Our Spring Tour has finished and our Summer Program is Beginning. Click the Summer Schedule tab above for more details. Check back here for the Fall 2016 Tour Schedule soon!
For descriptions of the shows in the current Touring repertory, scroll down.
DESCRIPTIONS OF TOURING PRODUCTIONS:
The Seditious Conspiracy Theater Presents: A Monument for the Political Prisoner Oscar Lopez Rivera
From the meaning of the word “conspiracy” to the indictment of “seditious conspiracy,” a group of competent clowns supported by a chorus of seditious conspiracy dancers demonstrate the effects of U.S. actions on the island of Puerto Rico, as well as the power of the government over the individual freedom fighter by highlighting the stages in Oscar’s life that led to his incarceration.
Underneath the Above Show #1 (inspired by the forthcoming elections in the greatest country in the history of the world)
This show takes place in a distant, mountainous country much different from ours, where successive unsuccessful cardboard kings reign with fleeting promise over an over-life-size, technicolor cardboard electorate, operated by a hardhat workforce prone to coffee breaks, until the eternally-hopeful population installs a jolly old god in the highest office of the land. It’s a hilarious, timely antidote to the election-themed entertainment on TV. And, with its raucous energy and bright palette, it makes a great spring hurrah!
The Overtakelessness Circus
This year’s Bread and Puppet Circus, which takes its title and some of its themes from Emily Dickinson’s poems, features clown advertisements for the gun industry’s latest attempts at gun diversification, football reenactments of coach Obama’s rush of the TPP, the exposure of the real reptilian cause of the failed government response to California’s drought crisis – all in all a hectic, hilarious, and beautiful monument to the shipwreck of our current situation.
The Public Access Center for the Obvious Presents: The Situation
This upbeat puppet play features an anti-extinction angle, the union of brooms, a 100 watt light-bulb, and a ship of fools, all for the purpose of urging the not yet upriser-masses into existence.
Shatterer of Worlds Chapel with Naturalization Services for Applicants Requesting Citizenship in the Shattered World
A walkabout political puppet performance, enveloping audience and performers alike. At the moment when the first atomic bomb was dropped, Oppenheimer, the chief architect of that bomb, recalled words from the Bhagavad Gita, the Hindu prayer epic: “Life, the splendor of 1000 suns blazing all at once, resembling the exulted soul, is become Death, the shatterer of worlds.” In view of the latest failed earth summit and faced with the likelihood of multiple planetary shatterings, this sentence is reproduced by the Paper Maché Authorities in the Cathedral of Impermanence for your enlightenment and as a reminder of our possible predicament. The overt extrajudicial capabilities of the society system allow the shatterer of worlds to function legally to cultivate destructions so minute and gigantic, the eye cannot perceive and the mind cannot behold them. No politician, no hazardous substance, but a well-established tradition and demon strengthened by endless practices of devastation, the shatterer continues to plot the assassination of existence-as-it-is, while disguising his activities as benevolent maneuvers meant to cure the two ailing adversaries: the planet and humanity.
Link to representative “The Shatterer of Worlds” footage taken by Mark Dannenhauer: http://vimeo.com/75177278.
Birdcatcher in Hell
In 1971, inspired by the fresh green of the Cate Farm meadows, Peter Schumann was moved to make a show all in red, sculpting and painting dozens of masks, including a huge, intricately decorated “King of Hell.” The story came from an ancient Kyogen, a comic interlude in the Japanese Noh cycle. Schumann, together with poet Bob Nichols, had already created a “Birdcatcher” show in the mid sixties back in New York City. Strong political messages colored both versions: The bombardment of Vietnam civilians by US “observers” in the sky-blue 1960′s version, and President Nixon’s pardon of Lt. Calley, responsible for the My Lai massacre, in the later 1971 version. This show also included texts of slaughter and mayhem from the Iliad.
This year, Bread & Puppet presents a revival performance of this historic 1971 with members of the original cast from that time. Now, 42 years after the first performance, many of the original performers – Sue Bettman, Mark Dannenhauer, Marc Estrin, and Avram Patt – take part in the effort. B & P Press Printshop Manager, Lila Winstead, with community help, re-printed the many costumes and banners from the original masonite cuts.
FIRE was Originally created in 1965 and later dedicated to three Americans who immolated themselves in protest against the war in Vietnam. Fire is a glimpse into seven days in a Vietnamese community which is incinerated by firebombs, followed by a scene referencing the protest self-immolations. Fire is performed with life-sized puppets which resemble their manipulators. George Dennison, author, educator, and longtime observer of Bread & Puppet, said: “To some extent (Fire) is a service to the dead. Beyond this it manifests certain of the deep premises of the human condition, the inequitableness of life, our dependencies on each other, the social nature of the self.”