Trailer: Doctor Who as Paper Theatre

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!

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

A New Toy Theatre is Born: HAMILTON

The toy theatre includes a great example of pre-restoration (2013) interior architectural accuracy...
[Photo Credit:  Kelli Kirk]

Last week, one very lucky little boy received a rare Christmas gift nowadays:  A toy theatre. Not only was it a toy theatre, but it was an original, newly-conceived theatre based on the Richard Rodgers theatre in New York City.  On top of that, it was based on that theatre's current production - HAMILTON.

Milo's mother, Kelli shares a bit more:

For the past month, Mark and I have worked late at night after bedtime to build Milo a Victorian style "Toy Theater" of the play Hamilton: An American Musical - it includes a wooden stage, and all the players on tiny marionette wires. It was a

Actual side marque that Milo's toy
theatre was faithfully based upon...

painstaking project with tremendous scope creep but it is faithful to the original Victorian style toy theater as we could muster, except in the LED lighting - executive prerogative.

Toy Theater was a cultural phenomenon in the 19th century, a style of puppeteering that included a small stage and tiny 'marionette' style characters. Parents would go to the theater and bring home a toy version of the theater so the child could act out a play. When we visited London, puppeteers recommended we visit Pollock's Toy Museum which has a large collection. Pollock's was one of those quintessentially London places - tiny, many floors tall, higgledy-piggledy collections of amazing old toy theaters and childhood ephemera. Milo was completely captivated by them -- but they aren't really made today [at least not in the same way they once were - Note from Trish.]

Milo has had a passion for puppetry ever since he can
remember.  His Christmas gift of a toy theatre version
of the Richard Rodgers Theatre, featuring a production
of "Hamilton", made at night in secret by his parents!
[Photo Credit:  Kelli Kirk]

Our gift was a success and Milo declared, "Mom, this is the best present I ever got!" and quickly set about to acting out the Cabinet Battle.

From an article called The Rise and Fall of Toy Theatre (in recent years, it is rising again):

...A toy theatre was, as we will see, a tiny but complex structure—as intricate and lovingly assembled, in its way, as model railroads can be for today’s hobbyists. In its prime, it was not a nostalgic hobby but a breathless bulletin from the newly emerging world of mass communications and global celebrities—a chance for ordinary people to touch their heroes in person...

I have it on good authority that Milo and his Mom are two of the very lucky people who have secured tickets to HAMILTON, and will be attending a performance in the new year, in the new future. When Milo comes back home, I have a feeling he will be even more excited about not only the theatre but putting on a performance.

Welcome to the toy theatre family, Milo!

Comparing the theatre's exterior front to the toy theatre's, you can see the amount of detail that Milo's parents,
Kelli & Mark, put into recreating the Rodger's theatre on a miniature scale - a very fine job for their first time.

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 DePoy, Kristin Haverty, Reay Kaplan, Jon Ludwig, Spencer G. Stephens, Bryan Mercer, Jason von Hinezmeyer

All portraits by Clay Walker

Featured: One Man Show

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

Zach Dorn: Ordinary is Extraordinary

Tonight only, artist Zach Dorn deploys his Toy Theater show — 21st Century style — at Studio@620. In his An Excruciatingly Ordinary Toy Theater Show, Dorn - a recent grant recipient from the Jim Henson Foundation - moves digital cameras through toy-sized streets peopled with paper puppets, all to dramatize tales about a lonely puppeteer stalking the child of notorious celebrities, a ghost who bugs a little boy, and an opera-singing landlord who refuses to return a security deposit.

Dorn describes his tiny productions this way:  "Miniature Curiosa explores the underbelly of childhood nostalgia with the disappointed eyeballs of adulthood. Through low-fi technology, puppetry, toy theater, live-projection, and non-linear storytelling, Miniature Curiosa presents fast-moving, fast-talking, sometimes malfunctioning, live-action comic books. This is not the theater. This is the living room of an overzealous magician who doesn't know any tricks."

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.

David Worobec: One-Man Show

The hand of David Worobec enters from stage left at Tophat Toy Theater, –a DIY dinner-theater experience
in a townhouse on Portland's West End– during a recent performance of "Les Miserables." Worobec - a
one-man theater troupe - sang all the parts while simultaneously manipulating about 45 toy characters,
running the lights and music cues, and changing sets that were designed by his mother, Polly Plimpton.

David Worobec is a very talented young man. Only 25, he has created single-handedly a theater company, built the theater, created sets for several productions, designed them all, cast and created all the characters, does all the lighting, directing, props, etc., plus plays all the parts and does all the singing. How does he do it? Find out, in this revealing and fascinating article!

WORDLESS!

"Art Spiegelman has almost single-handedly brought comic books out of the toy closet and onto the literature shelves."  - LA Weekly

Celebrated cartoonist Art Spiegelman comes to BAM with WORDLESS!, an innovative hybrid of slides, talk, and musical performance created in collaboration with acclaimed jazz composer Phillip Johnston. Spiegelman leads audiences on a personal tour of the first graphic novels—silent picture stories made by early-20th-century masters like Frans Masereel, Lynd Ward, and Milt Gross—accompanied by an all-new score by Johnston, who performs with his sextet. In navigating “the battle between words and pictures,” Spiegelman smashes at the hyphen between high and low art, featuring a new work drawn specifically for this project called “Shaping Thought!”

