Beauty and the Beast at the PuppetCo

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You guys seriously.  Marionettes are a challenge.  But when you get it right…there is something so completely magical about the experience.  I don’t mean “get it right” as in “I need to move a hand I pull a string”, rather, this character and I are one being right now and how she feels is how I feel and she’s the one who shows it because I am imbuing her with everything I’ve got.  Once you get to that point in a show using puppets on a strings, there is a very surreal feeling of connection through a tiny physical tether.

The puppets we used for this production were not true marionettes, but a hybrid between Sicilian Rod puppets and marionettes.

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Myself with Beauty and Josh Rosenbaum with Beast.  

There is a central rod that connects to the puppets head.  On top of that is a controller that has strings connected in a loop for the hands, and a rocker bar on the front so you can walk the legs around.  They were designed by the late Terry Snyder and they are beautiful.   The type of puppetry is overt puppeteering, meaning that we the puppeteers are visible through the entire show, right next to our puppets.

So, you ask, what are the challenges to working with marionettes?  Well, in the immortal words of Mr. Allan Stevens “Anything on strings isn’t for me” because strings tangle, they break, they get caught in other puppets….the list goes on and on…but…when you stop worrying about the mechanics of the puppet, and begin to give the puppet life, you handle those little snafus one moment at a time.  For example: see that beautiful Beauty puppet up there?  Sure, she’s elegant, she has a glorious gown, she’s heavy as the sun is bright, but she has one fatal flaw….she likes to lose her head.  Josh and I fixed her neck multiple times during the run, but inevitable three times, that head just wanted to float away from her body.  You could actually feel the disconnect, it wasn’t a pop, it wasn’t a snap…it was a “Oh dear lord I’m not holding up ten pounds of puppet anymore” which somedays my shoulder was happy about…even though the rest of me was on “Please oh please don’t let the body fall over because how terrifying would that be to a group of kids….” so I learned how to grab her body and we would finish the show without a hitch…literally there was nothing hitched together.

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This scene…this scene caused sooooo many problems. 

I loved being Beauty.  I usually play the characters in plays, so being the princess was fun.  (I’ve played princesses before as puppets…but this was different for me)  However, my favorite character to play was one of the mean sisters: Vanity.

Vanity was a Brooklyn girl (the play takes place in rural Russia((our version does anyway)) and she has always been a Brooklyn girl.  Josh and I came up with so many new fun bits to add to the show.  We somehow managed to improvise with each other…and I only made him break on stage once! She had many wonderful lines including “I’m so hungry I could eat my shoes” and “How long does it take to squeeze a chicken?”

We had some moments were the technical aspects glitched out, but Josh and I were so comfortable working together that we could make it through.  Even when Josh decided to stick an altoid in his mouth moments before going on stage and ended up spitting it out….we both watched it roll across the floor and hit my shoe…that was a very interesting moment on stage.  We had opportunities to interact with the audience, we made the sisters into a comedy act all to themselves, and we learned how to do a ribbon dance with puppets all while not tangling ourselves up in the process.

The experience with this wonderful play written by Terry Snyder, given to the PuppetCo and performed by veteran master puppeteers like Christopher Piper, MayField Piper, and Eric Brooks, was a delight to learn and even more fun to embellish on.  Allan gave us the freedom to discover new moments and try new bits.  He also pulled us back when necessary.  I could write an entire thesis about the process, but that might be a bit more information than anyone is willing to read! It was an enriching experience and one that I will miss greatly.

Summer 2015: Southern Colorado Repertory Theater

Once again I was privileged to spend the summer in my beautiful home state of Colorado, nestled next to the Rocky Mountains, performing summer repertory theater.  This season, I performed Eulalie in The Music Man, Olympe in A Flea In Her Ear, and Catherine in Proof.

Eulalie was the first character that I dove into, and I found her challenging.  I honestly hadn’t expected to be doing Music Man (I was under the impression we were doing Little Shop…and I was incredibly excited to build puppets for it and perform as a puppeteer) but the last minute change happened so I had to adapt.  I did not know where to start.  Musicals are fun, but I don’t consider them to be my forte.  With Eulalie, I decided it might be fun to find her “Spirit Animal” or the creature that most embodies the quirky yet delightful Mrs. Shinn.  I found her. In a character created by my good friend Lorna Howley.  Her name is Didi the Dodo.

