Dead Puppet Society's award-winning work 'The Wider Earth' hits the Redland Performing Arts Centre (Queensland) stage this March.
From Writer/Director/Co-Designer David Morton, 'The Wider Earth' theatrically traces a journey to the far side of the world with a 22-year-old Charles Darwin. . . The stage coming to life with stunning cinematic projection and puppetry.
An ensemble cast will fill the space, accompanied by intricately designed puppets representing the fascinating creatures Darwin encountered on his voyage of The Beagle.
We chat to cast member and 'The Wider Earth' puppeteer Liesel Zink about the joys and challenges of her role in the show.
Tell us a bit about your involvement in 'The Wider Earth'.
I’m a puppeteer, which means I get to operate 11 different animals, from tiny fireflies to the majestic southern wright whale. I also play a sailor on the ship, The Beagle, which faces many adventures and challenges on its voyage.
How would you describe the show in your own words?
Truly magical! It’s an exciting opportunity to travel alongside a young Charles Darwin as he explores the world and experiences life-changing discoveries. It’s a fascinating story with many puppets to fall in love with, remarkable visual effects and a stunning musical score composed by Lior.
You’re a dancer too. Have you been able to use this skill in the role of a puppeteer in 'The Wider Earth'?
Absolutely! Being a puppeteer in this show feels like I’m having a collection of dance duos with many different animals. Each different animal, like each different dance partner, has different ways of moving; different rhythms, behaviours and personalities to work with which is really joyous and sometimes tricky! Admittedly, some puppets/animals are better behaved than others! It’s also really lovely to share the stage with such exceptional actors, I’m in awe of their craft so it’s really exciting to see them in action up close.
Image © Prudence Upton
What has it been like to play a role like this?
Such a privilege. It’s so interesting to research each different animal, embody them and, in a way and for a little moment in time, experience the world through their perspective. It has definitely deepened my respect for the incredible and diverse species of animals that live on our planet, many of which have been in existence long before us.
Is there a certain way you need to present yourself/perform in order to blend with the puppet/the staging?
Well, it’s definitely important that I don’t upstage the puppet with any dramatic or distracting movements! So my eye focus stays directly on what I want the audience to watch, the puppet. I also spend some time breathing with the puppet before I go on stage, we hang out and interact with the people and props backstage before making our entrance.
What’s your favourite puppet to operate in 'The Wider Earth' and why?
Oh, that is a very difficult question, I love them all! If I had to narrow it down to three I would say; the iguana, for his spunky little personality; the Arctic tern, because it is so delightful to see her wings floating in the breeze; and the Galápagos giant tortoise, because there is something pretty incredible about operating an animal that can live for well over 100 years of age.
What has been the most rewarding thing about being involved in 'The Wider Earth'?
Working with such a talented group of artists and friends. Especially after such a challenging two years, it is an incredible joy to get back into the rehearsal room doing what we love, and then the stage sharing what we have created with audiences. It’s such an epic and beautiful show, we can’t wait to share it with everyone!
How about the most challenging?
Puppeteering the squirrel; those squirrels move SO fast!
'The Wider Earth' plays Redland Performing Arts Centre 24 March.
