Eating with Lola
I tell my dramaturg and mentor, Ann Powell, that I don't know what I'm doing. Not in a "OMG, I am so screwed for the love of God, help me!" kind of way. More of a "I am so very honoured to finally meet you. Show me, guide me, teach me!" kind of way.
I love puppetry. I have for a long time. And there are a lot of things about puppetry that come naturally to me. I happily admit, though, to knowing little about the technique of it. Writing for puppetry is another challenge. Add the composition of music and we've got a potential nightmare. One would think I would shy away from writing a one-woman puppet show. One would. But not this one playwright. Eating with Lola is well underway.
Enter Ann. The Co-Artistic Director of Puppetmongers, I have admired Ann's work since I saw The Pirate Widow Cheng. Now I am so very grateful for the chance to be mentored under her while working on Eating with Lola.
Here is a list of things that have made me squeal with delight at the possibilities with my play:
*I can create the illusion of a "close-up" by creating larger puppets. (insert turning on of light bulb here)
*I will have to cut most of the dialogue since puppets are better at showing things rather than talking about things.
*The puppeteer has to look at the puppet. Once this is done, the puppeteer won't even exist to the audience.
*Lola will have to be reborn.
On the last point, let me explain. The puppet of Lola (grandmother in Filipino) is a basic muppet toy I found made to look like a Lola. Ann challenges me to see of I can work with a puppet without a mouth.
When she says that, my world is turned upside down. I am loving this process.