From Stage to Page

 

 

 

This short film was made as the Introduction to the Design for Today book launch of Simon Armitage’s Hansel & Gretel: a Nightmare in Eight Scenes at the splendid Artworkers’ Guild in Bloomsbury on the evening of May 22nd, 2019. The film illustrates the journey of the project from stage production to published edition of the poem that was its libretto.

PastedGraphic-2 (15).jpg

Live music for the launch event was provided by the splendid Alex Barrow on the accordion. There was a pop-up exhibition assembled by Joe and me of the mid-century Russian illustrated books, tinplate clockwork birds, model theatres and folk-art-inspired toys that had influenced the illustrations and design of the book. The highlight of the evening was Simon Armitage’s reading of his entire poem, proving yet again that he’s a mesmerising presence when presenting his work. It was a ticketed event that quickly sold out, and was a resounding success.

IMG_7684.jpg

Above: the Russian clockwork ‘singing’ bird from the stage production, meets her illustrated counterpart in the finished book.

Below: the transition from stage to page.

IMG_4814

PastedGraphic-2 (16).jpg

 Hansel & Gretel: a Nightmare in Eight Scenes by Simon Armitage is published by Design for Today, and copies may be purchased

HERE

 

Clive1 (3).jpg

Acknowledgements

My regular collaborator, Pete Telfer, worked with me on all the film and animation footage seen in last year’s stage production of Hansel & Gretel: a Nightmare in Eight Scenes. The clips in the short film to promote the book are courtesy of his Culture Colony archive, and he was cameraman on the new animation that makes up the last third of the film.

IMG_4882.jpg

I couldn’t have made the stage production of Hansel & Gretel without Pete. He’s the facilitator who gives me the freedom to experiment with film and animation, while keeping a gentle eye on things to stop me from making a complete and utter hash of the job.

IMG_7546

My thanks to Simon Armitage, who wrote the words that became the libretto to the stage production. Thereafter he suggested we make a dedicated illustrated edition of the poem, and then gave me the freedom to figure out the best way to do it.

Clive3 (1).jpg

Working closely with Simon, first at Faber and then at Design for Today, on two texts so close to my heart, has been the most wonderful experience. I wish I could find better words to express what it’s meant to me, but I hope he knows.

Joe Pearson at Design for Today unhesitatingly agreed to work with Simon and me. His deep knowledge of twentieth century book design and his enthusiasm and passion for the project, saw it through the many stages to the perfect conclusion. He was unstoppable, even in the face of the 2018 New Year’s Eve fire that consumed the Design for Today warehouse and destroyed his entire stock of books. The man is a giant!

My thanks to Laurence Beck, our brilliant designer. Between Joe and Laurence, nothing was overlooked. I have never seen any book go through so many stages to bring it to perfection. No tweak or adjustment I requested was too much trouble. They were inspiring. Meticulous. Tireless.

PastedGraphic-14 (3).jpg

Print-maker and toy theatre seller, Benjamin Pollock has been an inspiration throughout my life, and my work over the past few years with Louise Heard at Benjamin Pollock’s Toyshop underlies much of what appeared in both the stage production and the book. My thanks to Louise and her team for their unflagging enthusiasm and support for what I make. Louise kindly gave permission for an image of the Hansel & Gretel Toy Theatre I’d designed for Benjamin Pollock’s Toyshop, to be used in the stage production, and further permission to adapt the Pollock’s H & G Toy Theatre for the ‘Intermission’ page in the book.

52348504_10157080294578436_4550672834006876160_n

Before Hansel & Gretel Dan Bugg and I had a three year collaboration making the fourteen-print Penfold Press Sir Gawain and the Green Knight series that was used in the 2018 Faber & Faber illustrated edition of Simon Armitage’s translation of the poem. It was a given we wanted to work together again in some way on  Hansel & Gretel, so Joe Pearson commissioned Dan to produce the two ‘Lebkuchen’ prints that accompany the ‘special edition’ of the book. Dan and I also produced the Penfold Press ‘Gingerbread House’ enamel-pin that celebrates the book’s publication.

