As previously mentioned (in the blog "I'm not a props artisan...") I get to play with the props department here at ASF now and again (as well as the painters and the electricians once in a blue moon.) This past few weeks or so happens to be one of those times, and I would be remiss if I didn't blog about the fantastic project that we're undertaking... Puppets! This has been one of the funnest, craftiest, and most creative (non-sound) experiences I've had in many a moon - and I am so thankful that I got to be a part of this process. This blog and the next one or two (depending on how windy I get) will detail my adventures and the evolution of the work that I've been privileged to contribute to.

Shakespeare's comedy The Merry Wives of Windsor is the play at hand. If you are familiar with the script, you know that the action centers primarily on the misadventures of Falstaff - who spends the bulk of the play trying to woo two married women into affairs (one, the other, or both) motivated more by financial gain than lust. From the beginning, the two wives are wise to his plans and return his advances with pranks. Never the wiser, Falstaff is eventually led out into the forest, where the ladies with the help of the inhabitants of Windsor, stage one spectacular final trick on their would-be paramour - dressing as sprites and fairies to make him think that he is being set on by beings from the Otherworld. Under the boughs of Herne's Oak Falstaff is called to measure and lots of dancing and drinking of ale takes place with everyone (if not happy) at least content. (Ok... the ale part is my interpretation, but hey... Whats an Elizabethan party without some ale?) For ASF's production this season, those town folk are to be accompanied and assisted by 5 puppets - each with their own sprite-ly personality.

One large "mother puppet" leads the way reveiling four smaller puppets, all manned by our cast. And of course our fairy characters have been named! Pictured here at the are the four small puppets mid process - (starting far left) Gurg, Mimsy, Loki, and Sticky. Mamma puppet (who is on a much larger scale) is Priscilla.

Actress and puppeteer, Jennifer Barnhart, designed our puppet family. With some ingenuity of our props master Charles Kilian and his assistant Shanley Aumiller, these magical friends are coming to life via large scale paper-mache coupled with flat pattern modification, some modeling clay, and some fake floral odds and ends.

So how did this all begin? Balloons. The body work of all of the puppets began their lives as standard or long balloons (the kind used in balloon animals that clowns and party folk twist into dogs, hats, and what have you.) A few (especially those used for Priscilla) A covered and dry balloon cut to make segments is pictured right, with cut sections below.were larger specialty balloons. Layers of newspaper alternated with brown craft paper were applied over the balloons using wood glue (rather than paste or starch) to give the forms thickness and rigidity, so that they could be flat patterned, cut, and re-seamed into other shapes, to be covered with more newspaper and glue to give them a uniform surface area. The triangles in this picture give you a really good idea of how Loki was formed (the puppet who looks like a mini-sun.) Three curved triangles were patterned into pyramids to make each individual flame burst. (Sadly, I didn't think about it, and didn't start taking some process photos until after Loki's patterning was complete.) These pieces were instead used to create the basis for Priscilla's extra huge head. Below are the process photos for taking a large round balloon and a regular balloon and merging them into the light bulb/pear shape that is the basis for the big girl's head.

After a preliminary layer of brown paper-mache, cut sections of baloon are cut, formed, and taped in place. Then news paper-mache is applied over the extension. The end result is a pear. Or a light bulb.

To give you an idea for scale, in the picture on the left, the head is resting in the mouth of an industrial sized shop garbage can. In the picture on the right, she is wedged into a 5 gallon bucket. (There isn't much of her in the bucket, let me tell you what.)

After the basis for the head is finished - then Charles does his amazing cut and paste to create Priscilla's face. Her mouth and eyes are cutaways (think jack o'lantern) and her nose, cheek, and brows are built up with pieces from other balloons to create raised features.

Charles secures the flat patterned pieces with masking tape, which are then covered with more layers of mache and then based with Gesso.

Isn't she awesome?!

:)

That's all for now cats and kittens. In the next installment, I'll show you Priscilla's hands, and the first round of color for our kids.

Until next time... Cheers! ~R