Reading the “Sexuality and Puppets” issue of Puppetry International introduced me to the Theatron Erotikon, “a mid-19th century private puppet theatre in Paris,” that circled me back into the notion of puppetry as a doubled theatre, the show onstage and the actors themselves as constructs; although all actors are constructs, aren’t they? for as long as they hold the stage?

Where sexuality is concerned, though, the stakes seem to be higher, if only because sex is a high-stakes affair no matter what, an ongoing alchemy of play and control (puppetry, again?). There’s a passage in Under the Poppy where a concerned citizen protests a certain puppet-show at the brothel on the grounds that it isn’t moral to show such stuff onstage: notwithstanding his own standing as a (satisfied) customer, and the fact that nothing really “happened” (how could it, between flesh and wood?), somehow the reenactment of a sexual game he himself does not prefer gives him the moral heebie-jeebies.  People ought not watch such stuff!  Right?

Or is the stage the perfect playground/high ground/testing ground for exactly those sort of passion plays?  This young lady seems to have made up her mind on the question.  [Puppet:Al Bogdan.]

Very pleased to announce that Chris O’Brien has just joined Diane Cheklich and me in the Under the Poppy theatrical endeavor. Chris comes to us trailing clouds of directorial glory from (among many others) his passionate production of Cabaret, as well as bearing an eye for beauty and detail both lush and meticulous, so we’re thrilled. Diane, of course, is the award-winning director of both features and shorts (and ultra-shorts, like the Under the Poppy trailer).  And I’m your black-clad narrator. . . We’re looking forward to telling our story to you. [Cabaret photo by Frank Weir.]

Wanna go to Wonderland?  This looks like more fun than your usual rabbithole.  The show runs weekends 4/3-4/4 and 4/10-4/11.

Off with his head, yeah.