This summer we are creating a unique experience for families titled “Here Be Dragons!” For this new adventure, we are drawing inspiration from those unchartered areas of maps where beasts and serpents may dwell.
Ever tangled with a five-headed Hottle-Spottle with a toothache? Or soothed a silver-tongued slimp-slatherer with a drooling problem? Meet the secretive ‘Monster Menders’ and help them to conjure a story to becalm a bewildered beastie.
We will let you know the full details of the tour as it develops.
Our Theatre Adventures Reaching New Heights
Last month we spent time at Greentop Community Circus working out and formulating ideas for a new project. With the help of Claire Crook, circus artist AKA Madam Mango, and Teo Greenstreet from Greentop Circus Centre in Sheffield and Ian Morley at Barnsley Civic Theatre we have been working on a new project idea with the aim to produce a circus production suitable for families which will premiere in 2020. Next will be the task of teasing out the story from our initial ideas and seeking out the funds to realise this shared creative adventure.
When we compose our music for our productions, the process starts around our kitchen table. Not highly technical I know, but all we need is a space to be creative and the kitchen table seems to work well enough for the germination of ideas. Our musical friends come together and we give ourselves a day to do most of the groundwork for the songwriting. This has to be one of my favourite days on our calendar.
Playing with Ideas
Within the story, we will look for the scenes that would benefit from a song or music. Often a song can take you on a journey, explain more of the storyline and convey emotion in a different way than just dialogue. Once we have figured that out and talked about what the song needs to do within that scene we will start playing with ideas. I see it as a bit like writing poetry, looking for rhyming words and finding flow within music and the words on the page. Sometimes a melody will come first and the words are written to fit the tune. Other times words just tumble out and a rhythm is then found to accompany the words.
It’s about listening to one another. Responding to the moment and not being afraid of putting an idea forward for it to be used or rejected. Some songs I find spine-tingling straight from the off. That excites me, wondering how it will feel when it’s sung out into an auditorium of people.
Some songs compose themselves quicker than others while some songs need more time to develop. This is after all only the beginning of the process. Matt Vale, our musical Director will then develop the musical score into something even more magical. In rehearsals, the actors put their own creativity into the songs so it then transforms into very much a shared collaborative process.
The music making process couldn’t happen without the creative input of Matt Vale, Rob Vale, James Swinburn and Bob Rushton and to them, I feel indebted.
Where do we start in puppet making? In our process, it starts with the story. Everything starts with a story! Once we have that we start to imagine what, where and when the puppet(s) may add to the visual storytelling. Can we add a puppet to help tell a section of the story? Take us on an otherwise impossible journey? Fly through the air, fight a deep sea monster or fall from an enchanted tower.
Types of Puppets We Use
Once those questions have been answered, then we have to decide what style of puppet we need. We tend to enjoy the use of shadow puppetry, tabletop puppetry and object manipulation.
Shadow puppets are just as it suggests, puppets that block light casting a shadow onto a screen or wall. We sometimes add colour and use 3D landscapes to give depth to a shadow sequence. Tabletop puppets are handheld. They need a platform to be seen by the audience, hence the name. Object manipulation is just that, using the same techniques as we use with a table top puppet but using found objects. A suitcase becomes a mouth of a crocodile or a screwed up sheet of paper an old grannies face.
Designing When Puppet Making
Sketches are drawn, ideas are gathered and once we have the feel for the puppet we make further drawings before we start to construct it.
From these sketches, we develop the puppet into mock-up made of screwed up brown paper and cardboard. If you ever want to try this always add eyes (we have a drawer full of ping pong balls) as it makes everything come alive. This quick 3D version gives us a greater understanding of size and movability.
Next Stages of Puppet Making
In this production, we have come to the conclusion that we need more than one puppet for the same character. This is because the puppet needs to do different things in different scenes.
We use clay to sculpt a version of our final idea from all the sketches we have made.
From this, we create a pattern. The clay version is covered in cling film and then masking tape. When its all covered, we cut it off and make a flat pattern. The finished pieces work in the same way as a dress makers pattern. Using an Over Head Projector we can scale up the pattern to any size.
The pattern is then cut from closed cell foam, it is just like camping mats, only more robust. All the pieces are glued together and the form can come together quickly.
Any fiddly bits are sculpted from larger blocks of foam and then we piece it all together. We work out the jointing system for the legs and head and figure out the mechanism needed to make any moving parts. It always takes longer than we think and is a challenge to make it move right but when it’s finished it is lightweight, strong and will hopefully stand up to the physical use within the run of the production.
Last Steps in Puppet Making
Once we are happy with the overall look and construction the last job is to paint it. Various sealants, primers and paints are used to create the finished puppet. Often perceptions of how it will be painted changes as the puppet forms and its character emerges. But working the way we do means we have the flexibility to make changes all the time. Many mistakes are made along the way, but its all about working together and solving the challenges that arise when puppet making.
