 Judith Martin of The Paper Bag Players talks about creating low-tech children's theater in a high-tech age.
Q. The Paper Bag Players are celebrated for their simplicity - story, sets and costumes. What do you make of all these elaborate productions for families on Broadway?
A. I have to admit I haven't seen many of them. Children are impressed by production values, but as far as understanding and emotional participation, I still feel simplicity is important to them.
Q. Simplicity affects children more deeply?
A. Yes, I think so. Simplicity in props and language makes the communication very direct. It's different from that spectacular bewilderment they - we all - get from watching a highly produced show - "How did they do that?!" The Paper Bag Players forego the spectacular for a connection on a child's level. The audience feels understood and included.
Q. To be good, children's theater has to be simple?
A. No. It's the kind of theater I prefer. It's the kind of theater I'm always trying to create.
Q. Tell me about how The Paper Bag Players got started way back in 1958?
A. 1958 - I find that hard to believe myself! A few artists from different disciplines - a dancer, a children's book author, a musician and a fine actress - we got together. We were all very attracted to fantasy, humor, movement - things children are also very attracted to.
Q. From the very beginning, The Paper Bag Players' goal was to perform for children?
A. In the very beginning, we rented a studio apartment on the Upper West Side to work in. It wasn't a rehearsal studio but an apartment where someone lived. We rented it for a few hours while the tenant was at work. We began to improvise little plays around some of the ideas some of us had. The tenant was very generous and easy, and we used things in our improvisation that were around her apartment - kitchen equipment, boxes, paper - probably very close to what children might play pretend with. I guess that's where the connection began. Our plays began to formulate into plays that we realized children might enjoy. Our focus was set very early in the process.
Q. The early '60's was an exciting time in New York City theater.
A. You mean the avant-garde Off-Broadway movement? Yes.
Q. Were you a part of that?
A. One of The Paper Bag Players' first public appearances was at the Living Theater. But it wasn't only the location. Everyone creating at that time was touched by the energy, the excitement in the New York theater community. We were especially drawn to the Theater of the Absurd. Not the dark, mysterious side of that kind of theater, but the element of surprise, the sense that anything can happen at any time. Children are also drawn to the absurd in life, and they love surprises. Our impulses tend to be cheerful, so our plays are full of happy surprises.
Q. Did anyone specifically inspire you?
A. Remy Charlip, one of the original Paper Bag Players, was the one who really urged the use of paper for costumes and props. I was a modern dancer - used to quietly swirling stretch jersey. I was horrified at the idea of using paper. When we began to use paper on stage, however, the children loved it. You could feel the amusement. They found it so funny. It convinced me that our use of paper is really just another way we spoke a child's language. Look at children's literature: Which stories deeply touch children? The stories that stay with them - Harold and the Purple Crayon, for example - simple, challenging, very powerful.
Q. You are a grandmother?
A. My daughter, Daisy, and her husband, Seth, have a son, Benjamin who is five-years old and a daughter, Lilah, who is one and a half.
Q. Are they fans?
A. Certainly! Lilah is still a little young for the details of some of the plays, but she enjoys the action, the music, the costumes, the props and the audience participation. When Ted needs the audience's help, Benjamin shouts louder than anyone!
Q. How have you remained so engaged, so creative, for over 50 years?
A. In our showDANDELION, in the title number, we keep asking the same question about the life cycle: "Is that the end?" In response, the audience repeatedly tells her, "there is no end." That's how I feel. It's not like the work is ever accomplished, finished. It's ongoing. The shows are for a very important audience: children. Children constantly inspire me. They are the best audience. They love simplicity. They have wonderful imaginations.
Q. Are you still creating?
A. Yes, although Ted Brackett became artistic director in June, I am still creating for the Paper Bag Players.
Q. There is no end?
A. There is no end!
(From the article that appeared
in ParentGuide)
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