid, and the marriage of action between both. 

One of the funniest moments is when the two “row the boat.” It’s most poignant - at a suspenseful juncture - has the pair turning pages of an over-sized book, advancing the story in silence through its illustrations. 

“Child in Wales” is equally captivating. It’s a sweet, humorous story, told with fewer props still, but is no less fascinating for it. This one offers even more of the picturesque movement of the two performers, who take you back to childhood and Christmas through the eyes of a child. 

Pontine’s “A New England Christmas”  is storytelling at its best. It’s a gentle, bewitching hour and a half, offering something different for the holiday. This is definitely worth your precious, discretionary time.
___________

WHERE & WHEN:
Pontine Theatre
November 29 - December 8, 2019
Fridays 7pm, Saturdays 3pm, Sundays 2pm

Dreamland Theater: Star Trek Marionettes

Careful attention to detail and mastery of puppetry give
Dreamland Theater appeal to a wide variety of audiences.

From:  Saline Journal article by Dell Deaton

This past December 16, 2018, Dreamland Theater in Ypsilanti Michigan hosted its second live performance of A Star Trek Mad Lib Puppet Show on stage in downtown Ypsilanti. From pre-show to behind-the-scenes debrief, it was thoroughly delightful. [1,2]

First off, this is very much a presentation fundamentally true to the golden age of marionettes with its ties to Saline Michigan through the legacy of the late Meredith Bixby. The scale, rigging, and attention to detail have all meticulously attended to. Behind and above the stage, five human beings manipulated hand-crafted figures from rather cramped quarters, hunched about, shoulder to shoulder. [3]

The area on which action took place couldn’t have provided a viewing space more than eight feet across, three feet high. And yet, as Bixby student Erik Grossman has regularly said in his own recollections, everything around it quickly disappears once the story starts and the audience is drawn into it. Appropriate to how the original Star Trek series was watched first-run in the 1960s, akin to a large family gathered in the living room to watch it on their home television. [4,5,6,7]

A “Mad Libs” approach was cleverly used as both warm-up and to invest audience members in the story to come. Post-show, it was revealed that significant differences in one performance versus another would come through the selection of one from among ten different music beds, for example. Backstage crew members weighed-in with real-time responses to suggestions that required some arbitration (eg, Was Warren G Harding appropriately considered a “historical figure” from the 1910s?). [8]

When the curtains then opened, it was pure, respectful Star Trek — with puppets. A solid third season episode, if influenced by Gene Coon. Rest assured, nothing like the animated installment. [9,10,11]

After the approximately forty-minute performance, troupe lead Naia Venturi invited all who were interested to come see their setup behind the curtain. Meticulously detailed string-puppet renditions of the five featured Enterprise crew members were suspended at the ready from ceiling hooks. Each was a work of art in its own right, without a visible hint of compromise. For this project, she’d elected to fabricate all characters in tandem.

Which was the most challenging? “Captain Kirk,” she replied without hesitation. “He just didn’t have any distinguishing features that I could call out for emphasis.” No one who heard this showed sign of agreement; the Venturi Captain Kirk marionette looked great.

Aside from the core work, there was evidence of modern technology that had been brought along side vintage puppet work. For example, a large screen hung above the curtain opening and visible only to the performers acted as teleprompter for script text. Ms Venturi additionally had a sound sampler from which she could deliver context appropriate sound effects and music beds in real time. [12,13,14]

References

1. Dreamland Theater (home page).
2. Star Trek (home page).
3. “Once Upon A Time, Marionettes Set The Stage For Entertainment Techniques That Remain Relevant To This Very Day” Dell Deaton (September 10, 2018) Saline Journal.
4. “A Brief Look Back On The Meredith Bixby Marionette Story, Part I: History Can’t Be Packed Away In A Single Box” Dell Deaton (September 20, 2018) Saline Journal.
5. “Star Trek” IMDb.
6. “Star Trek” Netflix.
7. “Tech Time Machine: Screens and Displays” Stephanie Walden, Mashable.
8. Mad Libs (home page).
9. “Coon, Gene” Star Trek.
10. “Gene L Coon: The Man Who Made Star Trek Worth Saving” Carlos Miranda (November 8, 2017) TrekNews.
11. “Star Trek: The Animated Series” IMDb.
12. “Hey, what’s that sound: Sampler” David McNamee (September 28, 2009) The Guardian.
13. “Music Recording: What Is a Music Sampler?” (December 18, 2008) expertvillage.
14. “Calendar” Dreamland Theater.

