2009 - 2010 Tours
When Animals Were People
By Nancy Aldrich & Omar Vargas
Folktales from Mexico and Argentina are brought to life in this dynamic new bilingual play. When Animals Were People is inspired by a tale from the Huichol Indians of Mexico. Turtle is cooking a stew to share with Grandfather Vulture and Squirrel is about to join them when Wolf arrives, hungry for Turtle as well as for stew. But with Turtle gone there is no water. Wise old Vulture instructs Wolf in how to bring back Turtle who can bring the water.
Accompanied by The Lazy Bee, a shorter piece based on a fable from Argentina, the performance is primarily in English but incorporates simple Spanish words and phrases. It is a fun way to familiarize children with another language, and give them a brief cultural immersion. Gerardo Calderon has composed indigenous-style music for the show using flute and drum.
Stories
curriculum guide
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“A wonderful blending of culture and language. A fun way to integrate language for kids and adults. I hope my English speaking students are encouraged to learn more Spanish.” -- 2nd grade teacher
Puppeteers Brian Allard and Dia Verano deftly create distinctive voices for each character, from stuttering squirrel to smooth-talking wolf. Verano fashions a particularly effective childlike voice for the lazy little bee, who would rather play than collect nectar for the hive. Jason Miranda has designed new puppets reflective of Mexican children’s art and infused with whimsical humor. Miranda’s colorful set piece is arrayed with Mayan-style design patterns inspired by pyramid art. The stories echo the importance of animal spirits in pre-Christian Latin American culture. --Holly Johnson, The Oregonian
Nancy Aldrich and Omar Vargas’s script, spun from Mexican and Argentinean tales of friendship, dedication, and family, is spare, sweet, with clever touches of adult-level wordplay. Puppets, enlivened by Brian Allard and Dia Verano through whimsical vocal characterizations and deft maneuvering, elicit more delight and sorrow than many human
actors.” --Followspot
STELLALUNA
By Emily Alexander
Stellaluna, the enchanting story of a baby fruit bat who falls into a bird’s nest, is adapted from the beloved book by Janell Cannon. Poor Stellaluna tries to adapt to her new home but finds herself the odd one out, hanging by her feet and disgusted by those bugs Mother Bird brings home to dinner. And so begins the re-education of Stellaluna, out of her element and struggling to obey rules for which she’s naturally ill-equipped. What a relief when she finally discovers she is a bat! It message of self-acceptance and celebrating differences is warm and clear.
Curriculum guide
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“Fast- paced, simply staged and performed by two superbly multitasking puppeteers,” Stellaluna” moves visually and theatrically between two flying worlds. In the magical night, silvery moonlight flickers on bat wings in graceful flight and gamelan music imbues a soft, dreamlike air. And in the clattering day, fledgling birds clamor and squawk for food, when they’re not hatching plans for mischief.
While Mom’s away, the young birds bicker and play and pick up some of their new cohort’s weird habits, like hanging by their toes. The puppeteers’ voices are especially vivid here. Emily Alexander’s adaptation fits the more sophisticated wordplay of Cannon’s book to stage friendly dialogue abounding in wisecracks, a pitch perfect counterplay to visual jokes that turn eating and learning to fly into comic horseplay.
---Catherine Thomas, The Oregonian
Rumpelstiltskin
by Sharon Whitney
He’s quick. He’s sly. He’s fantastic—in a scary sort of way. Can you guess his name? It’s Rumpelstiltskin! Award-winning playwright Sharon Whitney made her debut with Tears of Joy Theatre with this production. While respecting the tradition of the classic story, she adapted the tale for a modern context. In the original version by the Brothers Grimm, the central female figure is not even given a name. The heroine in this production not only has a name, Lola, but also manages to solve her own problems. Tears of Joy Theatre’s puppets bring the miller and his daughter, the king and the mysterious Rumpelstiltskin to life.
Curriculum guide
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Dear Tears of Joy Puppeteers,
Thank you for coming to our school. Rumpelstiltskin was awesome. I liked the shadows, all the voices you used, the lights, the cool props, the story and most of all the sound effects!!!!
---Sincerely, Tyler Gillaspie
“So while children will be captivated by the magic of the puppetry that plays out before their eyes, adults will appreciate the impressive talent that gives the play its life.”
Justin Lucas, CitySearch.com
“Rumpelstiltskin is not only a delightful adaptation of the famous fairy tale, it is also the raare theater piece that appeals to children and adults. With imaginative dialogue and charming musical lyrics, Sharon Whitney has crafted a lovely theatrical gem.”
Hoyt Hilsman, L.A Reviewer for Oregon Book Awards
Little One Inch
By Leo Kominz
A tiny boy, who proves his strength by defeating a rat, sets off to save Japan from a great ogre. His parents give him a rice bowl to use as a boat, and a chopstick to use as an oar. In his adventures he befriends a kappa, rides a koi through the rapids, and becomes the playmate of a princess before defeating the ogre in a hilarious battle. Performed with bunraku puppets this play will delight your entire audience. Playwritht Leo Kominz received a 2005 Portland Drammy Award for this play commissioned by Tears of Joy Theatre.
When Tears of Joy Theatre decided to create a new version of the Japanese folk tale “Little One-Inch,” the company turned to longtime board member Larry Kominz for advice and direction on the adaptation. In turn, Kominz—a professor of Japanese studies, including theatre, at Portland State University—recruited family and friends, creating a network of cultural experts lifting the quality and authenticity of the production. Kominz’s son, Leo, translated and adapted the script with a flair typically found in the storytelling styles of anime films and manga comic books. Kominz’s wife, Toshimi Tanaka, a professional kimono dresser, brought costumer Yoko Arai into the mix and helped create the dress styels. Kominz serve as dramaturg, script editor and assistant director.
One-Inch has charm to spare
“It’s the David and Goliath story set in Asia. Tears of Joy Theatre takes youngsters 4 and older to Japan for its latest piece, which is based on a folk tale and is written, with the delightfully wry humor that only a teenager can exude.” Holly Johnson, The Oregonian
“We were familiar with the folk tale but amazed at the creativity and skill with which the company translated the traditional Japanese story into a relevant, entertaining performance for an American audience”
Parent/Chaperone, Portland International School