Penfold Press Horse (1).jpg

60553503_353745148827292_2780006054367330304_n (1).jpg

Special thanks to my trusty band of collaborators on last year’s stage production. Puppet-maker Jan Zalud far exceeded my hopes for what Hansel and Gretel might be, and Oonagh Creighton-Griffiths gave the children the tenderest backstories encoded into her beautifully detailed costumes for them.

2018_CF_Music_PAC_Hansel_Gretel-244K2A8036 (1).jpg

Peter Lloyd created magnificently detailed shadow-puppets that were a joy to animate.

ORG__DSC7027 (1)

 

IMG_4380

Phil Cooper was associate designer and my second-in-command in terms of the way the production looked.

IMG_4808.jpg

I completely trust his eyes and his artistry. He danced effortlessly between his many tasks, creating the ‘building-block’ models seen onstage, painting the filmed backdrops (see above), and designing and ‘baking’ the mad, wonky, witchy ‘Lebkuchen’ biscuits that we later animated in a ‘tribute’ to Hollywood choreographer, Busby Berkeley!

IMG_4304.jpg

It was Phil’s bone-white ‘Witch House’, with its incinerator-like chimney, that visually defined the ‘toy building-blocks’ aesthetic I wanted for the stage production, and thereafter his Lebkuchen ‘Gingerbread’ version that I carried forward into my illustrations for the book.

Below: production designer Phil Cooper, puppet costume supervisor Oonagh Creighton-Griffiths, and lead puppeteer for the audition day, Diane Ford.

IMG_2443 (2).jpg

 

Image-1 (2)

IMG_5546 (1).jpg

As if all that weren’t enough, Phil also assisted me with the animation sequences.

I am indebted to artist/embroideress Chloe Redfern, who later took Phil’s ‘Lebkuchen’ House, and re-booted it into something beautiful and transformative for the conclusion of the book.

IMG_6075 (1).jpg

Above, Chloe’s embroidered Lebkuchen Witch House, and below, my translation of it to an illustration.

PastedGraphic-1 (21)

I’m particularly indebted to Jonathan Street of the Moth Factory, Bristol, who kept me grounded and focussed during an insanely difficult three-day marathon of film editing. His thoughtful work on Pete Telfer’s gloriously atmospheric ‘Psycho Witch Doll’s House’ footage, was a triumph. Jon was vision-mixer for the tour, and was cameraman of the live footage streamed to a projection screen above the performers.

IMG_4881 (2).jpg

My warmest thanks to puppeteers Diana Ford and Lizzie Wort. They were not only massively contributive creative geniuses on the production, following me fearlessly into sometimes choppy waters, but they are also damned fine people to be around. The three of us work hard but laugh a lot! In the photographs below you see them at the Cheltenham Music Festival for the May 2018 premiere of Hansel & Gretel: a Nightmare in Eight Scenes, and then at the May 2019 London launch of the Design for Today illustrated edition of the book. They topped and tailed the stage-production-to-book journey, and I couldn’t have had better company on the adventure

Group4 (1).jpg

 

60782307_2590870120924423_4028440819819085824_n.jpg

Jan, Oonagh, Peter, Phil, Jonathan, Diana, Lizzie and later Chloe, whether they knew it or not, helped light the path for me from stage production to book. Their visual creativity was always present while I worked alone in my studio conjuring images out of Simon’s words. I’m the book’s named illustrator, but their influences are scattered like fireflies throughout its pages.

My love and gratitude in equal measure to my manager in all theatre matters, Susan James. We’ve known each other since we were teenagers, and I count myself fortunate to have had her wisdom and patience to guide and steady me. Hers are the eyes in the back of my head. She’s fearless, riding shotgun and being wing-man, seeing the bigger picture and the smallest details, talking me down whenever the frustrations of getting a production to the finishing-line catapult me into stratospheres of frustration. I doff my cap and bend my knee to her. She is ‘The Guv’nor’!

And finally, my love and thanks to Peter Wakelin, for his unstinting support throughout the long and occasionally rocky Hansel & Gretel journey, and to my friends James and Sarah Joseph. (They know why.)

