WAVE productions’ “Beowulf: A Thousand Years of Baggage” modernizes an ancient story for today’s audience with a unique twist: puppets.
Written sometime between 650 and 1000 C.E., “Beowulf” is the oldest epic poem in English. It depicts a swamp monster, Grendel, terrorizing a kingdom until Beowulf, a prince of The Geats, comes to the rescue.
The musical adaptation, created by Jason Craig and Dave Malloy, translated the Old English into modern dialect and catchy ballads, transforming the ancient legend into a contemporary rock show.
Communication senior and Director Ethan Karas said the puppetry is an element that makes this production stand out. These dynamic props often appear on Broadway, but shows put on by the Student Theatre Coalition rarely have the budget for these specialized props. However, Communication junior Liam Jeninga, the puppet designer, and his team got creative to work around budgetary constraints.
In order to accurately portray the mythical monsters in this show, Jeninga engineered six original puppets, including 4-foot-tall humanoids and a 3.5-foot-long mechanical hand. He used a range of materials, including PVC pipes, screws, rubber bands and even copies of The Daily Northwestern newspapers.
Without puppets, the magic would be lost, Jeninga explained.
“If a puppet comes out, it’s a statement unto itself, and you know some crazy things can happen,” Jeninga said. “The rules for puppets don’t quite follow the rules for us.”
Jeninga said taking “Puppetry History and Performance” with Communication Prof. Dassia Posner sparked his interest in the art form. In terms of puppet assembly, he said that he is entirely self taught, using YouTube tutorials and trial and error to bring his designs to life.
The costumes, designed by Communication sophomore Ellsworth Sullivan add a grunge, contemporary feel to the production, Sullivan said.
Inspired by Chappell Roan’s Hangout Festival outfit, mixing bedazzled football pads and old school boxing shoes, Sullivan strived to combine and juxtapose different aesthetics, she said.
“It’s kind of like punk rock meets roller derby meets football meets (drag),” Sullivan said.
Beowulf represents the embodiment of strength and masculinity and required a physically large, imposing costume, Sullivan said.
The musical as a whole comments on toxic masculinity leading to needless violence, which Karas said is particularly relevant to today’s world.
“It’s interesting because we pitched it back in Spring Quarter of last year, so it’s definitely aged nicely,” said Karas. “I wish it didn’t.”
To emphasize and encourage discourse about the show’s themes, Karas added an immersive component: Audience members can be seated at the mead hall table where the musical is set.
Throughout the show, the cast can interact with the spectators by handing them props and speaking directly to them.
“I feel grateful that we have had such a wonderful team of designers and collaborators since the beginning that have all worked together to try to define what this world is and what it could be,” Karas said.
“Beowulf: A Thousand Years of Baggage” has shows Friday and Saturday in the Norris University Center Louis Room at 6:30 and 9:30 p.m.
Email: sophielewis2027@u.northwestern.edu
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