ajhlovestheatre

THE SEX LIVES OF PUPPETS

written and directed by Mark Down and Ben Keaton

based on an original idea by Mark Down

Southwark Playhouse – Borough, London – until 28 September 2024

https://southwarkplayhouse.co.uk/productions/the-sex-lives-of-puppets/

Just in case you thought Avenue Q was the last word in puppets getting freaky, here comes Blind Summit Theatre’s mischievous but surprisingly insightful set of “interviews” with puppets, following critical acclaim at Edinburgh and a sell out run earlier in the year here at Southwark where it now returns. It’s not difficult to see why The Sex Lives of Puppets is so popular.

Created in collaboration with the National Survey of Sexual Attitudes and Lifestyles (also known as Natsal), Mark Down and Ben Keaton’s unique sketch show covers all manner of kinks, foibles, preferences and attitudes to a subject that’s a primary force in human existence yet still causes maximum discomfort and controversy. It filters them through the blank stares, exaggerated features but delicate, detailed movements of a series of exquisite puppets designed by Russell Dean; coupled with the vivid, versatile vocal performances of a talented quartet of actor/puppeteers (Down, joined by Isobel Griffiths, Briony O’Callaghan and Dale Wylde), the result is illuminating, often hilarious and occasionally profoundly touching. 

Given the show’s connection to Natsal and the fact that many of the anecdotes are so strange yet plausible, it’s unclear whether the script is a series of verbatim monologues and duologues or brilliantly crafted fictions. If it’s the latter, then Down and Keaton are extraordinary writers but even if it’s the former, they’ve done a terrific job of compiling a smorgasbord of rich, ripe characters, outrageous stories and tender confessionals. 

The duets worked best for me: the randy elderly couple, both married to other people, that open the show, or Harry and Frannie, the vinegary middle aged New York intellectuals who end up having full on, hilarious sex, then there’s the drag-loving gay gentlemen in a nursing home where apparently everyone is at it, and perhaps best and funniest of all, Kate and Helen, the seemingly matter-of-fact lesbians who realise near the end of their interview that they are in quite different headspaces. The back and forth of dialogue between these two – loving, arrestingly funny, brutally frank and a little bit unhinged – is reminiscent of vintage Mike Leigh.

The most unexpectedly moving is the encounter with Dimitri the middle aged financier (“I am a larger man” he keeps repeating as though by way of apology) who after losing his wife, finds an autumnal romance with Robin, a free spirited woman who clearly adores him and is willing to explore the more unconventional aspects of their sexual preferences. The fusion of voice and puppetry in the best of these sketches makes you forget you’re watching inanimate, non-sentient objects and actually encourages you to embrace and reconsider the humanity behind the inspirations for these bonkers, often lovable puppets. It’s quite remarkable.

Also remarkable is the cast, who perfectly negotiate the tightrope between sincerity and parody. Isobel Griffiths is especially adept at vocal transformations as she gives expression to a weird and wonderful range of characters, but there isn’t a weak link in the company. 

Personally I could have done without the shadow-puppet enactment of porn that closes act one and the mass orgy that ends the show. Both seriously outstay their welcome and feel like stuffing, if you’ll pardon the expression, in what should be a fleet, fun, surprising bit of theatre that has been expanded to include a pointless interval and a couple of moments of self-indulgence. Despite those reservations, the overall takeaway is that this is pretty irresistible. 

Although it’s a limited return season, The Sex Lives of Puppets – eccentric, endearing and peculiarly English – feels like the kind of irreverent, original cult hit that could potentially run for years in an appropriately intimate venue.