Tag Archives: harlequin puppet theatre

A Marionette Masterclass at The Harlequin Puppet Theatre

Posted on by Collette Knowles
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This door was affected by fire damage from an arson attack and had been replaced when I last visited but hadn’t been repainted yet. This decoration was recreated by Tim Sykes based on photographs of the original door.

The British Puppet Guild put on this special day long event as part of their Centenary Year celebrations.

I had visited the theatre previously when Chris Somerville was still alive. He gifted ownership of the theatre to Mike Dixon in his will. You can see my previous post about the theatre by clicking on the link below:

A visit to the Harlequin Puppet Theatre

The format of the day was really good including hands on practicing with the vintage marionettes at the theatre under the watchful eye of expert marionettist Ronnie le Drew as well as demonstrations of the long string marionettes and demonstrations of the cabaret marionettes by Ian Denny and Glenn Holden.

We also had some interesting talks from Mike about the history of the building including its creation by Eric Bramall and Chris’s subsequent employment by him and the latter days when Chris was running everything as a one man show.

News for the future of the theatre, if you were not already aware, is that Mike (together with other skilled puppeteers) is putting on performances for the public again now. The first one of which is “A Christmas Carol” this December and I understand is already sold out!

Mike, and his partner Jo Slater, are currently in the middle of upgrading the lighting and sound equipment in the building. When Mike took it on, all of the original electrics and equipment were still in place and in working order, but not up to modern standards in terms of quality, safety and energy efficiency.

As well as directing and giving pointers on our technique, Ronnie treated us all to a wealth of reminiscences about his career and early days at The Little Angel Theatre and the people he worked with there. The puppets at the Harlequin and those made by John Wright of The Little Angel both use an upright style of control which (according to my research) is often referred to as a “British” or “English” upright control and features a separate leg bar.

Below are some of the photos Mike kindly shared from the day as well:

We were practicing with a set of puppets that had been made to perform as a set of Music Hall acts and after one rehearsal put on a little show taking into account the feedback we were given. My puppet was performing the song “Henry the Eighth I am” which was great because I know that song quite well. There was a pre-recorded backing track that we had to move the puppets in sync with and the patter of the M.C. character and the links between the tracks were hilarious (in my opinion anyway). I was reminded very strongly of Henry Gordon Jago from the Tom Baker Dr. Who story “The Talons of Weng Chiang”. Big congratulations to Tom on his recent MBE.

Below is a video which takes a tour of the Harlequin Puppet Theatre by The UK Theatre Tour which gives a lot of the history and also shows the Music Hall Puppets that we used:

The Harlequin Puppet Theatre Website is also an excellent resource containing lots of pointers on making, performance and materials for making and stringing puppets Harlequin Puppet Theatre style! CLICK HERE for the site.

A Visit to the Harlequin Puppet Theatre

Posted on by Collette Knowles
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I wrote the blog post below before all the business with Covid-19 and social distancing kicked off and unfortunately it is not currently possible to visit the Harlequin puppet theatre for a show.  However Chris has been busy and has compiled a series of online puppet videos which you can view by clicking HERE

 

We have a good friend who lives in Porthmadog, North Wales, who we have visited and stayed with on a number of occasions and each time the route has taken us through Colwyn Bay.  I kept thinking to myself that we should visit the Harlequin Puppet Theatre at some point and then didn’t get round to it.

So when we visited my friend at October half-term time in 2018, we discovered the theatre did have a show on (the theatre has its showings at school holiday times).  So we booked some tickets and took my friend with us as well.

I was surprised that she had not heard of the Harlequin Puppet Theatre before but perhaps it is less well known to non-puppetry enthusiasts.

I had looked up the theatre previously on Trip Advisor and found many glowing reviews from the parents and grandparents of young children and so I had a good idea of what to expect.

The Harlequin is, very much, a one man operation.  Chris Somerville works the box office, acts as usher, M.C., marionette puppeteer and magician as well as selling the interval refreshments.

Indeed, for everything that is included (and compared to other tourist attractions for entertaining families on offer) the whole thing is extremely reasonably priced.

It a small audience when we visited, as the main Welsh school holidays had not started yet.  But as part of the small but select audience, Chris was entertaining some of his fellow puppeteer friends (including Geoff Felix whom I had met previously at various puppetry events such as Skipton Puppet Festival).

I was pleasantly surprised to see how good the auditorium was looking, given what I had heard about the previous arson attack on the theatre.  You could see that the fire door had been replaced with a modern plain door which I presume is a temporary fix until Chris can afford something more in keeping with the period of the original theatre interior.  It also appeared a small section of the ceiling had been replaced with a temporary fix as well.

The show consisted of a fairytale “The Gooseberry Mandarin” written originally in 1928 by Grace Dorcas Ruthenburg as a one act play and originally adapted for the puppet stage by Eric Bramall.

It says on the website that Chris has created this as a new production in 1999, but I am guessing it uses the original voice artists, soundtrack and puppets created by Eric Bramall “back in the day” and perhaps Chris adapted the show to be performed with a single puppeteer, (you can see from the video below that in its heyday the Harlequin productions used more than one puppeteer at a time) in 1999.  It had a sense while we were watching it of stepping back in time to a previous era.

Our young son Anthony (who was about 18 months old when we visited) was kept entertained through this simple, charming (and fairly short) story after which there was an interval where we enjoyed some ice-creams.

The next section was Chris as Mr. Bimbamboozle doing magic tricks with the assistance of a young lady from the audience.  Chris is extremely good at interacting with the children and the fact that his repertoire and format does not change means that he is extremely well practiced and experienced at what he does and this shows.  He had great stage patter and all the comedy magic tricks were expertly done.

After this came a marionette cabaret using short string marionettes with Chris visible up front operating the puppets.  This is obviously a real treat for the children (and the adults) who may be used to CGI tricks where you cannot see how it is done and is not physically present in the room.  I have found in our shows audiences entranced by very simple techniques in our show “The Tempest“.  On one occasion a man could not understand how the shadow puppets were operated when no-one was inside the booth to do it.  It didn’t occur to him that the puppets were not actually moving at that point!

Again the marionette puppeteering skills were incredibly good.  A Shirley Bassey pastiche puppet was very amusing (“Burly Chassis”) though a little dated perhaps.  On the other hand – a classic performer like Shirley is a good choice for a puppet with a long run as modern performers come and go and the current flavour of the month in pop music does not last as long as a puppet does!

The format of the entertainment, using multiple short performances with an interval as well, plus the extremely good interaction with the audience as Master of Ceremonies meant that our 18 month old son Anthony stayed enthralled in his seat throughout.  Anthony was quiet during the performances and did not seek to escape and walk around the room.  This was great, as we had to take Anthony out when we attended Upfront’s “Pied Piper of Hamelin” with him.  This was no fault of Upfront’s production, it was just designed for an older audience and indeed, Anthony was younger when he saw it.

So to conclude, I would heartily recommend anyone (especially puppetry enthusiasts and families) to visit the Harlequin Puppet Theatre (once he is back up and running) and see a show if you’re in the area to be thoroughly entertained by a master performer!

Click the link to the Wikipedia entry below for more information about the theatre.

Wikipedia entry