Designing this puppet has been fun, but it has been a difficult process. Problem-solving has rated highly on this project. Mark has been the real brains behind all the working out and I’ve taken the lead on the fabrication and painting element of this puppet making process. Our budgets are never grand and we are always thinking of ways to make things cheaper. We reuse as much material as we can and always look at what we have in stock before buying any materials.
Time is another great factor. It’s a longer process than you might imagine. Many of our puppets are priceless due to the simple fact of the number of hours it has taken to produce a puppet which may only be onstage for a few minutes. When the puppets are finished you can always see room for improvement and what you would do differently next time. But that’s the great thing about puppet making. You are always learning.
The Babbling Vagabonds design process starts with the story we want to tell and a big sketchbook. We talk about the story and the scenes within it, the characters and the locations. Ideas are important at this stage and we try not to limit our creativity. It’s very much a collaborative process between the three of us. We are not afraid of being wrong when we voice ideas and to be honest I think the three of us have a very special relationship. We don’t censor our creativity, anything is up for discussion.
Pinterest is a good source of inspiration for us and we have a shared board for the story. We look at characters types, environments, costume and Pin anything we think is relevant to our story.
A storyboard of the essential action is drafted. We find creative ways in which to make the locations and where scenes can take place. There is usually only four actors in our Christmas show and whatever is designed has to take that into account.
Making the Model – The World of the Story
This will be our 6th production at The Guildhall Theatre in Derby, we know space well and how to get the best from it. We don’t have to worry about touring the production and making the set fit in different venues, this means we can design a set that is bespoke to the venue. We have a scale model of the theatre and its within this miniature space that we start to realise the ideas from our sketchbooks.
Making the model is all about playing. It is about seeing design ideas in a three-dimensional form and within this part of the process that you can see if an idea is going to work. We never see things as a problem, always as a challenge, and through design we find solutions. The model helps to see the theatre space as a whole and its often at this stage where you start to understand how certain scenes within the story will play out.
The model box changes all the time as we search for the ultimate design. Pieces are thrown away to make way for more exciting ideas and solutions. It is a vital part of the design process and an amazing way of sharing our vision. Colour becomes an integral element of the modelling stage and brings together all the elements of the design. The colour palette really helps when we venture into the next stage of building the set. Working as we do means we are flexible and have the ability to adapt throughout the whole process as things may change…again, and again and again.
So now we are starting to develop the story for our next family Christmas show, The Dinosaur who came for Christmas. As a company we devise our shows – which means that we don’t start with a script – we begin with an idea, actually, nowadays we begin with a title. So where do we start in writing a story? We have a ‘process’ for creating our work. This has evolved as we have over the past eighteen years and although I don’t think we have ‘rules’ as to how we do it, we have some guidelines.
Firstly – What’s it about?
Well, I find lots of the conversations we have at this stage start with me saying:
“At the moment… it’s about this kid who finds a dinosaur egg!”
There’s not too much in that sentence to commit ourselves to something that we might get rid of at a later stage. Maybe there’s just enough to trigger a sense of excitement and anticipation.
We’ve learnt a few things along the way particularly about story types. We start to chat about the type of story we think this might be. Is it a quest story? A transformation story? Journey and return? It’s nothing too detailed, we just let ideas play in our heads for a while. Hang about in our imaginations, think through a few ‘what ifs’ and ‘how about’. I tend to go for long walks on my own, that helps my process. From someone finding a dinosaur egg, and it hatching… well, what could happen? What would be fun to see? What trouble would that bring about? Where is that going to take the characters? ‘what if this happened?’
Let’s start at the beginning…or at the end…or in the middle!
Sometimes we think about ‘the end’, or a significant moment that might happen ten minutes into the story. It can be really fun to think, how could that happen?
We can plot out several storylines, and try those out. What is interesting to us might not be that interesting to a four-year-old, or a seventy-year-old.
We watch films, read books, look at pictures and paintings, listen to music. Adding ingredients to our collective stew. Whether they will end up in the final show, we don’t know yet but they might trigger something somewhere.
Eventually, we will arrive at a plot. Nine or ten chapter headings. These are the things that have to happen for the story to work. We call this our ‘Essences’. These are the things that have to happen for the story to progress.
Then we will storyboard ideas. Like a film. Sketch out ideas – how they might look onstage. Sometimes we will bring some actors in to play with rough ideas too. All the time shaping the story, defining characters and events. Adding the ‘groovy bits’. The pieces of the story that adds to the essences, bring the fun, the danger, the excitement.
All this will take place over the first few months of the year. We will share our ideas with the producers, they will pitch in ideas. Nobody ‘owns’ the story – we are all onboard adding suggestions to the journey.
It’s really fun. It helps create a very organic show, that grows and twists and turns with the additions brought by the collaborators.