Meet the cast that's been culled from a teddy-bear graveyard
IRISH PEOPLE HAVE a particular affection for puppets. although the British have Basil Brush and Americans have Big Bird, it’s unlikely those people would try to vote for them in an election, as the Irish have done for Dustin. We drag the puppets of our childhood into adulthood, giving them as much credence now as we did then.
Artists working in theatre need their audiences to put the Tinker Bell theory into practice; to suspend disbelief, particularly if the puppeteers are in full view. “When people come into the room they want to get involved,” says Aaron Heffernan, the puppetmaster on Monster/Clock, a fantasy fable play. “An audience can identify with a piece of wood having life if everyone believes.”
He refers to the “double address”, when a puppeteer can be on stage with the puppet yet become almost invisible. “The soul and the spirit that make it live is a mutual thing between the audience and the puppeteer. If you give it all your attention, breathe with it and look at it, the humanity you have in common with this thing that looks only barely human comes through.”
With its quest narrative, featuring a pupil coming into his own and saving his master, Monster/Clock shares many traits with a typical Disney movie. But during its initial run, which sold out, the audience comprised mostly adults.
“We’re a nostalgic generation,” says Dan Colley, the director of Monster/Clock. “Everything we do probably comes from those early influences where TV just got ironic.”
Avenue Q influenced both Monster/Clock and Anglo: The Musical, the puppet-heavy show that opens in Dublin this month (minus a puppet of Sean Fitzpatrick, this week withdrawn from the show on the direction of the DPP). Nigel Plaskitt, the puppetmaster on Avenue Q, has been training actors who were puppet novices to not pull focus. “The actors are playing the character along with the puppets. So the idea is that they support them and give them expressions and reactions that puppets can’t give because they are inanimate. They use the whole body of the puppet to create expressions so their own faces aren’t overacted.”
Jim Henson’s design has been the inspiration for the Anglo puppets, which is acknowledged in the show’s tagline, “All it takes is a few muppets to screw an entire country.” Heffernan, whose bedroom resembles “a teddy-bear graveyard”, drew more from Picasso and Francis Bacon, ripping the eyes out of readymade bears, as well as the inner lining from a child’s boot, basketballs, umbrellas and anything else he could get his hands on. Their development process, though, is still in its first draft.
“I made the puppets around the model of my body,” he says. “I didn’t realise that was going to be so problematic. I wasn’t using all of the puppets personally. So when I gave them to the cast the hands were often too big or too small for the actor.”
