Preetzer Papiertheatertreffen No. 14
aus: British Puppet & Model Theatre Guild News Letter
No. 480, October 2001
I asked Laurie Webb to give us a report on Preetz 14th
Sylvia, Editor
As the great grandson of W.G. Webb and grandson of H.J. Webb I came along to get the flavour of the Toy Theatre world preparatory to writing up the Webb Family History. My wife, Eileen, and I travelled all day Friday by two trains, tube, plane and two buses to get to the Pestalozzi school at Preetz in time for the first evening performance and arrived late, but were relieved to find that the Friday evening shows had been cancelled, in line with the German government's decision to cancel all public entertainment that day in sympathy with the New York victims; but all was not lost, because they had been rescheduled during the following two days.
And, in fact, the international depression and the local drizzle did nothing to dampen the spirits of performers and audience alike, for Dirk Reimers with his band of dedicated helpers in true Aschenputtel style waved his magic wand and the ashen gloom outside and the empty school inside were transformed into a palace of delight: the desks became balcony seats at the sides and back that under the tutelage of Peter Peasgood we babes-in-the-wood soon learned to grab well before the performances started; the teachers' desks became stands for the performers' portable stages; the lights were put out and the classrooms were metamorphosed into enchanted palaces, as Hans Andersen and Grimm Goethe and the Arabian Nights wove their age old magic spell on young and old alike.
We were amazed at the variety of performance from the most traditional to the most modern. The two Swedish ladies from the Gripes Modellteatenmuseum used the most exquisitely designed and coloured traditional Danish sets to present Aladdin but told the story from in front of the stage in modern dramatic style and even used a second tiny toy theatre at the side to illustrate the magic lamp and its genie. Altogether this was lively storytelling of genius. On the other hand the Swedish (Danish) Kungsbacka Mini Teater's stage completely obscured the two performers leaving only the lit stage with bright modern sets for the Bremer Musicians but held up the storytelling with long pauses between scenes. The Danish Svalegangens Dukketeater’s corner stage was also all-encompassing and the pace again halting but the Princess With Dirty Knees sets were beautiful. The other Danish company's retelling of Adam & Eve used black and white gloved hands to effect but the storytelling itself and presentation was rather solemn and slow.
Apparently Ap Vissers's Dutch showing of Gretchen was unexpectedly more revealing and controversially daring, or so I overheard. The other Dutch show I saw was Vischmarkt Papieren Theater’s Faust opera. This was a leap into the future with a musical score composed on two computer programs. Some good stage work was unfortunately spoilt for me by the frozen operatic style holds, the main emphasis being the music rather than the drama.
Unfortunately, because of the reprogramming, the only one of the six German productions I saw was Papiertheater Polidor’s Aschenputtel, which displayed good speech and dramatic movement. I leave till last the British and French performers (unfortunately, Sweeny Todd was marooned in the USA along with Gigi Sandberg). These I feel were quite the best, because although using and developing the sametraditional toy theatre techniques as the rest they had their emphasis firmly placed on drama rather than on presentation. They did not rely on a patient, converted, captive audience but went out to win them. The movement flowed without hesitation, and the adlibbing of Peter Baldwin and Joe Gladwin was a joy, with nothing allowed to holdup the action. I feel they were able to do this so deftly because they knew the dialogue by heart and thus were in full control . Their range of voices and accents was wonderful and the waves of applause at the end and laughter in the middle showed the audience's appreciation of true professionals at work.
Peter used traditional sets and characters for his production of The Waterman by Dibdin, whilst Joe dazzled us with beautiful bright acrylic scenes and characters for his novel and witty retelling of Beauty & the Beast. Robert Poulter’s Part 3 of his Henry Irving presentation of the Faust Fantasy was a cornucopia of scene and character changes whose physicality defied belief. His final applause was prolonged in admiration for his imagination and stage technique.
These performances were winning in their intensity but even more so was the over-the-top tour de force performance of a Jacques Prevert piece by Eric Poirier / Le théâtre de L'Egregoire, delivered in French and English at breakneck speed. The modernity of his sets and characters was as far removed as possible from the Danish unchanging tradition, but I felt that along with those of Joe Giadwin and Robert Poulter his was the toy theatre for the 21st Century.
After the Lord Mayor’s Show comes the dustcart, and what better finish for those still left on Sunday evening than the equally outrageous romp with Peter and Sylvia Peasgood, before'a specially invited front row audience of Martine Bliese and her kitchen helpers who had served us all right royally with food and drink all weekend. They appreciated Peter's vulgar cabaret performance as much as the. stage machinery and tricks that stamp out Peter's skill in presentation – a fitting end along with Eric Poirier for all concerned.
I was touched by the love and affection amounting almost to veneration shown towards the Webbs, particularly by the Germans, and encouraged by the interest in and support for my project. The Papierteater Festival was not just an inspiration for me but a rocket launch into a new world. I almost felt like the Prodigal Son who had been away too long and was welcomed with open arms back into the family. Thank you, Preetz.
Laurie Webb
On behalf of all members of the Guild who attended I would like to thank Dirk Reimers of Pollidor Paper Curiosa, Jürgen Schiedeck of The Volkshochschule & Martina Bliese & all her cooking ladies for the great hospitality given to us.
Sylvia, Editor
xxx