{"id":3883,"date":"2019-10-15T10:08:22","date_gmt":"2019-10-15T10:08:22","guid":{"rendered":"https:\/\/www.spotlight.com\/?p=3883"},"modified":"2023-12-06T12:18:57","modified_gmt":"2023-12-06T12:18:57","slug":"telling-stories-through-puppetry-richard-hay","status":"publish","type":"post","link":"https:\/\/www.spotlight.com\/news-and-advice\/the-industry\/telling-stories-through-puppetry-richard-hay\/","title":{"rendered":"Telling Stories through Puppetry with Richard Hay"},"content":{"rendered":"

Spotlight talks with Richard Hay, puppeteer and co-creator of Sharklegs Theatre Company, about puppetry, going viral, and taking Sharklegs\u2019 new, Amazon-exposing show, Fulfilment<\/em>, to the Edinburgh Fringe.<\/span><\/h2>\n

Hi Richard! How did you first get into puppetry?<\/span><\/h3>\n

I graduated from drama school a long, long time ago, and I did a course at East 15 [where] we did lots of different physical skills. So I kind of had a go at it then, didn\u2019t really think about it, went and became an actor, and, because I was generically physical, people kept going, \u2018Can you just wiggle this in the background? Can you just hold that?\u2019<\/p>\n

So it was just a skill I learned as I went through my career, and then, when I set up my theatre company, Sharklegs<\/a>, I got a little more time to actually figure out and hone my skills, and it was there that I kind of went, \u2018Oh, this is a beautiful way of telling a story and bringing things to life.\u2019 That\u2019s where my real love for it started, and where I started really exploring that as an opportunity.<\/p>\n

You\u2019ve gone viral on Twitter for creating \u2018Paperboy\u2019, a puppet made from a newspaper. What was that experience like?<\/span><\/h3>\n

It was crazy! It was the weirdest two weeks of my life. Kezia Cole and I had just set up Sharklegs, [and] had absolutely no money, so I was making the puppet out of free newspapers on the tube. And obviously, like all actors, I had a money job at the same time, so I\u2019d been at my money job all day and hadn\u2019t actually prepared for the rehearsal.<\/p>\n

So I made this little puppet, crammed on the train, and I sort of sat with him on my lap and didn\u2019t really think anything about it. This guy took a photo and then tweeted \u2018lonely guy on the tube makes his own friend.\u2019 I had no idea.<\/p>\n

I went to rehearsal, and we used the puppet, and then I got home and all of my friends had been messaging me going, \u2018Is this you? Are these your legs? Are you the lonely man?\u2019 And people had gone on Rush Hour Crush<\/a> and been like, \u2018I want to meet the Paperboy! Who is the Paperboy?\u2019 Very quickly they stopped doing that once they saw my face.<\/p>\n

We went on London Live, I made a Paperboy in five minutes on TV, twice! And then I got interviewed by the Evening Standard and a couple of other newspapers, and I\u2019d have to carry my phone charger around for two weeks, because I think 100,000 people retweeted it, and so my phone battery would just die. Never go viral, because it\u2019s awful for your phone battery!<\/p>\n

Then we went to the Victorious Festival down in Portsmouth, and we got all of the people at Victorious to make and design their own little people. And then we made little Paperboys and put name tags on them and sent them all out on the tube with, \u2018Hello, my name is\u2026 Please let us know that you find a nice home,\u2019 and people would be sending us pictures of Paperboys that they found.<\/p>\n

So it was a really, really lovely couple of weeks, and crazy \u2013 I\u2019ve never been so famous in my life!<\/p>\n

What inspired you and Kezia to create your latest show, Fulfilment<\/em>?<\/span><\/h3>\n

There\u2019s been a lot of interviews and expos\u00e9s by a number of people, like Panorama and The Guardian, and we\u2019d been reading those, and then James Bloodworth produced a really interesting book about jobs in low-wage Britain. So we\u2019d been talking about it, and it had been mulling around in our brains.<\/p>\n

[We] were chatting about it on the train and this guy came over and overheard us and just started chatting to us. It wasn\u2019t like some other person from another place, it was just this dude who was on the train. And that\u2019s when it clicked for me that this was something that was happening, and it was happening to people we know or people we are near, or our families and our friends.<\/p>\n

[We] were like, \u2018Right, we need to meet and talk to more people.\u2019 So that\u2019s where the idea sort of started, and we found it quite tricky, because obviously Amazon is incredibly good at what it does. It is disgustingly convenient – wonderfully convenient! Like, running a theatre company, when you\u2019re in a rehearsal devising a show and you\u2019re like, \u2018Oh no, we need a squeaky pig, and we need it now!\u2019 You get it delivered the next day, squeaky pig is in the show \u2013 fantastic!<\/p>\n

