This story was originally published by ArtsATL.
Each May, “XPT: Xperimental Puppetry Theater” — the Center for Puppetry Arts’ annual showcase for adults in its downstairs black box space — brings audiences a new series of short, strange and delightful pieces.
The 15 acts in this year’s show, running Wednesday-Sunday, May 1-5, promise to be just as off-kilter, amusing and potentially alarming, if the late April rehearsal was any indication.
Tyler Judd is a puppeteer and writer who, with his wife, Katharine, developed an interactive installation that will run before the show and during intermission called “Puppet-Matic 5000.” The piece involves science fiction gone awry, a giant puppet-building machine, a gaggle of improvising puppeteers, plus lots of noise and special effects.
“With installations, it can be a little bit tricky when we don’t have the machines ready to go,” Judd said to the audience gathered to watch the rough-draft version — that included “XPT” Program Director Wade Tilton, Assistant Director Frances Chang and this visiting ArtsATL writer. “This is actually everyone’s first time getting to experience it.”
When the machine whirred for its inaugural demonstration, lights blinked erratically. Silly music began to play, then came a strange rattling. Suddenly, screaming puppets begged for mercy, as fog emerged from the “Puppet-Matic 5000.” It was all very, very funny.
Credit: Photo by Stacey Bode
Credit: Photo by Stacey Bode
And then, triggered by the fog spray, the actual fire alarm for the entire Center for Puppetry Arts started to go off.
“Attention, attention, attention,” a recorded voice announced all over the building. “An emergency has been reported. All occupants walk to the nearest stairway exit.”
Judd was red-faced and apologetic, saying that he purchased the fog maker specifically because it wasn’t supposed to set off smoke alarms. He promised to find another alternative to the effect.
“It happens,” Chang said in comfort, noting that’s what rehearsals are for.
Contributing to “XPT” in a variety of roles for more than 15 years, Tilton admitted to the new artist that he, too, has set off the alarm accidentally.
Will all of these glitches lead to a smoothly run show?
“Oh, of course,” Tilton said with a laugh. “So smooth.”
For Tilton and Chang, the wacky legacy of the variety show — which features 10-minute live pieces and video clips — stretches people’s expectations of what puppetry can do. Additionally, the creative artists who pitch their ideas to “XPT” receive limited grant money and often have to figure out how to make their grand ideas work with only their wits and some trial-and-error.
Credit: Photo by Stacey Bode
Credit: Photo by Stacey Bode
“That’s what I just love about ‘XPT,’” Chang said. “It brings new people in who have no idea what they’re doing, possibly, or what they’re getting into. And once they get hooked, they keep coming back. And they might have an idea at some point, go through the pitching process and we get to see what they bring to life.”
Anthony Marotta, a drama professor at the University of Georgia specializing in mask work and movement, will participate in this year’s “XPT” with a wild performance art piece called “(un)filter.” In it, he aims a video projector at his own body parts and turns himself into a stage. After 10 minutes of contorting and exerting himself during the viewed rehearsal for Tilton and Chang, he was out of breath.
“Since I’ve come to Atlanta, I’ve transferred a lot of mask skills to puppetry because I find them very similar,” Marotta said. “Masks and puppetry are on the same spectrum. So I’ve been going back and forth between masks and puppets, then using masks as puppets and using puppets as masks.”
Other pieces in this year’s show use different puppet styles from history, such as “String!,” featuring hand puppets, marionettes and ventriloquist dummies; and “Saphirella and the Sewing Machine,” which will use shadow puppetry and the live band Floral Portrait performing every night.
Both of those pieces come from first-time contributors, the organizers said.
“We have to make it a balance between the merit of the idea and what we feel the execution will be like, also a mix of veterans and newbies,” Chang said. “Because newbies can surprise you. We want to make sure we’re putting on a good show for people who are paying to come see it.”
Tilton added, “Ultimately, we have to get people to come back to see the show every year and think that it’s going to be something new and exciting.”
THEATER PREVIEW
“XPT: Xperimental Puppetry Theater”
May 1-5 at the Center for Puppetry Arts. 7:30 p.m. May 1-2, 8 p.m. May 3-4, 5 p.m. May 5. $18. Note: Contains adult themes including language, violence, and/or sexual situations. 1404 Spring St. NW, Atlanta. 404-873-3391, puppet.org
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Benjamin Carr is an ArtsATL editor-at-large who has contributed to the publication since 2019 and a member of the American Theatre Critics Association, the Dramatists Guild, the Atlanta Press Club and the Horror Writers Association. His writing has been featured in podcasts for iHeartMedia, onstage as part of the Samuel French Off-Off Broadway Short Play Festival and online in The Guardian. His debut novel, “Impacted,” was published by The Story Plant.
Credit: ArtsATL
Credit: ArtsATL
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