“The Firebird,” a classic ballet boldly reimagined with African dancers and larger-than-life puppets, takes the stage at Music Hall later this month, accompanied by the Cincinnati Symphony Orchestra led by music director Cristian Măcelaru.
The puppets, originally created by Handspring Productions and now by Janni Younge Productions, with choreography by Jay Pather, will be operated and danced by fourteen South African puppeteers and dancers.
The original ballet with music by Igor Stravinsky premiered in 1910 and quickly became a mainstay for orchestras and ballet companies. The story of a prince rescued by the firebird who leads him to free an imprisoned princess transforms into an odyssey of self-discovery for a young South African woman, the Seeker.
At the heart of this theatrical spectacle lies the Seeker’s journey as she embarks on a quest to unleash her creative power. With the first notes of Stravinsky’s electrifying score, spectators are whisked into a whirlwind of vibrant choreography, rich music and spectacularly crafted puppetry. The stage becomes alive with oversized puppet creatures, ranging from towering giants to delicate forms, culminating in a breathtaking finale as the mythical firebird ascends, a symbol of transformation and triumph.
The production debuted in South Africa and had a triumphant American tour in the summer of 2016. Măcelaru, then a rising conductor, led three of the performances at outdoor venues in Chicago, Washington and Philadelphia.
“My kids still talk about it,” Măcelaru said. “Ten years later, they say it’s one of their favorite concerts.”
Janni Younge, a South African artist and master puppeteer, was on the staff of Handspring Productions when the company was commissioned to create a synthesis of classical music with large-scale puppetry. Handspring was a logical choice, following its breathtaking creations for “War Horse” and other British stage productions.
In a 2016 interview, Younge said that “Firebird” was an obvious choice for her and she was determined to make the production distinctly South African. “Being South African, it was about bringing my context, where I live and my world to the Russian mythology. I was inspired by the original story, and it was never either/or. We knew it could be successfully adapted for the world we live in.”
Younge described the firebird as mythological creature representing a quality of inspiration emerging and developing. “You see birdlike forms emerging as the Seeker develops her own creativity and potential.”
Now head of Janni Younge productions, Younge oversees the “The Firebird” puppets, huge complex constructions, requiring as many as five or six puppeteers to manipulate them. Younge described the puppeteers’ role as “unusual and demanding.”
“They must dance and move fluidly, matching their body’s energy with the object. They must have imagination to believe because they are the puppet, looking, perceiving, breathing and bringing it to life. This is what creates magic.”
The puppets are constructed from bamboo, paper and vellum, with mechanisms that allow for heads, legs and arms to raise and wings to spread.
Younge noted that the wings are uniquely challenging because “wings don’t flap up and down, they move forward, especially when the bird is fighting.”
“I was so moved by the human qualities of these puppets, especially the eyes,” said Măcelaru. “When you look at them close up, it’s like looking at a living creature.”
“There are as many as five or six people operating the puppets, dancing as well as controlling the levers so that it looks like a living creature that moves independently. It’s really spectacular!”
This will be the first time Măcelaru will see the staged production. His previous three experiences were in outdoor venues, and the orchestra was positioned behind the performers.
The CSO will be seated in front of the stage, at a level where audiences can see both the stage and the orchestra.
Măcelaru prepared for the complexities of having music and movement in sync, based on his past experiences.
“Actually, the most challenging part is that once they start to unfold the puppets, you cannot stop the rehearsal, because it takes 6 hours for one of the puppets to be put back into its initial position.”
“I sent Janni Younge Production recordings for my speeds, tempos and cues so that they understand exactly how to time everything,” he continued. “Stravinsky’s music is very calculated, and the puppeteers need a certain amount of time to trigger a sequence.”
The Firebird and the dragon are huge puppets, but their puppeteers are always visible. Younge describes her production as artistic magic. “Of course, we want people to see and experience this,” she said. “And it’s equally important for audiences to feel the music because the performance is so tied in with the Stravinsky’s sound world, which is everything to us.”
This isn’t the first time a ballet’s story has been changed, and Măcelaru added that Stravinsky’s score was always meant to accompany a story. “The puppets are another version of the story that audiences can understand and be inspired by. And we hope they’ll want to see other versions of it.”
“This is truly a concept for all ages,” Măcelaru said. “It’s quite accessible for everyone and I hope this encourages parents to bring their young ones.
The concert opens with Gustav Mahler’s “Totenfeier” (Funeral Fire), which Mahler composed in 1888. Described as “a huge funeral march,” the piece was later incorporated into “Mahler’s Symphony No. 2,” known as the “Resurrection Symphony.”
“I was looking for a fiery connection with ‘Firebird,’” Măcelaru said. “I do think it’s a beautiful way to present a piece that many will recognize because of its connection with Mahler’s second symphony, but as a standalone piece, it’s rarely performed.”
“And of course, there’s a tongue-in-cheek connection!”
The Firebird and Mahler’s Totenfeier, April 24-25, 7:30 pm, Music Hall, cincinnatisymphony.org.
