Tempest: Before and After

    I have very self-consciously not posted anything on this blog for some time. Partly because, as I stated in my last entry, I didn't want to give anything away to the audience before they had the opportunity to see the show. Another element in this decision was knowing how involved a process this build would be. In short, you can either talk about swimming the English Channel, or start swimming. You can not do both at the same time. Now that the dust has settled, and the final curtain has come down, I can discuss a little of my process and display some of the results here.

    It should be noted I can only speak to MY end of the creative process of The Tempest, because that is the only part I was wholly involved in, and thus,fully understand. Nobody should ever make the mistake of believing that I accomplished anything on my own. Theatre is by it's very nature, a collaborative process. This show was the work of many hands. I am deeply grateful to everyone who participated in The Tempest. It would have been a very different entity  if even one of the 30+ people involved were not a part of it. I intend to give full credit to certain key players in a later post. For now please accept my deepest gratitude and know that you made this show both nothing like I expected and everything I could have hoped for.

Last November I posted a few of my early process shots. I thought I would begin by showing you what these puppets look like now that they are complete. If you want to see the drastic changes these have undergone you can check out my original blog here

First here is one of the two seagulls that were in the show. They have come quite a long way from the bald foam. If you look carefully, you can see that two of the rods have been repaired. I wish that I had managed to take better pictures during the show and rehearsals. one of the most enduring images of this production for me was this seagull silhouetted against the purple lit Cyc curtain.

Next here is the head of our heron. Because of his "eyebrows" and the funny walk the puppeteers found for him during rehearsal, he has been christened "Groucho". Notice that he has different eyes from the original process shot.  Also. the puppeteer who operated him found the original controls cumbersome. I needed to shorten them for her ease of manipulation and comfort

 Finally, Trinculo. Aside from one stage, Trinculo was the "guinea pig". He defined the look and feel for the rest of the human characters for me, I only wish I could take credit for the beautiful costumes of these puppets, but they are the work of Kristen Palazzoli. I will discuss them in great length later. The hair turned out nothing like I planned, but in retrospect, couldn't have logically been any different.

More later. Thanks to all!

The Saga of Log: A tale told through weird prop-building

    Every so often I get a call or e-mail from my friend Steve Monosson. Steve among his many qualifications is an independent filmmaker with a wonderfully skewed view of the world. Whenever he contacts me out of the blue I just know he's going to ask me to make something strange and fun. Past projects include a four foot tall totem pole featuring a poodle and pistachios  and a lot of bark-themed accessories. I could explain it all, but It wouldn't make any more sense and would probably detract from the wonderful absurdity of it all. Instead, witness the epic tale of the galaxy's near brush with and improbable rescue from Almost Certain Intrusion!
Ladies and Gentlemen, I Give You Log vs The Space Intruders!

I made the puppet version of Log, the space station,(this was accomplished by hot gluing a lot of random stuff together and spray painting it silver) Outer Space, (in all it's tinfoil glory), and the flying saucer (which is, as you rightly guessed, a colander and pie pan glued together). I am absurdly proud of this film credit. It may be one of the favorite things I've ever done!

Log has appeared in several different incarnations over the years. Steve himself offers some insight into his chosen muse and creative process:

 "Someone asked me at a screening why I used a log and I replied that he "took directions easily", And you can quote me on that for all your props- there's no back talk, they're there when you need them, and no complaints about working overtime."

Log's Journey now continues. I hope I don't inadvertently write any spoilers. Sorry in advance, Steve!
Log, after his intergalactic triumph returns home to visit his estranged father in the "Old Oaks Home" (No, I did not write that one, though I very well might have!). I was asked to costume the two principle actors. I first went over to take their measurements. Steve snapped this shot of me doing so. Note the  fact that the actor has been pixelated to avoid revealing who plays one of the key roles. I won't spoil the surprise, but would just like to say that he was gracious and a total pro to work with.

 Log was to be attired in a military-style flight jacket. I made this out of an old pair of olive green slacks.

All these costumes were 100% Hand-sewn for the aesthetic reason that I don't own a sewing machine.

Note that the "Air Force" insignia is actually an acorn and two maple wings. I love throwing this sort of detail into my work. It's part of why I'm good at what I do, and why I'm particularly worrying to be around for nay length of time

Log's Regimental emblem would obviously be an Ivory-billed woodpecker

Log's Father (my suggestion that he be addressed as the Logfather was vetoed for some reason...) would be dressed in a tattered institutional bathrobe. I tried to convert an infant onesie for this purpose, but I couldn't conceal the adorable duckies and teddy bears well enough. I used a beach towel instead.

The reunion is apparently a very touching and emotional one. Log's father is brought to tears. I was asked to make a miniature syrup bucket and tap for that scene. The bucket is about 2 1/2 inches tall. It took me four or five attempts to get it right. I used aluminum flashing, galvanized wire and a small piece of dowel. The aged patina was done by several layers of paint and sandpaper.

The tap itself is mounted on an eye-hook so that it can be attached for the scene (Log's father is a method actor).

Steve sent me this image to let me know my work had arrived safe and sound

...And this one to let me know I had some more work to do!