Reviews
Charleston City Paper
May 30, 2001by C. Reilly
Pamella O'Connor is no stranger to the festival. In 1999 she was a puppeteer for Ping Chong's "Kwaidan" in the College of Charleston's Emmett Robinson Theatre while also producing an original work upstairs at Theatre 200. You might remember "Vasalisa: The Russian Cinderella" and its blend of many puppet forms within a single performance. This year O'Connor returns to the festival and the 220 black box with "Rapunzel". And like her puppet theatre it may seem familiar, but there is something new animating this homegrown story.
As you enter the theatre the various puppet stages are well-lit and visible. Many of the puppets themselves are in plain view. The acoustic selections lend a sense of atmosphere to the versatile space of 220. The prime seats may be in the center section, but what performance illusion may be lost in the adjacent sections is more than made up for in puppeteering technique. O'Connor and her assistant weave a story from their own voices and those of the characters fleshed out in Sicilian style marionettes, rod puppets, and shadow puppets.
This adaptation of Rapunzel combines modern elements with classic fairy tale. The story of a husband who steals from a witch's garden to appease his wife's pregnancy cravings is tempered. And it is not radishes that are stolen in this version, but "Rapunzel". Its description as a lettuce-like herb that thrives in desolate climates is just one of the ways O'Connor interweaves these stories.
The Rapunzel has no witch and, therefore, no villain. Instead it explores themes of unconditional love, selfish desires, and the importance of being self-sufficient. There is a measure of irony in a narrative driven by a character's need for control while being manipulated by a puppeteer, but you have the sense that O'Connor is aware of it. This show is not only appropriate for all ages, but the many levels of the story make it resonate across the board. It has the classic romantic themes of a love story, and the universal affirmation of self. The marionettes are beautifully crafted and extremely expressive. Rapunzel, her parents, and the Prince are remarkably detailed. And the innovative structure of the Fairy who keeps Rapunzel is unique. Her characterization was a special favorite to the small but responsive audience.
The set design has a homemade feeling, but is not without its special effects. The reality of the puppet world which easily settles in the audience imagination is rarely broken, except in some of the technical execution of the shadow puppet scenes. O'Connor and her assistant are as interesting to watch as their puppets. Without ever upstaging each other, they cohabit a very magical place for the hour of the performance. Plan to linger a bit after the show, time allowing, there may be a talk back. Only be sure to give the younger set a chance to ask questions. As the tale points out, there is a lot to be said for selfless self-restraint.
©2001
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