 

IMG_6572 (1).jpg

Hansel & Gretel: the film of the production

52348504_10157080294578436_4550672834006876160_n

For all those who missed the tour of Hansel & Gretel: a nightmare in eight scenes

CLICK HERE

to see the production, recorded at the London premiere in the Milton Court Concert Hall, Barbican, last October.

The film is by the extraordinary Pete Telfer at Culture Colony. Pete had been cameraman and editor on an animated book-trailer we’d made as a promotion for the original Hansel & Gretel picture-book published by Random Spectacular, and then in 2018 joined the Goldfield Production team to work with me on the filmed and animated footage to be projected onstage during the performances.

Pete followed all stages of the pre-production, chronicling the creative processes and interviewing the team in the lead up to the premiere at last year’s Cheltenham Festival of Music. This documentation was made as a part of his ongoing and ground-breaking initiative at Culture Colony to record significant cultural events with Welsh artists at the heart of them. Without his generosity and tireless effort, there would have been no comprehensive record of the making of ‘Hansel & Gretel’, and all of us associated with it, production company, production staff and performers, owe him a huge debt of gratitude for his outstanding work. Later, Goldfield found a modest budget to underpin Pete’s filming of the Barbican performances, and the film has been edited together from that material.

In 2011 it was Pete Telfer, together with my then partner – and now husband, Peter Wakelin – who encouraged me to diversify my practice as an artist by making some animation tests with my studio maquettes, and my rather clumsy efforts were edited by Pete into a haunting little film with a spoken text by the American poet Marly Youmans. In 2013 he was animation cameraman on ‘The Mare’s Tale’, composed by Mark Bowden to a text by Damian Walford Davies, and premiered in a single, fully-staged production performed by Mid Wales Music Theatre.

When Kate Romano asked me to work with her to create a new Hansel & Gretel for her company Goldfield Productions, Pete Telfer came to the project with me, together with artists Peter Lloyd (papercut puppets), Jan Zalud (puppet-maker), Philip Cooper (scenic design, models and animation assistant), Jonathan Street (animation editor and onstage cameraman), Di Ford (puppeteer) and Oon Cg, (puppet wardrobe). I approached Simon Armitage, who I’d been in conversations with since he’d invited me to contribute illustrations to the Faber & Faber revision of his translation of Sir Gawain & the Green Knight, and he came to meet Kate Romano and me to discuss whether he’d be interested in producing a libretto for music yet to be written by composer Matthew Kaner. Simon agreed, and we were up and away.

There were others who joined the team as the work progressed, but these were the collaborators who were in place from the beginning.

 

5491

‘Not a sugary dream, but a nightmare in eight scenes: make no bones about poet Simon Armitage’s contemporary retelling of the tale most familiar in the Brothers Grimm version. Hansel and Gretel’s plight becomes that of child refugees, whose parents’ agonising decision is to abandon their offspring to give them their only chance of surviving war. Armitage took his cue from the darkly imaginative illustrations by artist Clive Hicks-Jenkins, who has now translated those original visions into a puppet show with new music by Matthew Kaner. In this premiere performance at the Chelteneham Festival staged by Goldfield Productions, what appeared at first to be a slight, small-scale affair in the end resonated altogether more deeply.

Kaner’s quintet of players – strings, wind and toy pianos – were arranged on either side of a screen whose animated shadow play featured first the parents and then the ravenous craw of the archaeopteryx-like witch. On the central trestle table were Hansel and Gretel, wooden puppets barely a foot high that were manipulated by Diana Ford and Lizzie Wort. It was the intimacy of tiny gestures offering expressive detail, in turn mirroring Kaner’s musical mood, that spoke volumes. Armitage’s words are the constantly shining white pebbles guiding the piece; his final verbal riff on light and dark will be even better savoured on the published page. Narrator Adey Grummet – twice bursting into sung lines – emphasised the mix of humour and satire with the moments of dystopian horror, making this an all too timely reminder of some children’s living, waking, starving nightmare. (Rian Evans, full review in The Guardian)

 

Pinocchio’s Progeny

IMG_4681.jpg

The past twelvemonth has been a time of far too many losses, with loved ones of long-standing fading and falling away. While it’s the time in my life when such things must be expected, 2018 has nevertheless been particularly brutal, and I’ve hated witnessing the cull in my circle.