We are currently boycotting Amazon, and when we first decided we were going to do that, I was genuinely like, \u2018So I just can\u2019t buy things online now?\u2019 [It\u2019s] just become so convenient and so easy for us. That was the thing that was really eye-opening: even though I\u2019d sat down and I\u2019d talked to over 70 people about their experiences, there\u2019s still a little part of my brain going, \u2018Yeah, but it is really convenient.\u2019<\/p>\n

[Sitting] down opposite these people, I\u2019m going, \u2018Do you know what, I really want this thing by tomorrow, but actually if I had to ask you to walk 11 miles to get it, I wouldn\u2019t.\u2019 But if I had a screen in front of me, that kind of responsibility is gone, and I don\u2019t have the same kind of gut instinct. So that\u2019s what we wanted to explore.<\/p>\n

In our show, we\u2019ve got the verbatim testimonials of the workers we met, and then we also juxtapose that with some interactive puppetry. We have our little character, Robox, who is like the Amazon interface.<\/p>\n

Why did you decide puppetry was the way to tell this story?<\/span><\/h3>\n

There\u2019s something wonderful about puppetry, in that it is obviously fake, and we as an audience accept that it\u2019s fake. The robot is a bunraku puppet, so it has three puppeteers that don\u2019t hide. You see them where they are, standing behind the puppet, and the convention is that you kind of just focus on the puppet, and you naturally do blur them out when you see them.<\/p>\n

When Robox is alive and fully articulate and running about the stage and all this sort of stuff, you don\u2019t see the puppeteers, who are working incredibly hard to make him real. And that was lovely, because it\u2019s exactly the same as Amazon.<\/p>\n

[As] long as you get the lovely performance from the puppet, you don\u2019t care how hard it is for the puppeteers. If you get the convenience of the website, you don\u2019t care how many people have to run around and get your stuff. So it became this wonderful dual-metaphor whilst we were exploring it.<\/p>\n

Can you talk us through how you designed Robox?<\/span><\/h3>\n

Robox was made by Jimmy Grimes. We were really, really lucky to work with him. It\u2019s been something we\u2019ve been wanting to do for ages, and we were very lucky to have arts council funding.<\/p>\n

[When] we were coming up with the ideas, obviously there was lots of reading, lots of research, all that stuff, and I\u2019m dyslexic so I find it quite difficult to make my way through a lot of texts. So I doodle to keep my brain active and to remind me of things. When we were talking about the idea, I started just doodling pictures of Robox.<\/p>\n

[We] sent [Jimmy] the drawings I\u2019d done, and some other images of the robots, and some 80\u2019s references, like Johnny 5 from Short Circuit<\/em>, and then we designed Robox to look the way he did. What\u2019s really lovely is that he looks exactly like one of my drawings.<\/p>\n

[We] wanted [Robox] to be able to reach anywhere, so he\u2019s got elasticated arms that can stretch, and he can grow. But what was really important was that the audience would connect to him. [So] he\u2019s got nice big eyes, but they\u2019re slightly lower on his face than would normally be, so you get all these signifiers of adorable, but then there\u2019s just these little elements and little tweaks that make him slightly other, slightly strange.<\/p>\n

[My] favourite bit of the puppet is the hands. [He\u2019s] got these brilliant hands that the puppeteer\u2019s fingers come through. You can still see these integrated human elements in the puppet which are really subtle, but when Robox climbs on you, all of a sudden you\u2019ll feel a human\u2019s hand on you, and it can be just that little bit disconcerting.<\/p>\n

What made you decide to incorporate improv into the show as well?<\/span><\/h3>\n

Because we had to replicate Amazon. Amazon is amazing [at] using its algorithms at personalising, getting to know every person individually, and so that\u2019s what Robox had to do. It\u2019s a nightmare!<\/p>\n

When I told my brother, who\u2019s not really into theatre, that we were doing this show, he thought he\u2019d be really, really helpful, and bought me an Alexa, which is the opposite of what he should have done! But it was useful to have. We kind of followed the similar impulses from the Alexa set up, because at the beginning of the show, the audience have to set up Robox, so he has to learn your voice, he has to be personalised to you, he has to get to know your facial expressions.<\/p>\n

We took those elements and it became very clear very quickly that the only way that we could personalise to each and every individual audience is to respond to what they are saying, which is what Amazon is amazing at.<\/p>\n

