The Center for Puppetry Arts is currently showcasing an imaginative production titled The Ninja Puppet Shenaniganza, described as emanating from “the deeply unhealthy mind of Raymond Carr.”
Running until June 15, the show is an eclectic mix of various segments pulled from different phases of Carr’s creative career, woven together with a quirkiness that is unmistakably his own.
In a pre-recorded introduction, Carr sets the tone for an experience that defies conventional puppetry norms, embracing an absurdist flair.
Each skit in the production captures Carr’s unique vision, transforming the mundane and contemporary political issues into over-the-top narratives.
The flow of the show has a stream-of-consciousness feel, reminiscent of improvisation, as Carr and his ensemble react to the wild ideas that surface during performance.
Despite the illusion of spontaneity, the technical prowess of the production is evident, showcasing a diverse range of styles, including traditional puppetry, shadow puppetry choreographed to music, and even pre-recorded video.
Notably, one segment employs blacklight paint against a dark backdrop to create a visually striking, albeit darkly humorous decapitation scene.
While at times the video and puppetry may lean toward the rough-around-the-edges aesthetic, this fits perfectly into Carr’s offbeat narrative style.
Tonally, The Ninja Puppet Shenaniganza oscillates between heartfelt whimsy and farcical comedy, blending these elements in a balanced yet unpredictable manner.
One segment titled “Too Long” intrigues with its unexpected somber tone, highlighting Carr’s range as both a writer and performer.
Yet, for the most part, the production delivers consistent laughter, with jokes that boast a distinctly dark humor, carefully balanced with lighter comedic elements.
The element of surprise is a hallmark of this production, epitomized by a technical glitch during the performance attended for review.
When technical difficulties hindered the flow of the show, the stage manager quickly intervened, guiding the actors backstage as Carr improvised in front of the audience.
Rather than disrupt the performance, this unplanned moment was embraced as an organic part of the show, seamlessly blending with the overall self-aware style that Carr cultivates.
The impressive creativity showcased in The Ninja Puppet Shenaniganza is further enhanced by a talented cast, with Carr himself appearing in nearly every piece.
Puppetry is also executed by Raymond Tiltion and Sarah Beth “EssBee” Hester, while pre-recorded performances feature an array of notable talents.
Carr’s vision is skillfully supported by a captivating production design, where the puppets range from realistic to abstract yet all maintain a certain charm.
Additionally, the technical aspects, such as Cricket Bradford’s lighting design and Ari Jerome’s sound, help create an engaging and irreverent atmosphere throughout the show.
At the start of the performance, Carr addresses the challenges of marketing the production, hinting at the potential complexities of his brand of absurd humor.
This unique style may not resonate with every theatergoer, but for those willing to engage with the unexpected and appreciate clever satire, The Ninja Puppet Shenaniganza is an enjoyable escape.
For anyone interested in experiencing this delightfully eccentric production, The Ninja Puppet Shenaniganza runs at the Center for Puppetry Arts until June 15, with tickets priced at $24.50.
Location: 1404 Spring St. NW.
image source from：https://www.artsatl.org/review-ninja-puppet-shenaniganza-keeps-audiences-guessing-and-laughing/
