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Potatohead
Potatohead
August 3 - 29 (not 15), 12.25pm
Pleasance Courtyard, Baby Grand
by Gareth K Vile
The gloriously bonkers Freddie Hayes presents her debut starch-raving-mad adaptation of Doctor Faustus... with puppets. Directed by Sh!t Theatre, this 'hilarious and beautifully crafted performance' (ViewFromTheOutside.blog) involves puppetry, stand-up comedy, physical theatre, film, singing, dancing and plenty of potatoes.
This is the story of a humble spud Charlotte, who dreams of becoming a stand-up comedian. But how does a couch potato grow to become a golden wonder?
With elements of kitsch cabaret and old-school entertainment. This original new writing blends surrealist comedy and traditional theatre for a highly entertaining and joyful performance.
Gareth K Vile speaks to Freddie Hayes
What came first, the puppet or the Faust (which is meant as a practical, dramaturgical question but may have a philosophical resonance)?
Puppetry is one of the oldest artforms and has been around since the ancient Egyptian times, back then puppets were symbolic of Gods.
The story of Faust has been around since 1500s and in the British and German 18th century many key comedic roles within the play were assumed by puppets and clowns. These characters were used as comic mirrors of the central character. Faust the protagonist is granted immortality by the devil. The use of a puppets to represent immortality is a perfect analogy as puppets have mythical and celestial quality as they can never truly die.
In Freddie Hayes: Potatohead, puppets are used to take the role of Mephistopheles- servant of the devil, but renamed "Morris Piper". This jacket potato puppet is a lovable demonic character that grows to become eviller by the black magic from the devil's Faustian pact. The seven deadly sins are also represented through potato puppet form as well as the good angel and bad angels represented by ketchup soaked chips (on shoulders).
How does puppetry relate to the other media/strategies/aesthetics in your production?
The puppetry is merged with other media such as video montages which are sprinkled throughout, foreshadow the ending and build the narrative arc. The Seven Deadly Sins are represented by potato puppets each with a different accent, personality and movement . This becomes a stand-alone puppet show within the 1 hour show itself. Like a puppet show within a puppet show. Video is used to capture the miniature puppets onto the big screen and the audience interact and engage with these puppets live and through the video projection.
Video is used throughout the performance to dramatises the narrative and is a time of reflection for the audience. Each video was filmed by Sh!t Theatre the directors and edited by Freddie Hayes.
What made you break the age-old warning of never working with children or vegetables?
Marlowe's Doctor Faustus premiered the same year that potatoes arrived in Europe this link between Faustus and potatoes unites the themes of the show. Potatoes are the misfit of the veg world often overlooked and considered bland and boring. Potatoes are also relatable; many people may feel they have an inner potato that wants to become something greater (or grate).
Audiences connect with the humbleness of the potato and makes them feel part of the narrative. Although the production flaunts its surreal silliness there is something very human about a potato.
What is old school entertainment?
Old school entertainment for me is performance with high energy, audience interaction, sing-alongs, and elements of pantomime. Potatohead tries to incorporate these elements for a contemporary alternative comedy audience.
Do you have any particular reasons for using puppetry in your performances - that is, I think I mean: what inspired your use of puppetry?
Puppets have been part of my life from a young age both performing and making them. I studied puppetry at the Royal Central School of Speech and Drama and since then I have been performing on the comedy scene with eccentric puppet characters. The relationship between the puppeteer and the puppet really interests me and Potatohead explores my connection with them.
I make each puppet from foam and muslin cloth and I develop the characters and their voices. I also explore my frustrations with puppetry and how they have shaped my life growing up as a puppeteer. This love/hate relationship is revealed throughout the performance with elements of self-deprecating stand-up comedy to counteract the wildly bonkers side to the show.
Are there any artists that you would call peers or inspirations?
I have been working with a fantastic team of women to create Potatohead. Fringe favourites - Sh!t Theatre directed the performance, they have helped to develop my artistic visions and pushed my confidence as a performer they have a keen eye for dramaturgical detail and embrace silliness.
I have also been working with Lydia Cottrell who has been the movement director for the production. Her work developed the consistency of the performance combining elements of dance, comedy, singing, karaoke and puppetry. As a very clumsy puppeteer she has really strengthened my movement on stage.
My inspirations are Bobbie Baker and her use of food and performance art, Róisín Murphy and the Mighty Boosh.
And what kind of puppetry are you using?
I mainly use hand puppets with articulating eyes as well as finger puppets and rod puppets.