33674515_10155398825490779_966143298278260736_n.jpg

Odd therefore that these two little creatures are playing so much on my mind. Perhaps it’s because of the strange alchemy of puppetry that wood, fashioned by a master and in the hands of the most incredible interpreters, can so astonishingly conjure animate life, tugging at our heartstrings and becoming so plausibly, heartrendingly real, that when I saw them being packed away by our producer at the end of the tour, with the hollow sense that I would not see them or hold them again (don’t ask), they somehow became the focus of all the losses of the year.

36764782_1736625219747408_5112928162367406080_n.jpg

I miss them so much, and I wonder how such a thing can be. I suppose it’s because they are, after all, Pinocchio’s progeny, wood transformed into flesh and bone, and sap into blood. In order to believe in them, we make the puppets real, and I, who was one of their creators, find myself grieving over their absence from my life, more than I am comfortable with. That is both the miracle of making life out of nothing, and the curse.

 

33707854_10156421869838436_3207595693933854720_n

Above: poet/librettist Simon Armitage, meets Gretel for the first time.

2018_CF_Music_PAC_Hansel_Gretel-54K2A7842

My heartfelt thanks to Jan Zalud (puppet-maker), Di Ford and Lizzie Wort (puppeteers) and Oonagh Creighton-Griffiths (puppet costumier), who shared in equal parts with me the creation of the puppets of Hansel and Gretel.

Hansel & Gretel at Barbican

 

After a beautifully projected and nuanced performance of Hansel & Gretel at the Jack Lyons Concert Hall in York last week, the company move on to the exciting event of the London Premiere at Barbican tomorrow evening. (October12th)

The Milton Court Concert Hall, Barbican, is the largest of the tour venues, and it’s there that the performance is to be recorded by BBC Radio 3 for later broadcast. This new version of Hansel & Gretel, with a libretto by Simon Armitage and composed by Matthew Kaner, has been two years in the planning and making, and tomorrow many of the creatives who brought it to life will be present in the audience to celebrate the achievement. Congratulations to all, but particularly to Producer Kate Romano, who under the umbrella of her Goldfield Productions made it all happen.

IMG_4762 (1)

Above: Lizzie Wort and Di Ford, our incomparable puppeteers on the production. The puppet maker was Jan Zalud with puppet wardrobe created by Oonagh Creighton Griffiths.

 

The Serpent’s Bite: a natural history of the witch. Part 2

DSC07219 (1).jpg

 

The picturebook of Hansel & Gretel was only partway finished when Louise Heard of Benjamin Pollock’s Toyshop and I began to have discussions about the adaptation of it into a toy theatre kit. However, when Louise saw the full extent of the graphic horrors on display in my illustrations for the fairytale, she thought them too dark for the Pollock’s style, and so I went off to try and figure how to adapt the imagery for her. There were no doubts that my original witch with her wormy nasal cavity, would have to to be toned down!

As a preparation to the job ahead, I invented a ‘back-story’ for the toy theatre design. In the picturebook the children, having survived their run-in with the carnivorous and predatory witch, return home to discover that in their absence their father has murdered their mother with an axe! (The book ends with the grisly truth revealed in an image of the ghost of the mother turning up with the father’s axe still embedded in her spine!)

The prequel to the toy theatre design is that the children have run off to the big city to fall in with a disreputable troupe of actors. Persuaded by an unscrupulous producer to sign over to him the stage, film and publishing rights to their story, Hansel and Gretel end up in ‘Victorian’ costumes playing themselves in a pantomime version of their adventures sweetened and given a good dusting of showbiz glitter! Their feckless father and cruel mother are reshaped by the script as being poor though caring, while the role of the witch is given to a ‘character’ actor better known for playing demon kings and therefore well experienced in eliciting boos and hisses from the crowd!