My friend, Frances Ruth Harris, attended last night's performance, and here is her review:

He presented a history of how the graphic inspirations began. Phillip Johnston, along with other musicians, made up a band (the Phillip Johnston sextet) that accompanied Art Spiegelman's visual slides and presentation. The music was all the way live sizzle! The presentation was entitled WORDLESS! Spiegalman did a lot of talking at various points, and during the graphic moments, he did not always talk. He spent time explaining how the absence of words generates thought. It was wonderful. I also love the BAM Opera House where all this took place. I had seen a ballet there two years ago, and I was lucky enough to get a wonderful seat then so that I enjoyed the orchestra in the pit as well as the ballet on stage. Trish, I'll mail the play bill for you to enjoy. Then you can read a couple of pages on Spiegelman. This evening's show was originally commissioned by the Sydney Opera House for GRAPHIC. And, on February 12th is "Co-Mix: The Artistic Adventures of Art Spiegelman and Francoise Mouly." Tonight's performance was a chance for Spiegelman -- in addition to all the revealing and captivating history he shared -- to showcase his own life in terms of how others influenced who he has come to be. He did spend most of his time on the history of other graphic artists and how each influenced the other. There's no denying his pleasure -- and the audience's joy -- in his own successes. It's who he is; one can't hide a reality like that! It will be interesting to read what the Times and the Journal have to say about this evening's show.

Speigelman at the podium, shares with the audience using images &  music, and minimal narration

Peter Pan in Kensington Gardens: UPDATE

The last time I posted about this project was about a year ago.  The man behind it, Steve Arnott, contacted me today and wanted me to know that an updated video demonstrating more of the digital animation, soundtrack, and narration was now available to view.  The video above is that sample.  It shows great promise, and has many fascinating and magical scenes. The narration is done by Roy Trumble, from his reading of J.M. Barrie's earlier, shorter work about Pan...

The film is making good progress. Steve did some film work in Norway last month, where they are enthusiastic about the project - part of the film may be produced there.

Arnott knows his subject well, and has written about its history and influence.

To find out more about the film's history, and what the goals of the film project are, go here.

As I find out more information, it will be posted here.  Stay tuned!

2013 Paper Theatre Festival in Harderwijk

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

PuppetVision: The Movie

PuppetVision: The Movie is a documentary about puppets, puppeteers and puppetry around the world.  The mastermind behind the project is Andrew Young:

We want to use fantastic interviews, combined with performance footage, rare film clips, and original puppetry sequences to create a fun, accessible documentary that takes you on a globe trotting journey to meet these incredible artists and explore the wonderful work that they do. We want to take the art of puppetry apart, show you how it works and surprise you with what you find.

This update on Andrew's blog shares even more details and photos, the latest news on the project.

PuppetVision: The Movie is being funded by donations.  Please visit the project's fundraiser site and give whatever you can - every penny is much appreciated!  And, there are incentives for various contribution amounts.

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.

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!

10th International Festival of Toy Theatre

Please take a moment to watch this video, then visit Great Small Works' fundraising site. They would appreciate contributions to help produce the 10th International Festival of Toy Theatre. Their past festivals have been amazing events, opening up the imagination and creativity of young and old alike!

Christmas Retold

Heart of the Beast Puppet & Mask Theater artists bring alive the Nativity as an Immigrant Story...

In my own state of Minnesota here in America, an extraordinary production is underway right now of the age-old Nativity story.  But this version is told in an innovative style - using large-scale puppets and as an immigrant story.

Read, see, and hear more about this, here...


The video above, from a presentation of this same production in 2009, shows a bit of what you would see, as well as clips from behind the scenes...

Before Neverland

Before there was Neverland, there were the Gardens...

Crowd sourcing has begun for Peter Pan at Kensington Gardens.  The animated film, influenced by toy theatre, shares earlier stories of Peter Pan:

Peter's adventures in Kensington Gardens pre-date those in Neverland. First published in 1906 it's an adaptation of The little White Bird of 1902 which marked Peter Pan's first appearance in print. Peter is a baby who thinks he's a bird and so can fly. He finds himself in the Gardens and makes friends with the birds and fairies who live there. Peter learns to play Pan's pipes and looks after children who become lost in the park. The story predicts many of the elements to be found with Wendy and the Lost Boys...

New Peter Pan Film

A new film is being made which combines the arts of toy theatre, animation, and film.  One of the producers, Steve Arnott, has this to say of a newly released demo trailer:

This is a work in progress, the voice and music are just guide tracks and more scenes will be added. We hope to use a famous Scottish voice for the narrator (so if anyone has David Tennant's email, please forward!) Also, we are open to any offers of funding; the film so far has over 200 supporters and 50 animators working on it. Anyone who contributes will share in the profits. Also, 20% will be going to Great Ormond Street Hospital Children's Charity, who have given the project their blessing. We are are looking at a release date of either Christmas 2013 or Easter 2014, depending on how things proceed.

If you would like to know more, or help fund the project, please leave a comment, and I will be happy to put you in touch...

Poe-Dunk Matchbox Theatre

The mind boggles at the small scale!

Playlab NYC will present Poe-Dunk – A Matchbox Entertainment as a part of the 2012 FRIGID New York Festival.

Kevin performs a matchbox production

Kevin P. Hale, one of the founding members of Playlab NYC, is the creative mind behind these exceedingly small toy theatres.  Kevin has a blog where he explored openly shares his concepts and explorations - it makes pretty interesting reading!

Some characters are performed via matchsticks!

Kevin will be presenting a series of tiny-scaled plays based on the tales of Poe, including one called "The Oval Portrait":

The story was originally published as “Life in Death” and is the shortest of Poe’s stories. It was also the inspiration for Oscar Wilde’s novel The Picture of Dorian Gray. The actual story of the portrait only takes a single paragraph to tell, and everything else leading up it that story seems like filler. It was precisely because it was Poe's shortest work that I thought it would lend itself well to matchbox treatment.

Despite the tiny scale, color and design abound!