We created the puppets and helped make the puppetry happen.
production really felt like a pivotal moment for UK Puppetry"
Love him or hate him, this little guy certainly caused a fuss:
“In the aisles and lobbies during the second intermission of the Metropolitan Opera’s new production of Puccini’s “Madama Butterfly,” which opened the season on Monday night before a star-studded audience, patrons could be overheard heatedly debating the puppet used to portray Butterfly’s little boy.
This nonspeaking minor character is typically played by a cute child in a sailor suit. In this production the director Anthony Minghella has introduced a small puppet boy manipulated by three puppeteers cloaked in black who stand behind him. The child moves with eerily human gestures, and his baldish head has a wizened, hopeful yet anxious look.
Some people thought it was “more real than any real child
they could have had,” as one patron put it. Others thought
it was intriguing but very strange. Somewhere in the house, Peter
Gelb, the new general manager of the Met, must have been beaming.
We were swept up in a tsunami of reviews and commentsthat surrounds Anthony Minghella's work. A strange new breakthrough experience for us:
a maple syrup enema"
pathos of the blindfolded puppet-boy prior to his mother’s
suicide, taking faltering steps, is overwhelming.”
physical detail, the restless, excitable, mother-clinging actions
and reactions are such that a child actor could never give us
and after a while you stop noticing the puppeteers and, like Butterfly,
you see only genuine emotion and need in the impassive doll-face.
This is extraordinary.”
"The puppeteers looked rather pleased with themselves" Adam Mars Jones
stroke of genius in using a puppet for Butterfly's child (expertly
and vividly worked by a team of no fewer than three puppeteers),
add and add again to the sheer brilliance of the conception.”
ended up thinking let’s close all the stage schools and
let all children under 12 be played by puppets…”
3 year old child… played by a puppet, is so beautifully
done and is so moving and works exquisitely…”
animation is so well achieved by veiled but perfectly visible
puppeteers that the puppets are easily the most authentic characters
during the "dream ballet" interpolated into the opening
of Act 3, the puppet representing Butterfly clutches with desperation
at the departing Pinkerton, we heard an audible gasp go up around
production will be remembered for its puppets.”
most extraordinary part of Minghella's daring concept is to use
Bunraku-style puppet as Butterfly's lovechild, Sorrow... As wooden
performances go, this one is masterly"
puppet is cute as a button, and it’s ingeniously manipulated
by three onstage hooded figures”
black-hooded men operated the life-size puppet and infused it
with so much realism I forgot at times it wasn't alive.”
puppetry was on a level of genius"
is the moment that British puppetry has been waiting for,"
- Anthony Minghella, Choreography - Carolyn Choa, Conductor
- David Parry
Sorrow History of Puppeteers
2006 - London (Original Cast)
Lithuania National Opera
- New York Metropolitan Opera
- Lithuania National Opera
- New York Metropolitan Opera
2009 - New York Metropolitan Opera
2011 - - New York Metropolitan Opera
Blind Summit Theatre
Unit 10, Grenville Workshops, 2a Grenville Road, London, N19 4EH
020 7272 9020 - email@example.com