Beguiled @ Traverse Theatre, Edinburgh

Beguiled's two-part puppetry presentation offers an engaging way to introduce new audiences to the form, but loses its way once its themes take over

Review by Dominic Corr | 13 Feb 2019
  • Beguiled

Invisible Thread's Beguiled is separated into two short stories; the first, Catmother, is a traditional fairy tale warning about the temptation of naughtiness. The other piece entitled Les Hommes Vides (Empty Men) is all about slapstick and existential crisies, but, most importantly – it has prizes.

Catmother is an original piece which would feel right at home between the covers of a Brothers Grimm anthology, a timeless cautionary tale complete with innocence, temptations and an enigmatic monster lurking behind the scenes. All of the puppets have an eerie element to their sculpt, all hollow eyes and pale skin.

What simultaneously hinders and propels Catmother is its unique performance aspect. Before we begin, an audience member has already been selected to perform in the production. They receive audio cues, guidance and a minimal rehearsal time before. This is how we introduce a less mainstream artform to a new generation through involvement.

The downside is that we have an alluring narrative at times halted or cut across; characters' voices change, audio cues stand out above the score, and things begin to feel disjointed.

When working with puppets, set design can become an integral aspect of the production. Jim Bond and Liz Walker though have cobbled together an inventive set construction which unfolds; playing with shadows, revolving platforms and a house which opens out into the audience all make for an inviting piece of theatre.

Slapstick is the heart of any traditional puppet show, especially those shows with clout. This is largely what we find in the second half of Beguiled. As with the most effective of physical comedy, the movement aspect is kept simple – two puppets attempt to find a seat.

Raising eyebrows though is Les Hommes Vides' other interpretation of ‘empty men’ with talk of monoliths, Gods and uncertainty. This time Simon Kerrigan’s silky narration bombards us with ideologies and quotations one may find on pamphlets outside granola cafés. As a work of satire, it treads a little too close to the source material, to the point where it actually becomes what it intends to lampoon.

Beguiled is utterly charming. Its open, friendly and inviting use of puppet manipulation with sublime set dressings make for a pleasant evening, and its strength comes from creativity with a tactile delivery. However, it falls short when some of its ambitions fail to line up with the production's core.


Beguiled @ Traverse Theatre, Edinburgh, run ended
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