By Christy Hudson
Utah State University’s Department of Theatre Arts shows just how peculiar the theatre can be with their production of the musical Shockheaded Peter, based on the German children’s book Struwwelpeter by Heinrich Hoffmann. The musical was created for the stage by Julian Crouch and Phelim McDermott, with music and lyrics by The Tiger Lillies. This interesting production of Shockheaded Peter at USU is directed by Richie Call.
The basis of Shockheaded Peter is a series of German nursery rhymes about what happens to naughty children. There isn’t really of a straightforward story; it jumps from rhyme to rhyme. We come back periodically to catch up with Shockheaded Peter, the little boy who does not comb his hair or cut his nails. There are no child actors in the production; all the children in the nursery rhymes are played by puppets.
Blake Brundy plays the Emcee, a role full of many monologues and expressive anecdotes. He spends most of the play onstage. Brundy’s depiction is captivatingly sinister and creepy, although gradually becomes more and more human. The show simply would not work if Brundy played it with any less vitality, and he does a good job at keeping it up throughout the entire show.
The three singers are played by Addie Provost, Porter Lance, and Rachel Saltmarsh. Though the songs are difficult, these three tell the stories being acted out by the rest of the performers and their puppets, and present them well. I love their unique personas, which help them stand out the entire time, though the actors just need microphones in every song to make sure they can be heard above the band, especially for those of us who do not already know the rhymes.
The entire ensemble is full of energy. Choreographer Stephanie White conceived a lot of creative movement involving the puppets. This, as well as the ensemble’s general blocking and emotions, requires total commitment, and the actors deliver. I can just imagine how fun the process of putting this production together must have been for those involved, and when performances with so many moving pieces go off seamlessly, it is quite impressive.
The band consists of Accordionist Trent Dahlin, Percussionist Shane Wegner, and Bassist Timothy Rasmussen. The show’s music is not what you would typically associate with musicals, but it is key in setting the tone. The musicians play their part perfectly (pun intended). Wegner provides a standout musical moment when he takes the stage to perform a drum solo on various dishes being held by the actors. The music is altogether fun and well-done.
Puppet Designer Dennis Hassan uses multiple forms of puppetry to tell each story, from hand puppets to large marionettes to huge structures that require several people to operate. They are very detailed and move fluidly, like real children and animals.
The makeup and costumes themselves are the stars of the show. The steampunk motif is undeniable. All the faces are whitened with black lines accenting the expression, and all of the expressions are unique to each character. Some have upturned eyebrows, as though they are sad or concerned. Others have deep, unpleasant scowls. All are unhuman-like and further along the uneasy atmosphere.
Costume Designer Sarah Shouse tops off the characters’ appearance with steampunk waistcoats, hats, boots, etc. The look feels like it could be in a Tim Burton film (think Edward Scissorhands, Corpse Bride, and Sweeney Todd). The costumes and makeup together create a spectacular image.
The set is designed as a Victorian toy box, with a small stage on the real stage. Set Designer Dwight Camillucci creates an abstract illusion of what is 2-D or 3-D. The set is just another factor for the disconcerting atmosphere of the show.
Bizarre nursery rhymes and unusual characters produce some unsettling moments. I asked a young family in the audience what they thought about some of the disturbing features, especially for kids to see. They turned out to be from Germany and were already familiar with the stories. The two young boys said they thought some stuff scared them a little (I, an adult, also thought that), but altogether, they enjoyed it.
Shockheaded Peter, presented by Utah State University’s Department of Theatre Arts, is mystifying and unconventional. Though this isn’t your average musical, I think a lot of people will really like its uniqueness and wackiness.. As the Emcee warns: “Such things are not for the incontinent.”
Viewer discretion is advised: Some disturbing images. Not recommended for children under 10 years of age.
Utah State University’s Department of Theatre Arts Presents Shockheaded Peter, created for the stage by Julian Crouch and Phelim McDermott, music and lyrics by The Tiger Lillies.
The Caine Lyric Theatre, 28 W Center St. Logan, UT, 84321
March 1-7, 2019, 7:30 PM 2:30 PM Saturday Matinee
Tickets: $10—$18, free for USU students
Contact: 435-797-0085, theatre@usu.edu
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