For Adults Only
A theatrical show that publicizes it is “for adults only”
will cause one to conjure up images of raunchy, salacious acts of the seamier
side. A case in point is the 2003 Tony Award winning musical Avenue Q. Along with the musical numbers
and satire was a scene of sexual hijinks between two of the puppet actors. Not
that all or even most of the puppetry offered as entertainment for an adult
audience is risqué. There is, however, a burgeoning scene of short-form puppetry
that finds its roots more in burlesque than in vaudeville.
Allow me to present, the Puppet Slam. What began as a casual
gathering of puppeteers after the annual Puppeteers of America Festival has grown
into an international happening (Puppet Slam Network). The Puppet Slam
Network, a website launched by IBEX
Puppetry, works towards
connecting, supporting, and raising awareness for the Puppet Slam Nation
(Puppet Slam Network). There are over seventy puppet
slams in North America, Europe and Australia performing for adult audiences in
small venues usually late at night. Right here in the Baltimore area we have
Puppet Slamwich presented by Black Cherry Puppet Theater, the Puppet Co., and Puppet
Underground Cabaret in D.C. who combine their entertainment efforts with local
grassroots organizing efforts (Puppet Underground).
During
a telephone interview with Christian from the Puppet Co., I was amazed to find
out just how successful puppet slams are. “Our theater is small. We only have
one hundred seats, but we sold out for both of our last two puppet slam
performances.” After revealing the theme of my blog project to Christian, he
shared that the puppet slam was originated by Eric Brooks for reasons similar to
my blog argument: the need for outreach to an adult audience for puppetry. “We
also use it as exposure for our children’s shows.”
Having attended puppet slams in Philadelphia, I am a bit
skeptical as to the ability of this form of theater to maintain a high level of
attracting audiences. During one of the shows I attended, the artist used a
chair as a puppet and the only manipulation of it was to drag it about the
stage. Perhaps it was too avant-garde for me. Perhaps I should be more inclusive of
artists coming from different backgrounds. My concerns were mirrored in an article by Marcia
Biederman for The New York Times. She wondered if the avant-garde artists using
puppets in their work can continue to share the stage with traditional children’s
entertainers. In their attempt to gain legitimacy, a few avant-garde artists
seem to give their artistic expressions more weight while putting down the kids’
stuff. Biederman quotes Jim Bowen of
Puppetworks in New York as saying, “Some of the avant-garde stuff tends to get
really self-indulgent.” He continues, “Children would never let you get away
with that” (Biederman).
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| King Kong at the Regent Theatre in Melbourne, Australia. http://jimsmash.blogspot.com/2013/07/king-kong-puppet.html |
Fighting within families is not uncommon. As long as all of
the varied forms of puppetry lead to increased appreciation by adults and
children alike, the future seems bright. From the busker performing on the street
to the latest sensation on stage, puppetry is consistently reaching out to that
elusive adult audience.
Works
Cited
Biederman, Marcia. “Make Way For Grown-Ups.” New York Times 24 Jan. 1999. Academic OneFile. Web. 17 Oct. 31, 2013. http://go.galegroup.com/ps/i.do?id=
GALE%7CA150050785&v=2.1&u=colu91149&it=r&p=AONE&sw=w&asid=d19150ccfb898fdde46b339bdd438b09
Puppet Slam Network. Awesome, Inc.,
3 Aug. 2012. Web. 31 Oct. 2013. <http://puppetslam.blogspot.com/2012/08/history-of-puppet-slam-network.html>.
Puppet
Underground. N.p., 11 June 2013. Web. 31 Oct. 2013.
<http://puppetunderground.blogspot.com/>.
As a treat for having read this far along . . .
today's puppet song!
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