DSC09272 (1)

The re-shaping of the picturebook witch for the the cut-out-and-assemble toy theatre, was really just a matter of simplification, dressing her in red for maximum impact and giving her a striped cat. However the pointed artificial nose of her picturebook predecessor remained, though as a part of the actor’s ‘make-up’ rather than the prosthetic that disguised something unspeakable beneath! The Pollock’s witch neither flies nor grows fangs, but she rants and raves and stomps about to great effect, and just as in the original Grimm Brothers’ version of the story, imprisons the children and prepares to cook them, though of course it’s her who ends up in the oven!

DSC09062.jpg

 

DSC09178

Pollocks_H&G scans@A4_02 (2).jpg

 

19030587_1449361821795520_5059693892201099472_n (1)

The Benjamin Pollock’s Hansel & Gretel Toy Theatre Kit, may be purchased

HERE

There is also a delightful Benjamin Pollock’s Toyshop pop-up Hansel & Gretel card available, based on the toy theatre design and available

HERE

BPP0001_1

By kind permission of  Benjamin Pollock’s Toyshop, The Hansel & Gretel Toy Theatre makes a brief guest appearance in the current music/theatre touring production of Hansel & Gretel, with words by Simon Armitage and music by Matthew Kaner played by the Goldfield Ensemble. I supervised the designs, working closely with Phil Cooper (models and scenic painting), Peter Lloyd (shadow puppets) and Jan Zalud (puppet maker), and I directed the production.

Animating the Unspeakable

The Witch that appeared in the Random Spectacular published picture book of Hansel & Gretel (see above), had already been through a complex line of development from first ideas to finished illustrations by the time I came to re-think her for the stage production.

On the stage the children were to be presented as tabletop puppets made by the wonderful artist/puppet-maker Jan Zalud, based on designs that I’d produced as a guide and that the two of us continued to discuss in great detail throughout his process of making. The puppets’ wardrobes were supervised by Oonagh Creighton-Griffiths.

IMG_3878 (1)

 

IMG_7817

But the Witch was always going to be conjured as a shadow screen presence, and in the end was produced as several articulated papercut puppets that were stop-motion operated on a light-box in the manner of the silhouette films made by the great pioneer animator, Lotte Reiniger.

My friend, artist Peter Lloyd, created the papercut puppets for the production. He started with basic designs I provided, and then freely elaborated on them. Peter added the extraordinary detail of the many eyes worked into the surface texture of the Witch’s arms and hands, borrowing the idea from the garment stitched with eyes that the character had worn in my original picturebook. I knew from the moment I saw the papercuts that he’d gifted me with an amazing reimagining of the Witch from the book. A villain needs to be visually fascinating, whether an evil genius or a predatory alien, and the Witch in Hansel & Gretel is no exception. Peter Lloyd’s witchy hands – which as I recall were the first papercuts he made of the character – have a filigree orientalist quality that any animator would be happy to work with. Every finger-joint was articulated, so that when I came to animate the hands (assisted by another artist/collaborator on the project, Phil Cooper), I had the best possible range of movement.

28908310_10160010565060462_1786007848_n (1)

The Witch papercuts were filmed by Pete Telfer of Culture Colony as black silhouettes on a white screen, but were reversed to negative in the editing process, to create a more ghostly effect.

IMG_4380

It’s a fact that I simply couldn’t have produced silhouette puppets as elaborate as Peter’s, as his paper-cutting skills are magnificent and far exceed my own. He created three versions of the Witch: large papercuts of her head and hands for close-up shots, and full-length cloaked and uncloaked representations of her, the latter revealing her full, hybrid crab/scorpion appearance. (Her lashing, scorpion tail was restless in the animations, a barometer – rather like a cat’s tail – of her temper.)

30825346_10160170988160462_1594570988_o.jpg

Above and below: two of Peter Lloyd’s silhouettes for the Witch on his cutting board.