Shadow Smash Hit: Feathers of Fire

Feathers of Fire: A Persian Epic is a visually breathtaking cinematic shadow play for all ages, created and directed by Hamid Rahmanian, a 2014 Guggenheim fellowship-winning filmmaker/visual artist. The play unfolds an action-packed magical tale of star-crossed lovers from the 10th-century Persian epic Shahnameh (‘The Book of Kings’)

The Chelm Legend: Fool Moon

A theatrical adaptation based on the humorous stories of Chelem and Eastern European Jewish folklore. Leimech and Laizer set out on an adventure to find a new moon for the town of Chelem to replace the one that was stolen.

The plot unfolds via a pop-up book, combined with puppets and shadows and incorporating original klezmer...



Reviews:

Galia Levy Grad has created a world of magic and beauty using the simplest, most minimalist techniques: the entire drama materializes out of a pop-up picture book. The visibility of the theatrical mechanism to the audience only serves to enhance the magic and liveliness of the two-dimensional figures. Galia has created exhilarating theatrical moments by means of inventive, aesthetic and highly imaginative elements. 

 - Comments by Judges’ Panel, 22nd Haifa International Children's Theatre Festival, 2012

A brilliant adaptation of the Chelm stories for paper theater, created jointly by Naomi Yoeli and Galia Levy Grad. (The latter is also the narrator and manipulates the characters, engaging in lively dialogue with them.) It’s impossible not to fall in love with Levy Grad, who brings to life the townspeople made of beautifully decorated papercuts; they appear, in fact, from an old book of tales, like pop-up postcards. The show reminds us of the true magic of theater and is an extraordinary glimpse at some wonderful stories from Jewish culture.

- Merav Yudilovitch, Ynet

X-Men Wolverine as a Puppet

Australian star Hugh Jackman, well-known for his role as Wolverine, was recently in Taiwan to promote the film Logan. At a press conference there, he was given a Taiwanese glove puppet in the likeness of his X-Men character from the film company, 20th Century Fox. Jackman said he will treasure the amazing gift forever, and will have to find a way to keep it away from his children.

Great Small Works: NEW SHOW!

We are delighted to announce that La MaMa, in association with Great Small Works, presents our newest show,  

Muntergang and Other Cheerful Downfalls

From October 28th through November 6th, 2016.

Please come, invite your friends, and support this exciting project!

Did we say we are delighted?

Yes, indeed!

And we are also struggling to find the funds to make these performances possible. Any donation will go a long way toward paying our artists -- keeping flavorful modernist Yiddish alive! Asking useful questions in tough times! Laughing at jokes our ancestors laughed at (still funny and in translation!) 
       

WE THANK YOU!

Great Small Works revisits the work of radical 20th-century New York City puppeteers Zuni Maud and Yosl Cutler. In a bilingual Yiddish-English play that uses Maud and Cutler's satirical puppet scripts and original graphics, together with Great Small Works' own puppets and projections, and appearances by demented dybbuks and Mae West, Muntergang is a meditation on historical models for changing power relationships.

Created in collaboration with the archive of the YIVO Institute for Jewish Research by Great Small Works members John Bell, Trudi Cohen, Stephen Kaplin, Jenny Romaine and Roberto Rossi.

With puppeteers Joseph Therrien and Sam Wilson

Music by Jessica Lurie and Hannah Temple

Lights by Meredith Holch; sound by Akeyjoa Ando

Script by Jenny Romaine

Nourish your queer political desire today. Enjoy this limitless non-normalized,  very open utopian vision of what's possible...