Once I began channeling that character, Eulalie came alive.  Some of my favorite moments were just discovering little quirks in her behavior.  If Harold Hill touched her, she immediately cleaned her hands.  She was a blast and director Greg Henrickson was an absolute delight to work with.  He let me go as far out as I wanted, and pulled me back when it was just a bit too much.  Not much was a bit too much.  The actress who played Mrs. Paroo, Jean Schuman, and I had a wonderful time on stage together.  At the end of the season more than one person came up to me and said “That was wonderful! If you and Jean had more “air time” it would have been the Eulalie/Paroo show”.

 

I was also in charge of costume maintenance which was a new(ish) experience for me.  I’d done a lot in college, and it was really fun because the costumes, provided by Greg and his company The Theater Co in California, were spectacular and easy to care for.  And the actors really did a good job of keeping everything neat.

The second production of the summer was A Flea in Her Ear, which was also my first professional show I did when I was 16.  This time I played Olympe, wife to the hotel owner. The challenge with this one was that the man who played my husband…who was supposed to be ten years younger than I was…is actually 30 years my senior in real life…so in terms of makeup I had to age myself…but not go too far….and yet be old enough to look older than him.  It took a lot of trial and error.  Olympe’s spirit animal was this:

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The red wig was a throwback to the original actress the first time I did this play, Holli Harsh, who had a ton of red hair.  This play was fun, but it wasn’t my favorite because I was only active for scene changes and twenty lines in act two of a three act play.  That’s not to say I didn’t enjoy performing in this fantastical French farce, I just didn’t feel like I had time to bond with the entire cast.

The third show of the summer was Proof and I was privileged to play Catherine, a mathematical genius struggling with her fathers death and her own worry for her mental stability.  This was hard work and a lot of fun.  I enjoyed every rehearsal with my cast mates, Jackie Rahmlow, David Rivera, and Fred Vaugeois.  Fred played my father, which I was absolutely tickled about because he has been my theatrical father in a lot of ways, shaping who I would become and sparking my interest in this art form when I was a teenager.  Some of those monologues are killer, but with the cast that was so supportive and strong, and with the direction of Harriet Vaugeois, we made a great play absolutely beautiful.

And to keep with tradition, this was Catherine’s spirit animal:

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Over the course of the summer, we were asked to perform in several cabarets.  I did a few of them, and they were fun, but there was no information on what was expected of us until after we all arrived, so nobody had anything really prepared.  Jean did a wonderful job of keeping all of us in line.  Highlights were I got to build a little Audrey 2 puppet and sing “Suddenly Seymour” with myself, I used the Dormouse puppet that I had given to Jean from Alice in Wonderland two years ago, and he performed in most of the cabarets.  He was a hit.  Everybody anticipated what Dormouse would do next.  I loved it!

This summer was great but also complicated.  I was asked to do the scenic art for all three shows after I arrived, something I hadn’t planned on as part of my work load, and then also ended up having to re-do many of the handcrafted props because they were not up to snuff for a professional company.  All of this was piled on top of performing in three shows, multiple cabarets, and being in charge of costumes for all three performances, with well over one hundred different pieces to take care of.  I have an auto-immune issue and by August, I had a massive flair up because of stress.  I ended up having strep throat twice. One of the challenges from this summer was communication.  I love working for this company, but after how disorganized and stressful the summer was, I decided that I might need to take a break from it for a while.  By no means did I have a bad time, I thoroughly enjoyed meeting new people and always love being in my home town, but for the amount of work and stress that it caused me, it is sometimes necessary to take a step back and reevaluate what my boundaries are in a professional sense.  Sixteen year old me worked my self to exhaustion many times.  Thirty year old me knows better.

As always, I am thankful for the opportunity to act, and look forward to another opportunity to work for the SCRT in the future.

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The company from upper left to right: Harriet Vaugeois, Cassandra Giovine, Fred Vaugeois, Jeffrey Schultz, Gayle Killion, Jackie Rahmlow, Micheal Epson, Justin Mohay, Christopher Perez, Drew Frady, Steve Ortega, and Davie Rivera. This was on our trip to Taos, New Mexico.  Not pictured are Sam Lyle, Jean Schuman, and Derek DuBay.