Major productions are increasingly using puppetry alongside actors and actors are expected to have an insight into this performance craft which is as old as acting itself. Mervyn's session explored how can an actor work with a puppet, and with other actors and puppeteers, to create a convincing and consistent character. As well as the practical elements, the session included a Q&A.
Following the session, there was a book signing & networking drinks.
Mervyn Millar is a theatre and puppetry director.
He was involved in the creative team of the National Theatre’s War Horse from its first workshop, also appearing in the show at the National Theatre and directing casts in London, New York, Toronto and Berlin. He is Director of Significant Object.
Other puppet design and direction includes: As You Like It, Great Expectations and The Comedy of Errors at the RSC, Circus 1903 (international touring), The Great Elephant Chase (Burgtheater Vienna), Newman for Sir Paul McCartney, Fox-Tot! (Scottish Opera), Stiller (Residenz Munich), The James Plays (National Theatre of Scotland & NT), Crow (Handspring UK), Siegfried and Die Walküre (Opera National du Rhin) and work for the Royal Opera House, the Royal Court, Lyric Hammersmith, Bristol Old Vic, West Yorkshire Playhouse, Birmingham Rep, the Young Vic and the National Theatre Studio. He was also Director at the Finborough Theatre between 1998 and 2000.
Mervyn’s books on puppetry include Puppetry: How to Do It, The Horse’s Mouth (about the making of War Horse) and Journey of the Tall Horse. He was awarded an Arts Foundation Fellowship in 2010.
(Photo Credit: Nick Arthur Daniel)