So yesterday I went and interviewed Ronnie Burkett while he’s in town with his latest show (more info, tour dates, etc here). Before I get to the actual interview, I need to add some preamble… bare with me, it’s good stuff… Or you know, skip all of that and listen to the interview (you may want to read the stuff below, because we chatted a bit before doing the interview and so some things might not make sense, but not enough to confuse listeners entirely. Plus, there’s some awesome pics!).

WARNING: there may be some spoilers in terms of set and/or puppet design. There are no plot spoilers as far as I’m aware. Use the player above to listen. If anyone can?t seem to use the player (those viewing through an RSS feed may need to actually visit the Puppets in Melbourne website to see the player), you can download the interview in mp3 format here. Make sure you turn your sound up/on! Click on the images for larger and more detailed views.

Ok so while most puppeteers go to jelly over Jim Henson, I go to jelly over Ronnie Burkett’s work. I’ve been a big fan of his since I first saw Tinka’s New Dress, the last of a trilogy of shows. A few years later I saw Provenance, and his latest to retire, Ten Days on Earth. In fact, the latter was performed only in Sydney, but luckily I scheduled to see the show when he did a live Q&A/interview in front of the audience for ABC Radio.

Ronnie did turn up in Melbourne on that trip, but briefly, as he was giving a class at the VCA; he also did a public talk there, at which I had managed to grab his arm and introduce myself before he got up on stage (quite literally, while he was being announced!). Some time before this intro I had emailed Ronnie although we’ve both been busy and haven’t been in contact much. … This sort of introduces my history with him, although this isn’t how I managed to land the interview. It does however, explain perhaps why he was so willing to be chatty with me during it, as he remembered me from last time (yes I know, squee! ).

How did I manage to land the interview? A little luck and a little bit of courage: I just happened to get an email from the Arts Centre about the show, and while I was telling them I’d be happy to plug the show (which, of course, I was) I also asked them if it was possible to arrange an interview. And they said yes! So before we even start, I’d like to say a big big thank you to Amaya Courtis and Carmen Greenway (from Mollison Communications and the Arts Centre respectively) for arranging everything.

As it turned out, Ronnie was doing a media call yesterday; basically a time in his schedule where he would be available for photos to be printed in the local media. This is all done in the Fairfax Studio, the theatre he’s performing in while at the Arts Centre. I arrived a little early, but being very familiar with the Fairfax, headed towards the doors and saw no one around. Some people kept popping in and out of the venue, and I overheard a little about cameras and lighting and assumed that was my contact: I kind of took a risk and wandered in. I was right, and everyone quickly got to work. (I even got introduced to Ronnie’s stage manager, whom of course, I now despise out of jealousy )

I wasn’t quite sure what the protocol was for me, and since I was invited to take a seat, I did so while two photographers did their thing. I kind of felt like a fraud - them with their press tags around their necks, me with none; them with telephoto lens and high-tech cameras, me with my piddly Canon Ixus 70 (very small digital camera). Ronnie was dressed in his costume for the show, and did some poses with various puppets: Billy Twinkle, of course (pictured above on the piano); Rusty Knockers; Biddy (pictured below); and Sid Diamond. I got in a few shots, but knew the subtle lighting would be too much for my camera, so I held off taking a lot. I was right, even with the few shots, some were blurry.

I can’t tell you how amazing the set is. Burkett’s shows always have pretty stunning sets, and this latest one is fantastic in its simplicity. It took me about five minutes before I realised what the set was of; it’s like the realisation appeared to me like a wave coming up on the shore. (Pictured above) I spent most of the media call overviewing the set and the way things are arranged; I’m glad I did, as I noticed quite a few things I wouldn’t before the show (I’m going on the 8th Sept), which is a time I always give to inspecting the sets. - Just something I do from years of drama study. 

Well, finally the photographers finished up, and the publicist points me out to Ronnie and notes that it’s time for me to interview him. This is where it gets really really fun.

Ronnie asks me up on stage, and shows me around the set (I know, I know… squee! There’s a lot of squee moments, so let’s just pretend I say that every time something good happens). I not only get to walk up on stage - and hey, as a fellow theatre worker, I totally respect someone else’s set and wouldn’t even dare to ask, let alone expect to see backstage - but I see all of his puppets hanging up behind the set. As with many of Ronnie’s shows, the hanging puppets are somewhat visible to the audience at all times. There’s quite a few puppets hanging up: I’d guess about 26, although don’t quote me on that. I’m literally two centimetres away from all of his intricate, refined, detailed puppets. (So tempting to touch, and I’m not sure Ronnie would have minded had I asked, but I didn’t) There’s some really love stuff, like making the costumes of some of the characters lighter or duller according to their age (he has doubles of some characters, when they’re younger and when they’re older). I’m sorry to say to my readers that I got none of this on camera… except for one thing, the Lady with Puppet Jesus. This is so much of an in joke that I doubt any ‘regular’ people will get it. (Yeah, kermit green by the way. If you don’t get the joke, you may want to read up about puppet ministry) He pointed out to me some of the more unusual characters of the show - I won’t spoil things for you - and remarked that the strings, 16 on each puppet, do get tangled quite a lot. 

If you’re wondering by the way - this is more than just an exclusive interview. I had the whole venue to myself and Ronnie, not including the publicist, the stage manager and stage hands, the lighting operator…  Seriously, it was just me and him though.

So we come back around to the front of the set, and he asks me whether I want to do the interview, or just want to chat. There is no emoticon on my site that represents how much I wanted to just chat. But I knew you’d all hate me if I did that, so I caved in and said, "let’s do the interview".

Well, he and I sat on the edge of the set, and chatted. The following is a transcript of our conversation; I did record it for posterity and ease, but don’t know if I’m allowed to post the audio. If I can, I will. (Additionally, a short note for Michelle: I didn’t get enough time for all the questions, even my own, but I hope you’re sufficiently satisfied with what we did get to discuss)

This isn’t all - we quickly ran out of time, and Ronnie and I thanked each other, I mentioned that I’d be seeing the show, and then he made to leave. I was about to grab my stuff when I realised: I need a photo with Ronnie! So I was lucky enough to get this awesome picture…

… I can’t express how wonderful the morning was. From the second I stepped onstage, to the second I left, Ronnie was as friendly and chatty as everyone else had told me. He really treated me like a long-lost friend, and I can’t thank him enough for taking the time to talk to me and to open up his work and life for the interview. (On a slight side note, it amazes me that since starting theatre when I was 10, that I now have the opportunity to interview world-renown performers is a weird concept; weirder still that they let me wander around their sets like I was part of the team)

I am hoping to post a review of Billy Twinkle once I see it next week, but to be honest, I’m not sure I should. Mainly because I’m very very biased towards his work already (as in, I consider his work in my top ten list of favourite shows, which is extremely hard to get onto), and partly because I really just want to go and enjoy the show - hardly something you can do when you know you’re going to do a review. So we’ll see. In the meantime, if you’re in Melbourne, I highly recommend spending your recreation money on seeing the show. If you saw Avenue Q and want more from your puppeteers, or are simply seeking more puppetry in general, Ronnie Burkett is one of those ‘must sees’. More info here.