Buy tickets here

Make a donation here

West End Live: Pollock's Life-Size Alice!

As they do every year, Pollock's Toy Shop has set up a stage right along with the big guys they were originally modeled after (pun intended) at West End Live! all this weekend.

On their Instagram, they posted that, "We'll be down at Trafalgar Square all weekend with our giant life size #AliceinWonderland extravaganza - come and be photographed down the rabbit hole..."

The Mad Hatter strikes a pose during a break in the tea party...
[Source:  Benjamin Pollock's Toyshop Instagram]

"I'll be 'mother', shall I?" asks the Mad Hatter...
[Source:  Benjamin Pollock's Toyshop Instagram]

Toy Theatre in Theatre: A Christmas Carol

Set design for A Christmas Carol by Tom Pye for Phelim McDermott's production...
[Courtesy: Benjamin Pollock's Toyshop]

Much of the evening’s enchantment springs from Phelim McDermott’s inventive direction, which plays deliciously with theatrical conventions, setting the action within a Pollock’s toy theatre (beautifully designed by Tom Pye), and then shattering the fourth wall with direct address...  

- Theatre Review, Sunday Daily Express [20 Dec 2015]

A must-see on the London stage through January 30th, this production of the classic tale A CHRISTMAS CAROL incorporates strong elements of toy theatre.

Up, Up, and Awaaaaaaay!

The ghosts who show Scrooge what a miser he has become are brilliant

Press Night curtain call showing part of the life-size 'toy theatre' proscenium

Close-up of 'toy theatre' curtain behind actors as they take a Press Night curtain call

Featured: One Man Show

A recent article featured the amazing David Lewis Worobec
[Click to Enlarge & Read]

Depict-O-Mat: Toy Theatre "Photo Booth"

Depict-O-Mat Kickstarter video from Depict-O-Mat on Vimeo.
A toy theatre-related fundraiser needs your help.  Yes, you!  I just got done donating $15 to them. They need about $400 more to reach their goal.  Let's help them get there!  [Read how, below...]

Created for event entertainment, Depict-O-Mat is modeled after a vintage photo booth and dispenses short, personalized stories.

Depict-O-Mat is a live machine that tells visual stories ABOUT you and STARRING you!

Combining nostalgia, improvisation and toy theater, Depict-O-Mat is a unique experience that will soon be available to rent for special events. It is modeled after the original photo booths. Imagine entering Depict-O-Mat, having a unique experience interacting with our Advanced Depict-O-Mat Technology, stepping out and getting to watch a tiny show inspired by you - starring YOU - that others get to enjoy!


You can help by providing a donation to our fundraising campaign.  Go here, and see what neat 'thank you' gifts you can receive with your gift...

Stop-Motion Noir!

Toy Theatre Salon

Painting by Jill Hoy

Jill Hoy created an extraordinary painting of a real-life event.  It shows a toy theatre performance that took place in a private home to a group of invited guests.  In fact, it was a full-blown dinner theatre.  A quite rare event, so a very special occasion to all those in attendance.

I recently spoke to Jill to ask her how the painting came to be.  She shared with me how "...the salons are a very rich environment for everyone - the diverse mix of people, including professors and artists who are friends of the family and invited to a dinner theatre in their home."  A dinner theatre of the small.  "It's total magic!  All the different voices for all the play's characters, all the songs sung, all done by David."

That would be David Lewis Worobec, the man behind it all.

Jill Hoy wanted to create a painting that captured the camaraderie of one of these events, all held in David's home.  The focal point of the painting is David.  He is in mid-performance far right in the back, the lights from the stage illuminating him from below.  Joy herself can be seen doing some sketching of the scene before her - sketches that she would later paint - just below the figure of David.  "The owl is a symbol of David's mother," Jill added.

I asked David to share what the salons have meant to him.