How do you convince an adult audience to embrace puppetry?

It was Shakespeare that first drew me down an alley in Islington to the Little Angel Theatre (the self-declared home of British puppetry) in 2004. Its collaboration with the RSC on a production of Venus and Adonis for adults was nothing new but was a reve

Suspense London Puppetry Festival
Various venues

As the National Theatre celebrates its 50th birthday, it turns out War Horse has been its most successful production to date, in terms of bums on seats. Handspring’s horse puppets are beautifully constructed from cane and georgette, more like sculptures than real animals, and are manipulated in a way that brings them remarkably to life. Skilful puppetry is a kind of magic.

There’s no doubt that the show has expanded puppetry’s reach. Four million people have seen it worldwide since 2007 and it is currently playing in Birmingham, Berlin and Syracuse, New York, as well as in the West End. Up the road, Anthony Minghella’s celebrated production of Madam Butterfly has been revived at the Coliseum, another show that’s bringing puppets to the masses. Well, the opera-going masses, at least.

In both instances, the puppets represent things notoriously hard to work with – animals and children. Yet despite these significant inroads into the mainstream, puppetry still struggles to be taken seriously in the UK. Even puppeteers usually believe that adult puppetry appeals only to audiences willing to take a risk.

The age-old misconception that they’re just for kids also continues. Like most people in Britain, I find my experience of puppetry came from children’s television, but happily that experience has evolved. It was Shakespeare that first drew me down an alley in Islington to the Little Angel Theatre (the self-declared home of British puppetry) in 2004. Its collaboration with the RSC on a production of Venus and Adonis for adults was nothing new but was a revelation for me. It proved that puppetry could be sophisticated.

Shakespeare brings me down the alley again, this time for the Little Angel’s biennial Suspense London Puppetry Festival. The festival is decisively adults-only and this year’s ten-day offering includes a production of Macbeth.

The text is pre-recorded, limiting the live action to a series of mute images on simple tabletop spaces. At first the relegation of the words to a fixed soundtrack, however well read they are, feels like a heavy loss. But there’s a moment – I’m not sure when, it happens without your knowing it – when you become fully absorbed by the intricate and intimate scenes playing out before you.

The cast is part human, part bird – Macbeth is cockerel-like, Duncan is a swan. All are carefully crafted wood-and-fabric rod puppets, manipulated by three silent puppeteers. The puppets’ movements become more birdlike as they approach death. Macbeth flaps with fear as Birnam Wood comes to Dunsinane.

Puppetry makes sense for a play dealing with matters of fate. This heightened the feeling that Macbeth is operating in a world where there are forces beyond his control. And as is well known, puppets give a good death. There’s barely any blood in this production, but some excellent corpses.

The murderous theme continues over the first weekend of the festival. The Shop of Little Horrors by Pickled Image is a comic horror – think Open All Hours meets The League of Gentlemen. Set in a dusty shop with explosive electrics, it features wonderful, larger-than-life masks and hair-curling eyeballs. Playing up to puppetry’s potential creepiness, the horrible history behind Albert Grimlake’s carved ventriloquist dummies slowly emerges. It’s great fun, made slick by adept lip-syncing.

Boris and Sergey’s Astonishing Freakatorium boasts miniature freaks, grisly killings and forced audience participation. Despite being just 40-centimetres high and lacking facial features, our hosts have strong stage presence. They are stitched from lovely old leather and it takes six puppeteers to give them boisterous life. Amid the silliness, and providing you can see (the action is smallscale and low down), Flabbergast Theatre’s puppetry is well observed and detailed.

Adult audiences in the UK are growing more open to puppetry but it’s still in a precarious place. The festival organisers concede a limiting factor for them is the volume of quality home-grown shows to programme. But this festival bolsters puppetry’s position, not least by serving as an opportunity for companies to showcase their work.

As at any festival, you will find earnest and self-indulgent shows here as well as intelligent ones, but it’s a good chance to sample established and emerging talent alike. And existing on the margins isn’t all bad.

The Suspense London Puppetry Festival runs until 3 November. For more etails visit: suspensefestival.com

Shadow play: the Great Puppet Horn explores climate change in 'Immigrants!'

This article first appeared in the 30 October 2013 issue of the New Statesman, Should you bother to vote?

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Former MP Bob Marshall-Andrews: Why I’m leaving Labour and joining the Lib Dems

A former political ally of Jeremy Corbyn explains why he is leaving Labour after nearly 50 years.

I’m leaving home. It’s a very hard thing to do. All of my natural allegiances have been to Labour, and never had I contemplated leaving the party – not even in the gloomy years, when we were fighting Iraq and the battles over civil liberties. I have always taken the view that it’s far better to stay within it. But it has just gone too far. There has been a total failure to identify the major issues of our age.

