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But as she exhibits more humanity, more connection to the man who loves her, she becomes more humanlike and finally, in a fit of jealous rage, when she is most in tune with her raw emotions, the actress who has been oh-so-deftly portraying the voice of the puppet seamlessly takes total control of the character.įor me, it serves as a larger metaphor about what we do here. She is, in the beginning, very remote, an imperious and demanding child, untouchable, unknowable in certain ways. He talked about the use of puppetry in the work and the way the puppet Shun-kin evolved into a human character and how that progression mirrored her devoted servant/lover’s (and our own) relationship to and perspective of the character. One moment in particular has stuck with me. It’s probably one of my favorite performances from my tenure here at CAP UCLA.Īfter one of the performances, director Simon McBurney participated in a thought-provoking Q&A session with the audience. “Shun-kin,” with its quietly intricate beauty, surprising and subtle wit left me with an overwhelming sense of joy and gratitude. We started the theater season off with a powerful bang from London’s Complicite. Our first month of performances has gone by in a colorful and inspiring blur and it has me waxing a bit philosophical (and verbose).