How have you found the Edinburgh Fringe?<\/span><\/h3>\n

I\u2019m a little bit tired, literally everyone is I think, but I\u2019ve really been enjoying this Fringe. We came up three years ago in 2016, and it was our first time up as a company, and we hit it hard and were like, \u2018We\u2019ve got to meet everyone, and we\u2019ve got to do everything, and we\u2019ve got to be everywhere!\u2019 and I think we were just absolutely exhausted by the end of it.<\/p>\n

Whereas coming up this time, we\u2019ve learned a little bit more and I think we\u2019ve taken that time for ourselves as well to go, \u2018You know what? Today I\u2019m going to sit down and have a coffee, and that\u2019s what I\u2019m doing this afternoon \u2013 I\u2019m not going to see 80 shows.\u2019 Because as amazing as it is to have so much theatre, it\u2019s exhausting and you can get emotionally drained.<\/p>\n

[It\u2019s] an emotional rollercoaster bringing up your own show. It\u2019s amazing and terrifying and hard and it\u2019s something that you\u2019ve been working on for years. We\u2019ve been working on this for a year and a half now, with this goal of we\u2019re going to get to Edinburgh, and when we both got here, all the actors were like, \u2018Cool! Let\u2019s go out!\u2019 and Kezia and I were like, \u2018I\u2019m really tired now\u2019.<\/p>\n

[What\u2019s] been really lovely is taking Robox out to flyer on the Royal Mile and a few different places, and just the people who\u2019ve been coming up and saying they\u2019ve seen the show and telling us bits that they liked.<\/p>\n

What would you like audiences to take away from your show?<\/span><\/h3>\n

[We were] really, really careful not to nag. No one wants to be told that they\u2019re the problem. People aren\u2019t the problem. The problems that need to be addressed are on a governmental level with the organisation and the company. [So] we were very, very aware that we didn\u2019t want to be like, \u2018You Amazon users are the only person to blame!\u2019<\/p>\n

So what I\u2019d like people to take away is just a wider awareness of the situation, to shop more responsibly, to realise that they don\u2019t need the squeaky pig the next day. [Amazon\u2019s] the largest company in the world, it made $10.1 billion last year. Our one Fringe show is not going to bring it down \u2013 yet<\/em>! But what we can do is make people go, \u2018These are the facts, this is the situation, this is the experience,\u2019 and then let them make their own minds up.<\/p>\n

Do you have any advice for those seeking a career in puppetry?<\/span><\/h3>\n

Obviously there are courses and things that you can do, but have an inquisitive mind. That\u2019s how I started. I always say I don\u2019t like humans. I always like the monsters, I always like the weird things, and so that\u2019s kind of where I started.<\/p>\n

I made some things, just had a go at papier-m\u00e2ch\u00e9. How would this live? How would this breathe? What are the laws of our real world that act on this puppet? So, if it can fly, how does it do it, and thinking of those logistical and mechanical ways in which it would exist is how I sort of started going.<\/p>\n

If this glass was alive, what would it do? What would it want? What character would it have? And then develop it from there. But yeah, have an inquisitive mind and [don\u2019t] be afraid to do it wrong is probably the best I can really say.<\/p>\n

Thank you Richard for your enlightening words! Take a look at our website for more interviews and advice from the Edinburgh Fringe<\/a><\/em>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Spotlight talks with Richard Hay, puppeteer and co-creator of Sharklegs Theatre Company, about puppetry, going viral, and taking Sharklegs\u2019 new, Amazon-exposing show, Fulfilment, to the Edinburgh Fringe. Hi Richard! How did you first get into puppetry? I graduated from drama school a long, long time ago, and I did a course at East 15 [where] […]<\/p>\n","protected":false},"author":2,"featured_media":3884,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[35],"tags":[118,95,90,154,81],"class_list":["post-3883","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-industry","tag-edinburgh-fringe","tag-interview","tag-natasha-raymond","tag-puppetry","tag-theatre"],"acf":[],"yoast_head":"\nTelling Stories through Puppetry with Richard Hay | Spotlight<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.spotlight.com\/news-and-advice\/the-industry\/telling-stories-through-puppetry-richard-hay\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Telling Stories through Puppetry with Richard Hay | Spotlight\" \/>\n<meta property=\"og:description\" content=\"Spotlight talks with Richard Hay, puppeteer and co-creator of Sharklegs Theatre Company, about puppetry, going viral, and taking Sharklegs\u2019 new, Amazon-exposing show, Fulfilment, to the Edinburgh Fringe. 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