INTERVIEW: Fear under the microscope in ‘Western World’ puppetry show
Photo: Fear in the Western World is David Commander’s commentary on gun violence in the United States. He utilizes digital puppetry to tell the horror-filled story. Photo courtesy of Maria Baranova / Provided by Everyman Agency with permission.
The issues of contemporary society, including political and economic realities, have influenced the theatrical world to no end. There’s hardly a week that goes by that another monumental work doesn’t address the administration of President Donald Trump, the in-fighting between Democrats and Republicans, the #MeToo movement or violence in the United States.
David Commander and Rob Ramirez, two theater makers working in the medium of puppetry, are also addressing topics that dominate the headlines. Their unique take, dubbed Fear in the Western World, offers a critical look at not only fear, but the gun-control debate in the United States. Their world-premiere play comes to New York City’s Target Main Theater as part of the company’s TMT Presents series and Exponential Festival, according to press notes. Performances run through Jan. 19.
Commander wrote and directed the work, which is performed by Nikki Calonge, Maria Camia and Commander himself. The plot is somewhat surreal (remember “real” is part of surreal), featuring a young woman abducted from her home by spirits. Her parents head into the catacombs beneath their house to find her and confront their fears. Along the way, as press notes indicate, Commander utilizes horror movie tropes to tell this scary, commentary-based story.
Recently Hollywood Soapbox exchanged emails with Commander, who utilizes the technique of digital puppetry in Fear in the Western World. Questions and answers have been slightly edited for style.
What initially sparked the inspiration in you to create Fear in the Western World?
The Sandy Hook mass shooting. At the time, I thought, well, if a bunch of children being murdered in the classroom doesn’t bring about some kind of reform — nothing will. It didn’t, and nothing changed. I observed how the anxiety created from that horrible event was recontextualized and poured into statistics and opinions. America devours anxiety. It’s our amusement park. I wanted to make a show about that.
What issues are you trying to address with the theatrical piece?
The intersection of common sense, gun fetishism and fear as a tool of control. How a nation that holds convenience in such high regard negotiates its relationship to danger — both real and imagined. The unrelenting presence of guns and their impact on marginalized communities.
How would you describe digital puppetry to someone who doesn’t know the art form?
It’s not so different from traditional rod puppetry, except we don’t fabricate the face of the puppet. Instead, our puppets have a screen for a face. This screen displays a multitude of different pre-recorded facial expressions from an actor who is also controlling the puppet on stage.
When did you first fall in love with puppetry?
The truth is, as much as I respect the art of puppetry, I don’t really consider myself a puppet person. I cover a lot of areas and concepts in my work, only puppetry is flexible enough to express the narrative. I guess I love the utility of puppetry.
Does gun violence in the United States scare you? Do you have fear surrounding this hot-button issue?
Yes, it does. Mass shootings have become so ubiquitous that they barely make headlines. Any public space can be a shooting gallery.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Fear in the Western World, co-created, written and directed by David Commander, plays through Jan. 19 at Target Main Theater’s The Doxsee on 52nd Street in Brooklyn. Click here for more information and tickets.
