My name’s Eric Avery and I’m the designer of puppetry for Moby-Dick. The puppetry has a lot of different textures, so there’s very joyous moments
that are silly, and playful, and ridiculous, and absurd, and full of high energy. There are moments that are
more somber and more tender. So it’s been really fun to be able to dream wildly in this section and do this sort of thing that’s big. And then, shift over to this section and it’s a totally different idea. Working with the creative team is a blast. It’s very detailed because it’s a huge, huge show. Mimi has been so integral in helping figure out what the puppetry is and where it needs to be. Thinking about the puppetry of Moby-Dick being in conversation with America today, the big thing for me is environmentalism. And obviously that intersects with capitalism, that intersects with white supremacy, that intersects with colonialism, that intersects with so many other issues and oppressive systems and patterns that the production is trying to make space for conversation around. The puppets in Moby-Dick are really inspired by waste stream materials. All these things that are very much a part of our everyday lives Getting to be expressed physically and visually onstage through these objects that have meaning for us because all of us have had a plastic water bottle, but we don’t necessarily think about
How is that produced? Where does that come from?
What are the environmental impacts of it? Because they’re so ubiquitous. They’re everywhere. The stuff that would go into the landfill, we reclaim that stuff and turn it into beautiful puppets.