Puppetry, a form of entertainment typically associated with the Muppets and other family-oriented performances, shifts from its traditional lighthearted nature to offer a thoughtful look at the state of our Earth and a potential apocalypse in "Baby Universe: A Puppet Odyssey," which performed in Moore Theater in the Hopkins Center for the Arts on Jan. 6 and 7.
The Obie Award-winning performance a joint production of the New York-based theater collective Wakka Wakka and the Norwegian Nordland Visual Theatre was written and directed by Kirjan Waage and Gwendolyn Warnock, who also star in the production.
In the play, the Sun voiced by Andrew Manjuck and played by Melissa Creighton is in the midst of expanding, about to engulf the Solar System. On Earth, the human race has been forced underground into bunkers due to the unbearable heat on the surface. The remaining survivors have been unsuccessfully attempting to birth a "baby universe," which would provide mankind a safe, new home.
Humanity finally succeeds when Baby Universe 7001, also known as "Baby," is hatched by his mother played by Warnock and the new universe begins to grow and develop. Unfortunately for the humans and Baby, the personified puppet Sun plans to kill the new universe, believing that its elimination will force humanity to ally with him instead of Earth. The Sun sends his henchman, the Moon performed by Waage to kidnap Baby. The Moon is not completely successful, however, and Baby must return to Earth in time to save the human race.
The plot of "Baby Universe" is unique, if not extremely far-fetched. Midway through the performance, the play's mood shifts abruptly from comedic to tragic, an unanticipated change. The play, however, balances the lack of realism with its clever dialogue and portrayal of a coherently talking "Baby Universe," throwing tantrums and acting much like any other child.
The set design was minimalist, but it was contrasted with visually impressive puppets that were on the hands of cast-members clad in overalls and gas masks. In a style comparable to Japanese Kabuki theater, the puppeteers made no effort to hide themselves, instead serving as complements to the puppets on stage. This was not a distraction from the narrative, however, but was an effective added detail.
The visual effects were similarly minimalist, relying only on projected images and complex lighting. These visual elements were featured prominently in perhaps the most impressive sequence of the play, the chase scene between the Moon and Baby. The scene took on a surrealist quality, including a strobe light and ambient, spacey sounds that were scored by Lars Petter Hagen.
A series of brief vignettes, titled the "Apocalypse Radio," were interspersed between the main actions of the performance. This radio show featured a peppy radio host and cynical survivors who all foresaw doom as they hid in the dark bunkers of the dying Earth. These scenes were a welcome contrast, and "Apocalypse Radio" was very enjoyable during the performance intervals.
In a post-performance discussion, Warnock discussed how she and Waage came up with the idea for "Baby Universe." The two first wrote a rudimentary outline of the story, and then through a series of improvisations, the play began to take its final incarnation, Warnock said.
Presented in conjunction with the performance, a panel titled "The End of the World As We Imagine It," took place on Jan. 5 in the Faculty Lounge at the Hopkins Center. The panel, which debated apocalyptic themes, included Waage, Dartmouth librarian Laura Braunstein, psychology professor John Pfister and comic book artist Denis St. John, as well as the production's puppet star Baby Universe, who was presented on the hand of puppeteer Peter Russo.
The discussion centered on various interpretations of the apocalypse and its depiction in popular culture. Panelists discussed why mankind has become so fascinated with the Earth's demise through a multitude of religious texts and legends, which all offer different means of avoiding the end of the world, according to St. John.
Modern discourse about the apocalypse began with the works of H.G. Wells and Arthur Conan Doyle, St. John said. These men lived during an age of great scientific innovation, and their works illustrated a common theme in apocalyptic thought, he said.
"As the things we understand change, our fears change," St. John said.
Pfister, who teaches a seminar on the psychology of people's belief structures, said our apocalyptic predictions are derived from man's innate desire to be in control.
"To postulate the end of the world is comforting, Pfister said. "It allows control over something that is essentially unpredictable."
Because he is not an expert on apocalypse theory, Waage focused on his influences for the play, which included Stephen Hawking's "A Brief History of Time" and Arthur C. Clarke's "The Songs of Distant Earth." The latter work, like "Baby Universe," discusses a common idea that in order to survive an eventual apocalypse, humans must leave Earth.
Wakka Wakka has been touring the play around the world. After their American engagement ends, the company is set to go to China and South Korea.
