If there was ever a puppet for the pandemic, Bill’s is it. Bill appears to be a middle-aged bachelor who prepares for his own birthday party – and the guests don’t arrive. Disappointed, but fueled by some alcoholic anger, Bill proceeds to “people” his own party with a carrot stick friend and a raft of balloon party people. They dance, they drink, they smoke some weed, they get a bit amorous – a fun party. It’s good shtick.
Three Different Types of Puppets in Bill’s 44th
For we “puppet people” the accolades go to the puppeteers for the use of multiple genres within the production. Bill is a “half-body puppet” – like a backpack hanging onto the front torso of Andy Manjuck. Andy provides the legs for Bill, his left arm, and manipulation for the head. Dorothy James provides Bill’s right arm and matches Andy step for step through extensive choreography over all the stage. The intimate partnership among puppeteers manipulating one puppet is always stunning.
Then, another puppet arrives on stage – mini-Bill celebrating his birthdays through the years. This puppet appears to be about 18 inches and is manipulated from the rear with short fixed handles on a small platform. Big Bill interacts delightfully with his mini-self.
Then, another form of Bill appears – this time a very small rod puppet. A Tasmanian Devil. He probably represents Bill’s anger and disappointment because he tears the &*$% out of the set.
The use of balloons is fun and compelling. With just the right amount of helium to keep the balloon at face level and a magic marker to draw whatever face you want for your character, you can populate the stage. The puppeteer’s magical manipulation of the airheads added great charm.
Photo credit: New York Times
Photo credit Richard Termine
Photo credit Richard Termine
I had a bit of trouble locating a good video, but this one gives you a feeling for the puppets and the puppeteers. Scroll down a bit after the page loads.