Life of Pi Showcase Reveals How the Puppets Are Brought to Life
–by Ashley Cox
Last Wednesday press slowly filtered into the Grand Lobby at The Fabulous Fox on a sunny morning for a moderated panel and sneak peak behind the innovate puppetry used in the “Life of Pi” (Running now until October 19). Damon Arnold of Great Day St. Louis moderated the panel that included Jon Hoche, U.S. Associate Puppetry and Movement Director, Betsy Rosen, Assistant Puppetry and Movement Director and one of Richard Parker’s “hearts”, and Taha Mandviwala, lead of the show as the dynamic Pi.
The love and reverence for the message of this show was apparent. Betsy and Jon have been involved in the show for many years, moving up through the puppetry team. The concepts of faith and trust were consistently echoed through the hour-long panel. The puppetry team must trust and have faith in each other to move the large forms without speaking. The “human” actors must have faith and trust that these are real entities that they are performing with. The audience must have faith and trust in the performance and engage in the world. Betsy noted that we as an audience must “meet the puppeteers to make the world come to life.” This concept was called the “4th puppeteer” while the actor and audience does not control the puppet, we are also integral in making it come alive.
A loud roar interrupted the panel, Richard Parker, a nearly life sized Bengal tiger puppet prowled into the lobby. It was difficult to think of him as three people and an intricately carved Plastazote model. I instinctively backed away as he came within inches of me. After retreating back into the shadows of the theatre, three of the puppeteers came out for a brief Q&A: Aaron Haskell, Shiloh Goodwin, and Anna Leigh Gortner.
The eight puppeteers and their understudies were chosen after a “boot camp” of sorts. Dancers, actors, puppeteers, martial artists, and gymnasts worked together to see who would form the best team. Jon noted that the best team is made up of people who have “released their ego” and can communicate intuitively. Aaron is one of the “heads” of Richard Parker. We may think with how our bodies operate, that he is then the leader of the team but Shiloh as the “heart” and Anne Leigh as the “hind” are just as equal. All puppeteers are mic’d and use grunts and chuffs to communicate their needs and next steps. The concept of “Breath” was continuously repeated by the team. Not only are they breathing life into the forms but using breathing as a means to communicate.
The puppeteers rotate through multiple puppets but keep their same place. For instance, Aaron isn’t unable to cram his frame inside “Heart.” The play is physically demanding so only 7 actors are in each play with the 8th resting. All the actors do their own self-care according to their backgrounds with a full-time physical therapist also on the touring staff.
There is also a full time Puppet technician who takes care of animals. Not only considered part of the cast, they are also works of art. Jena Ker takes care of these animals with crating and uncrating at each theatre as well as any needed repairs. Two full sets are rotated through the performances to diminish wear and tear. The only singular puppet is Orange Juice’s baby who only makes a brief appearance on stage.
The panel concluded with everyone telling what the show meant to them or what they had learned from it. Particularly poignant to me was Shiloh’s observation. A moment comes in the play when Richard Parker and Pi have come to mutual understanding of each other, they are under the stars and Pi marvels at the beauty. That moment made Shiloh appreciate the “awe and wonder you can have in the world even during a very trying time.” Many of themes in Life of Pi echo our current world, finding our reason to survive, to connect with our community. Life of Pi runs at the Fox through October 19th.