Snapshots from the Road

We’re proud to have completed a tour of D.C. and Arlington, VA with our show Saudade this year, partially supported by a City Arts Project grant from the DC Commission on the Arts and Humanities. Below are some snapshots of the places we performed.

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Lincoln’s Bedroom at President Lincoln’s Cottage, in Washington, DC.

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Performing for an adult ESL class at the Arlington Education and Employment Program (REEP)

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We were part of the On the Move tent at the 2016 Smithsonian Folklife Festival.

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We performed in the beautiful and historic Arts & Industries Building for the Smithsonian Folklife Festival.

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The view from the stage at the Smithsonian Folklife Festival.

ICYMI: Saudade Trailer!

Our March tour of Saudade is halfway done and it’s World Puppet Day! If you haven’t had a chance,  check out this new trailer and a few other blog posts about amazing puppetry and puppeteers from around the world.

An Interview with Gabriela Cespedes from Argentina

A Brief History of Puppets and Social Justice

Recycled Puppets by Ashley Bryan

A Few Puppeteers You May Not Know

 

 

Revisiting Saudade

As part of our preparation for this tour of Saudade (which starts on Friday!) we were able to bring in photographer Liza Harbison to take some shots of the shadow puppets. Here are a few:

 

Five Firsts: Wit’s End Puppets in 2015

It’s been a busy year here at Wit’s End Puppets; a year filled with new work and new friends and collaborators! Here is a list of our top five ‘first’ moments from the year.

IMG_23095. First crankie!
Ever since I saw Katherine Fahey’s amazing crankies, I’ve wanted to tackle constructing one ourselves. It was a thrill to work with Katherine this year on our shadow play Saudade. 

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4. First Fringe show in way too long!
Our very first show using the name Wit’s End Puppets was back in 2010 for the Capital Fringe Festival. We had a wonderful time working with banished? productions on their piece I Thought the Earth Remembered Me for this year’s festival.

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3. First video shoot!
It was a whole new world for us, incorporating puppets into a gothic, lush set for a music video with She Monster Productions.

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2. First City Arts Project grant! 
We are thrilled that DC Commission on the Arts and Humanities decided to award us a grant to tour Saudade around the city in collaboration with the American Immigration Council and GALA Hispanic Theatre. If you would like to help support this tour and send us to even more places, you can donate here!

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1.First International performance!
Traveling to Winnipeg for the Winnipeg International Storytelling Festival was an amazing opportunity. We met so many incredible artists and teachers; people who work every day to help immigrants and refugees in Winnipeg. It was an honor to share our art with them and hear their thoughts and stories.

Here’s to a 2016 that’s just as rewarding and exciting!

Winnipeg Photos

Some photos of our trip to Winnipeg this month for the Winnipeg International Storytelling Festival:

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The entire show of Saudade. Everyone was very impressed by our packing abilities!

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The poster for the festival.

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Genna sorts control rods before a show.

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The puppets (60 in total) laid out ready for a show.

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We performed in the gym at the NEEDS center, a community space for newcomers. Our fantastic sound guy, Hassaan is at the computer.

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Talking with the kids at the NEEDS Center after the show.

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The rivers of Winnipeg are beautiful in the sun.

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Cecilia and Genna at the opening dinner of the festival.

 

So Many Changes

Like many artists, I am rarely satisfied with the first iteration of a project. After the performances of Saudade at the Intersections Festival, we had lots of conversations with audience members and each other about what could be clearer, stronger and more powerful in the piece. From puppet movement to sound, to crankie images, we examined each element of the project to see what could be improved.

Because we are going to the Winnipeg International Storytelling Festival in May, we have a deadline for completing all these fixes and it is getting close! Here are some photos of the work we’ve been doing:

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A new frame! We hope this will make everything a little more visible to the audience.

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Here, the fabric panels are coming together and the crankie is in place.

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We’ve added scenes to the end of the show. Here, Cecilia tries to manipulate three puppets with two hands.

An Interview with Katherine Fahey

Baltimore artist Katherine Fahey designed the puppets and crankie illustrations for SAUDADE. We asked her a few questions about her process and inspiration. Enjoy! 

Katherine's first crankie, made for Wye Oak video, Fish.

Katherine’s first crankie, made for Wye Oak video, Fish.

Cecilia Cackley: When did you start building crankies and what draws you to them as an art form? 

Katherine Fahey: I started making crankies in the beginning of 2011, when I was making a music video for Wye Oak called Fish. My first crankie was made as part of a larger shadow puppet piece. That was when I started to see for the first time that I could perform with my artwork. This was exciting and frightening to me. I have always admired the connection performers have with their audience, but I am a pretty shy person. 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.

CC: Who are some of the artists that inspire you? 

KF: My creative community mostly. 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.

Katherine performing one of her crankies at the opening of her paper cut and shadow puppet exhibit at The Creative Alliance in Baltimore, with Anna Roberts Gevalt and Elizabeth Laprelle.

Katherine performing one of her crankies at the opening of her paper cut and shadow puppet exhibit at The Creative Alliance in Baltimore, with Anna Roberts Gevalt and Elizabeth Laprelle.

CC: What were some of the challenges in designing Saudade? 

KF: I have a lot of experience working with other artists, but have become accustomed to just coming up with a show on my own from start to finish. It was different to have to stop and ask Cecilia what she meant and try to see things through her eyes. We spent a good amount of time editing scenes together so that they could be translatable to shadow puppets and a crankie.

I was eager to cut things out and assemble things, so I had the get used to just drawing and coming up with ideas. I had to wait to see the final product, but then it was exciting to see the pieces finally come to life.
Puppets from SAUDADE on Katherine's sketchbook.

Puppets from SAUDADE on Katherine’s sketchbook.

CC: What was your favorite scene or character to draw and why? 
KF: I enjoyed exploring the aesthetics and folk art of the various cultures and incorporating this into the designs. My favorite puppets are the heads.
Large head puppets from SAUDADE, designed by Katherine.

Large head puppets from SAUDADE, designed by Katherine.

Katherine Fahey (right) and Cecilia Cackley at the opening of SAUDADE in D.C.

Katherine Fahey (right) and Cecilia Cackley at the opening of SAUDADE in D.C.