Date: Wed, 10 Apr 2002 16:03:31 -0700
From: MM <michaelm-AT-execpc.com>
Subject: Re: PUPT: Staging in the semi round


Hi
Recently a theatre in Milwaukee, First Stage (http://www.firststage.org/),
comissioned and produced Einstein: Hero of the Mind. It was a complex,
inventive and amazing production that utilized many, many different types of
puppets, masked actors and unmasked actors, and wonderous stage machinery, all
staged on a relatively small full thrust (audience on 3 sides) stage. More
info:(http://www.firststage.org/show4.html).

Puppeteers were in full view of the audience at all times. You can probably
contact Rob Goodman (Artistic Director and co-director of this production) and
Max Sampson (co-author and co-director) thru the above web sites.

Max has his own company (Mask And Puppet Theatre) and our company (Milwaukee
Public Theatre) collaborated with him several summer's ago (Dream Carnival) for
our annual outdoor touring show. I don't think Max has a web page at present.

MM

Krefting family wrote:

> We have run into a conundrum that is holding up script and puppet
> development.  For a local historic pagent program, we are doing a "main
> stage" (inside the big top tent) production.  This will be an original work
> which, briefly, encompasses the Dakota-white interaction in the 1800s
> through the lens of a couple of key figures.  Having done the research,
> decided on a staging and type of puppetry (masks and modified bunraku, with
> some rod style in a complementary design) and beginning the outline of the
> script, we have been informed that we need to work from an essentially
> thrust stage (seating on 3 of 4 sides of the stage).
>
> We are trying to figure out a way to stage this and still keep the story we
> want to tell.  The plan was for one central character (originally off to one
> side of the stage) who handles narration or prompt to action as
> necessary--story telling, reminiscences, etc.which ties things together--as
> the actual story action happens in the set pieces behind him, running across
> the stage at various heights.
>
> We have shifted action around, thought inverted "v's", 180 arcs, etc.  My
> basic question is how others have handled staging for seating on three
> sides.  We won't be operating behind opera pit curtains, but more or less
> out in the open, with important set pieces which we can't parade around the
> stage (such as a tombstone).
>
> Ideas?  Thanks,
>
> Wayne Krefting
>
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