This unique collaboration, directed by Maggie Lally, included composer Joel Mellin and puppet designer Eric Wright (Puppet Kitchen). Conceptually we wanted to portray a world that was set “anywhere that greed and corruption existed”: every location and every time period. We embraced a third-world meets first-world aesthetic: burlap and plastic, wood and metal, bamboo and cardboard. In this world, people are identified by what they can be most abused for, so children and old people (the most manipulated by society) are puppets constructed of found objects…the rug merchants made of rug parts, the carpenter’s children made of newspapers, the trash picker made of plastic bottles and trash. The overall intent was to protray a world of decay, a post first-world slum that lays bare the skeleton of a dying industrial beast.
During the epilogue of the play, the entire cast of characters disintegrates into madness and chaos, tearing everything apart, banging on the set and props, and running around stealing everything in sight. As the main character realizes her state of helplessness, she steps out of her character by taking off the costume that conceals her preganancy pad beneath while emitting a primal scream that the entire cast pauses and enters into. A steady percussive rhythm of Japanese taiko drums continues as the the entire stage is dismantled and the backstage areas and crew members are revealed. The Assistant Stage Manager calls “Lights” to the Stage Manager in the booth and the theatre goes abruptly dark as lights come up in the house.