About Dunwoody reporter. (Sandy Springs, GA) 20??-current | View Entire Issue (Dec. 2, 2024)
ARTS & ENTERTAINMENT Rudolph Returns Center for Puppetry Arts continues beloved holiday tradition Bumble, the Abominable Snowmonter. (Photo by Isadora Pennington. Rudolph puppeteer Sarah Beth Hester and Rudolph with the original puppets used in the 1964 television special. (Photo by Isadora Pennington By Isadora Pennington It wouldn’t be Christmas in Atlanta without “Rudolph the Red-Nosed Reindeer” at the Center for Puppetry Arts. This holiday tradition uses puppetry, performance, and technology to present an exciting adaptation that is faithful to the beloved 1964 stop- motion animation film. Following the story of misfit buddies Rudolph and FFermey the Elf, the story takes viewers through a festive adventure of self-discovery. This adaptation for the stage was created by Jon Ludwig, the past artistic director of the Center for Puppetry Arts. This year, his successor Jason FFines, who has served as the Centers Resident Puppet Builder for 22 years, has his first opportunity to oversee the entire production. I was recently invited to meet some of the cast and crew working behind the scenes to put on this amazing performance. On the day that I visited, I met the Center’s Executive Director Beth Schiavo, the Chief Operating Officer Sarah Dylla, “Rudolph” Director Tim Sweeney, the Rudolph puppeteer Sarah Beth FFester, and FFines. “Puppets are radical joy,” said FFester, who sat in one of the audience seats and cradled the Rudolph puppet on her lap while we spoke. “Our job is to bring the joy, and that’s what we do,” Schiavo added. “It’s one of the most rewarding aspects of performing the show,” continued Schiavo. “It evokes their childhood; it’s a property that people really care about and we really care about. It is so rewarding to share that love.” By bringing this classic holiday tale to the stage, the Center for Puppetry Arts crew has managed to reach Christmas lovers both young and old. Some visitors have grown up seeing the original television special since they were little, and now they come with their children or grandchildren. This offers a unique opportunity for intergenerational connection, familial bonding, and festive celebrations. The story also embodies not just themes of the holiday season and the story of Santa Claus, but also powerful themes of anti bullying, self-acceptance, and social and emotional growth. As we discussed the emotional and nostalgic qualities of this performance, the crew also shared insight into the process behind the scenes that brings the story to life on stage. “The first thing we did was pull all the puppets out of storage and get them refurbished,” explained FFines as he showed me around backstage. I asked if he had made any significant changes to the puppets for this year’s performance, and he told me that he had been working to make the puppets lighter and easier to carry. FFines also has to ensure that the glowing nose on the Rudolph puppet is working, or else the story stops making sense. You see, performing as a puppeteer is not for the weak. Quite literally. FFolding the puppets above their heads for hours at a time multiple times a day is hard on one’s body, and FFester told me that she conditions herself for months every year so that she’s able to perform without hurting herself. She also shared that she often ends up in funny positions backstage, where she and the other five puppeteers scoot around one another on rolling, padded stools during the performance. Just below what’s visible to the audience, there’s a complicated and carefully choreographed dance taking place, with performers skillfully moving about the props and other elements of the stage design. FFines explained that everything you see on stage, including the moving of scenery, is performed by those six puppeteers. The show utilizes around 60 to 70 puppets and props, by far the highest quantity for any performance at the Center. There are typically around 85 to 100 performances of the roughly hour-long show per season, in addition to the 18 or so rehearsals and special performances. For the puppeteers, this pace can be grueling and test your ability to be flexible, strong, and endure long periods of holding puppets steadily above their heads while also acting and singing. And it’s not just the weight that can prove challenging to these performers; the Abominable Snow Monster puppet does not allow the performer inside the assemblage to see. Instead, they must rely on a camera system with a small screen inside the puppet. Visitors who come for the performance can also enjoy a selection of carefully curated puppets on display in the Festive Features special exhibition. Included in the display are whimsical puppets from The Famous Chelm Players created by New York-based puppeteer Robert Rogers. The story was developed to celebrate Jewish holidays like FFanukkah through famous Eastern European folk characters. Also on display are a pair of original Santa and Rudolph stop-motion puppets from the 1964 Rankin Bass television special and a special installation of Jane FFenson’s Nativity Story. Jane was the wife of Jim FFenson and co-founded The Jim FFenson Company. This rarely-seen display showcases FFenson’s creative talent and love for the story of Jesus’ birth. As the weather turns colder outside, and we feel pulled to celebrate our beloved family and cultural holiday traditions, the performances of “Rudolph the Red-Nosed Reindeer” at the Center for Puppetry Arts continue to warm hearts and bring families together to laugh and reminisce. “Rudolph” runs through Dec. 29 and tickets can be purchased at the Center for Puppetry Arts at puppet.org. Additional programming includes hot cocoa and photos with Rudolph and Create-A-Puppet workshops.