The related problems of the environment, globalisation and the migration of impoverished people are almost ignored in favour of the renationalisation of the railways and mantras about the National Health Service. The assertion that Labour could run the NHS better than the Tories may be true, but it is not the battle hymn of a modern republic. It is at best well-meaning, at worst threadbare. I don’t want to spend the rest of my life talking about renationalising the railways while millions of people move across the world because of famine, war and climate change.

The centre left in British politics is in retreat, and the demise of the Labour Party has the grim inevitability of a Shakespearean tragedy. Ironically, history will show that Labour’s fatal flaw lay in its spectacular success.

Labour is, in essence, a party of the 20th century, and in those 100 years it did more to advance the freedom and well-being of working people and the disadvantaged than any other political movement in history. The aspirations of the founding fathers – access to education, health and welfare; equality before the law; collective organisation; universal franchise – have all to a large extent been achieved. The party’s record of racial and religious tolerance has been a beacon in a century of repression. These achievements have been enshrined in the fabric of British society and reproduced across the world.

The success brought deserved, unprecedented power and created political fortresses across the industrial heartlands of Britain. But with power, the party became increasingly moribund and corrupt. The manipulation of the union block vote at party conferences became a national disgrace. The Labour heartlands, particularly Scotland, were treated like rotten boroughs, and were too often represented by union placemen.

Instead of seeking a new radicalism appropriate to the challenges of the age, New Labour sought to ambush the Tories on the management of market capital and to outflank them on law and order: a fool’s errand. It inevitably succumbed to another form of corruption based on hubris and deceit, resulting in attacks on civil liberty, financial disaster and catastrophic war.

The reaction has been to lurch back to the status quo. The extraordinary fall from a massive majority of 179 in 1997 to a political basket case has been blamed on the false dichotomy between Blairism and the old, unionised Labour. Both have contributed to the disaster in equal measure.

I believe desperately in the politics of the 21st century, and Labour is at best paying lip service to it – epitomised in its failure to engage in the Brexit debate, which I was horrified by. The Liberal Democrats are far from perfect, but they have been consistent on Europe, as they were in their opposition to the Iraq War and on civil liberties. They deserve support.

But it’s a serious wrench. I’m leaving friends, and it hurts. Jeremy Corbyn was a political ally of mine on a number of serious issues. We made common cause on Tony Blair’s assaults on civil liberty and the Iraq War, and we went to Gaza together. He has many of the right ideas, but he simply has not moved into addressing the major problems.

To be blunt, I don’t think Corbyn is leadership material, but that is aside from politics. You need skills as a leader, and I don’t think he’s got them, but I was prepared to stick it out to see what happened. It has been a great, gradual disappointment, and Brexit has brought it all to the fore.

Frankly, I was surprised that he announced he was a Remainer, because I know that his natural sympathies have lain with a small cadre within Labour – an old-fashioned cadre that holds that any form of trade bloc among relatively wealthy nations is an abhorrence. It’s not: it’s the way forward. Yet there are people who believe that, and I know he has always been sympathetic to them.

But by signing up and then doing nothing, you sell the pass. Labour was uniquely qualified to confront the deliberate falsehoods trumpeted about the NHS – the absurd claims of massive financial dividends to offset the loss of doctors
and nurses already packing their bags – and it failed. Throughout that campaign, the Labour leadership was invisible, or worse.

At present, there is a huge vacuum on the centre left, represented in substantial part by an angry 48 per cent of the electorate who rejected Brexit and the lies on which it was based. Politics, like nature, abhors a vacuum. There is no sign from Labour that the issue is even to be addressed, let alone actively campaigned on. The Labour leadership has signed up to Brexit and, in doing so, rejected the principles of international co-operation that Europe has fostered for half a century. That is not a place I want to be.

The failure to work with, or even acknowledge, other political parties is doctrinaire lunacy. And it will end very badly, I think. The centre left has an obligation to coalesce, and to renege on that obligation is reneging on responsibility. Not to sit on the same platform as other parties during the Brexit debate is an absurd statement of political purity, which has no place at all in modern politics.

The Liberal Democrats have grasped the political challenges of the 21st century as surely as their predecessors in the Liberal Party failed to comprehend those that faced the world a century ago. For that reason, I will sign up and do my best to lend support in my political dotage. After nearly 50 years as a Labour man, I do so with a heavy heart – but at least with some radical hope for my grandchildren.

Bob Marshall-Andrews was the Labour MP for Medway from 1997 to 2010.

As told to Anoosh Chakelian.

This article first appeared in the 27 April 2017 issue of the New Statesman, Cool Britannia 20 Years On

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