What has the Snow Queen rehearsal process been like?
AK: The rehearsal process for The Snow Queen has been thrilling. Every member of the ensemble, consisting of musicians, puppeteers and actors, brings their unique talents and experiences to the storytelling process. Throughout the rehearsal period, we have been able to learn a great deal from each other as we synthesize our many different storytelling methods and conventions into the communication of this particular story. Frank Galati establishes a rehearsal environment which is safe for taking risks and making new discoveries. This enables a huge amount of growth at every rehearsal. Michael Smith's beautiful and profound music and lyrics have been a true pleasure to explore. Working with the puppets (designed by Blair Thomas) has also been a wonderful experience. There was a moment a few weeks ago when I was watching the three puppeteers operating the bunraku "Enchantress" puppet, and I realized that I had stopped noticing the puppeteers, and all I could see was the "Enchantress." It is remarkable how the imagination is able to erase the mechanism and only see the magic. The show continues to evolve through each rehearsal, which keeps us all on our toes and makes every moment new and fresh. Over the course of the rehearsal period, we have become a tight-knit ensemble of storytellers, committed to sharing this story with others. We are excited to have an audience to share it with.
Andrew Keltz watches a scene during rehearsal.
What are the challenges of working with puppets?
MH: Working with the puppets (or more accurately with the puppeteers) has been wonderful. Barbara, Jayson, and Eric give each puppet a great personality. Except the witch puppet, she's a real diva, always upstaging everybody. I can't stand her. Just kidding :)
Mattie Hawkinson discusses a scene with director Frank Galati.
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