30945320_10160183189755462_1303579259_o

There were some minor adjustments to the puppets made during the filming. On the last day of shooting I cannibalised parts from two of them to make a fourth version, in order to present the character in her death throes. In addition, Phil Cooper and I added some eyelids to the large head of the Witch, to enliven her expressions in close up. (In animation, the mechanisms of blinking play a huge part in bringing a character to life.) I adjusted the principal pivot points of the full length puppets, adding transparent, swivelling animation-levers to enlarge their repertoires of movement. That included repositioning the hips and rearranging the legs so as to make the knees reverse-jointed, resulting in a more bird-like gait. (See below.)

IMG_4931.jpg

The loosely-jointed fingers on the full-length puppets proved unwieldy on the animation screen as they kept shifting when I didn’t want them to, no matter how careful I was. So instead I made a virtue of the problem, being sure to keep them moving at all times. Later, in the editing suite with Jon Street at The Moth Factory in Bristol, when we heard Matt Kaner’s music for the scene for the first time, it turned out he’d made unnerving use of plucked strings, and the effect perfectly matched the Witch’s twitching, restless hands, as though her energy couldn’t be stilled. Creepy!

Close collaboration between the participating artists was crucial on the project. From the outset I’d wanted to enrich the visual aesthetic of what I’d already created by way of the Hansel & Gretel picturebook for Random Spectacular and the toy theatre for Benjamin Pollock’s Toyshop, extending my earlier ideas by inviting those whose work I greatly admire to contribute to the stage production. Phil Cooper and I had already collaborated together on the video-trailer for the Random Spectacular picturebook, for which he’d made the set models. Peter Lloyd and Jan Zalud were both familiar with my work and well-prepared for the stage production, even though it departed from much of the material I’d made for the book. I made basic design templates that we all used to stay within the parameters of how the production would look, and they ensured consistency across the board. Everything was discussed at length. It was teamwork from start to finish.

 

 

Supervising Designer and Animator – Clive Hicks-Jenkins

Shadow Puppets – Peter Lloyd

Models, Background Paintings and Assistant Animator – Philip Cooper

Tabletop Puppets – Jan Zaud

Puppet Wardrobe by Oonagh Creighton-Griffiths

 

ORG__DSC7027 (1).jpg

Above: photograph courtesy of Philip Cooper

 

Wood Into Flesh and Blood

IMG_3941.jpg

IMG_3886.jpg

In my designs for the tabletop-puppets of Hansel and Gretel, made to guide master puppet-maker Jan Zalud in the complex task of building our wooden actors, I sketched unclothed versions so that the proportions of the characters could be seen.

IMG_3878 (1).jpg

Items of clothing were of the stick-over variety used for old-fashioned paper dolls, offered more by way of a starting point for puppet wardrobe supervisor, Oonagh Creighton-Griffiths.

IMG_3743

IMG_3718.jpg

IMG_3883.jpg

Costuming puppets is a rather hard to define and alchemical skill. It’s the final, transformative stage that comes before entrusting the wooden actors to the puppeteers who will give them life. Flesh and blood performers can take ownership of what’s worn on stage to the point where the warmth and shape of bodies moulds garments so that they stop being ‘costumes’ and become clothes.

IMG_3736

IMG_3876.jpg

But for the inert, wooden actor, the wardrobe supervisor has to take things several stages further in order for the illusion of the character’s history to be present. It requires a forensic approach to detail, because all the clues of subtle ownership and everyday wear and tear have to be crafted into garments worn by actors unable to add any history of their own. Care must be taken so that miniaturisation doesn’t become a distraction. Meticulously crafting a miniature zip, while impressive at a technical level, has the potential to be a distraction from the puppet’s performance. So there needs to be a careful shorthand, paring away extraneous detail while leaving just enough to be convincing. It’s an illusory craft, because it mustn’t draw attention to itself, which is harder than it sounds.

IMG_3935.jpg

Oonagh and I will meet our puppet actors for the first time in London later this month. We’re greatly anticipating the moment. I’ve wanted to collaborate with Jan Zalud for the longest time, but the stars didn’t align for us to do so until this project. Oonagh and I will be able to closely examine Hansel and Gretel and take measurements of them. Her task of compiling photographic references began several weeks ago, but once she can see exactly what she’ll be costuming, the work of bringing wood to life can begin.

 

IMG_1682.jpg

SaveSave