In September, 2019, I had the great pleasure of visiting the Festival mondial des theatres de marionettes in Charleville-Mezieres, France. Here are some reviews.
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- Steve Capra
The puppets in Bloop!, from director Pep Bou (Spain) are bubbles! The two characters blow thousands of them - some with smoke or something in them, some looking like suds, some large enough to envelope the actors, all beautifully lit.
Our man stage left is referred to in the program as an “alchemist”; he may as well be a hippie - lots of hair, a beard. The gentleman right is a business type, bald, wearing a hat, often on the phone. They each have a small table, but otherwise the stage, with its black back wall, is bare. They vocalize but never speak. Our hippie friend intrudes on the businessman’s space with his annoying bubbles, but during the course of the play teaches him how to enjoy life - it’s not long before they’re both blowing pipes and waving wands.
This unsubstantial premise is so well exploited that the play is absolutely delightful - we don’t stop enjoying it for a minute. The actors wordless expression of the characters evolving relationship relationship is meticulous acting. Their timing is flawless; their physical lives are exemplary expressions of joy.
The play ends with the puppeteers recruiting a young girl from the audience and then enfolding the three of them in a huge bubble. The whole show is wonderful, a paradise of optimism! Hurray for Bloop! - Steve Capra September 2019
Old Trout Puppet Workshop (Canada) treats us to a mostly wordless piece called Famous Puppet Death Scenes . It consists of perhaps 16 short, unrelated vignettes in a puppet proscenium, each about two minutes long and each depicting the oh-so-tragic death of a puppet. E.g.: - In a recurrent motif, a poor fellow at the opera is repeatedly pummeled by a huge fist, as much as he tries to avoid it; - An innocent boy is lured into a villain’s home by a lollipop - and eats the evil old man; - Puppets (puppets of what?) on a German game show have to choose the Ja door or Nein door - and either way, the ogre eats them; - In a crowning jewel, an old woman returns home to find her husband’s suicide, so she shoot her self; her son comes home and sees what's happened and then shoots himself; his son comes home and does the same; the old husband comes home and we see that it's all been a trick; the old lady comes to life and sees her living husband and shoots him, an
Photo: Charleville-Mezieres = La potion de reincarnation ( The Potion of Reincarnation ) is a brilliant puppet show from Jin Kwei Lo Puppetry Company (Taiwan), directed by Cheng Chiayin, presented in Chinese. It’s absolutely a masterstroke of puppetry. In Buddhist-Taoist mythology, a soul is reborn only after meeting Old Lady Meng and drinking from her cup of forgetfulness. In this play, a woman is reincarnated three times without finding happiness. The show begins with fingers as shadow puppets, and the sort of classical Chinese music that’s like the sound of nature. But mostly the puppets are small, delicate hand puppets elaborately dressed. The puppeteers dress them on stage with ritualistic, meticulous care. What’s more, there’s intermittent singing throughout. We can see that this is a ceremony . At one point, a puppeteer tosses a hand puppet and another catches it just by just placing his hand under the mitt as it falls. Some scenes are spooky, heavy with shado
Leyly & Majnun , produced by Baku Marionette Theatre (Azerbiajan) is an exquisite marionette opera written by Uzeyir Hajibeyli, one of the great Azerbaijani composers, and directed by Tarlan Gorchu. It sources Western and Eastern musical traditions. Its story is based on a narrative poem written by Muhammad Fuzuli in the 16th century, itself based on a legend centuries older. The story echoes Romeo and Juliette , an ageless tale. The small marionettes are gorgeous, elaborately designed by Tengiz Khalvashi. The music, recorded by two musicians and singers, is lovely and varied, including even something like a march, but most notably graced by a haunting solo female voice, nearly wailing in, I assume, Azerbaijani. The seven puppeteers, in black, are part of the presentation. They sometimes move with slow deliberacy. To call this production a show is to trivialize it - it’s a ritual . The screens upstage are beautiful as well, and the play ends with a projection of cu