Only in its second season, Cohesion has made an admirable mark on the local ensemble theater scene with imaginative choices of material and concepts. Kathleen Stanley's music provides a vivid finishing touch. The frequent use of shadow puppetry proves more or less effective. In addition to deft costuming, a good deal of atmospheric lighting gives the sparse staging richer dimension. The rest of the ensemble delivers solid, vibrant support. He likewise reveals subtle flair as the Gravedigger. He brings abundant color to the role of Polonius, tapping into the humor of the "brevity is the soul of wit" dialogue with particular relish. The production also has a substantial asset in Lyle Smythers. Vary shines in the big confrontation scene with an accusing Hamlet and the high-body-count finale. Tickets for the event are $7 and can be purchased at .As Hamlet's mother Gertrude, Katharine Vary effectively captures the nervousness bubbling beneath the dignified veneer, suggesting a proud CEO who knows the stock is about to be severely devalued. Baltimore MD and directions can be found on their website here. Black Cherry is located at 1115 Hollins St. We will be presenting an excerpt from the first half of The Amazing and Marvelous Cabinets of Kismet, so if you can come, you will be able to see the FIRST EVER glimpse of this brand new show. For puppeteers who primarily work in children’s theater, this is often a venue for more adult-oriented content for others it’s an opportunity to workshop unusual ideas. Posted in Puppet Building | Tagged Baltimore, building puppets, Genna Davidson, immigrant stories, INTERSECTIONS 2015, Katherine Fahey, new project, REEP, Saudade, shadow puppetry, Washington DC | Leave a reply Calling all Baltimore puppet fans!Īnyone looking for a fun, unique (and cheap!) night out this Saturday? Look no further than the Puppet Slamwichbeing presented by Black Cherry Puppet Theater in Baltimore!įor those who have never experienced this kind of event, a puppet slam is a night of short acts by various puppeteers, sometimes with music, that allows performers to experiment with new and different material. We’re looking forward to sharing their stories with you, too. Now I’m finally getting to cut out puppets of characters inspired by these incredible people, who bring so much to our communities here in the DC area. While not a traditional linear story, this play draws on the experiences of immigrants to the DC area, many of whom I had the pleasure of interviewing last summer through a partnership with REEP, an adult education program that is part of the Arlington Public Schools. You can see Genna here, posing with the PVC frame she’s been working on to support all the screens: Saudade will use a setup similar to our piece Coyote Places the Stars in the sense that it uses multiple screens, but visually it will be much, much bigger. Here’s Katherine at one of our design meetings, looking mischievous: This piece is all shadow puppets, which are being designed by Katherine Fahey, a crankie artist from Baltimore whose work we’ve been in love with for awhile. We’re in full puppet-building mode right now for Saudade, our next original puppet play which will premiere as part of the Atlas INTERSECTIONS Festival in DC at the end of February. All the folks at Black Cherry Puppet Theater (Valeska Pupoloh, Michael Lamason, Lisa Krause, Jenn Strunge, Kevin Sherry, and Porch Puppets), Erik Ruin, Nanaprojects , William Schaff, Anna Robert Gevalt, Elizabeth Laprelle, and all of the other crankie makers, paper cut artists, story tellers, and puppeteers out there. I was excited to be able to combine my passions for shadow puppetry, paper cutting, music, and storytelling together, but wasn’t so excited about getting up in front of people.ĬC: Who are some of the artists that inspire you? I have always admired the connection performers have with their audience, but I am a pretty shy person. That was when I started to see for the first time that I could perform with my artwork. My first crankie was made as part of a larger shadow puppet piece. Katherine Fahey: I started making crankies in the beginning of 2011, when I was making a music video for Wye Oak called Fish. Katherine’s first crankie, made for Wye Oak video, Fish.Ĭecilia Cackley: When did you start building crankies and what draws you to them as an art form?
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