"Handspring Puppet Company" is now available for sale online ! (Through David Krut Publishers).   Book Review by Philip Todres: Fine Music Radio, 11 January 2010   If you need convincing that puppets are not just about Punch and Judy shows for kids, then Handspring Puppet Company edited by Jane Taylor and published by David Krut is absolutely essential reading.    This handsome book celebrates the internationally acclaimed and award winning contribution to the visual and performing arts by that extraordinary creative team of Adrian Kohler and Basil Jones.   The book takes you on the journey followed by these two visionary artists. What I particularly appreciated was that although the book reveals the incredibly intricate process that goes into the development of their theatrical performances, this detailed delving into the complexities and nuances, heightens the magic, rather than dispels the sense of wonderment that is so bewitchingly worked.   Visually the book provides a stunning documentation of the world of Kohler and Jones. From working drawings through to photographs of carved puppets, costume designs, and the puppets and puppeteers in action, you have a remarkable tome that will provide endless visual delight. There is enormous pleasure in picking up on details that these pictures reveal and a wonderful sense of comfort in knowing that these images are so carefully recorded.   The bonus is that the world of puppetry in general, and the contribution of Handspring Puppet Company in particular, are wonderfully recorded through several articulate voices – including off course both Kohler’s and Jones’.   In the Preface, Jane Taylor tackles the issue of categorisation of this art form. Handspring received renewed global attention with the success of War Horse, a production commissioned by the National Theatre in London in 2008. Handspring won the Lawrence Olivier Award for Set Design. Yet in War Horse, the looming cane framed horses designed for performance are not wholly actors, nor can they be described as being part of the set, or fit neatly into the category of ‘costume’.   The complex relationships and the crossing of boundaries and disciplines is what the various essays all reveal and contribute to a fascinating debate.   Jane Taylor argues that defining a puppet involves an understanding of the complex relationship between puppeteer, puppet and audience. The constant pursuit to understand and develop this relationship is perhaps what singles out Handspring – their intellectual searching for the answers has led them to insights and understandings that have given their work a distinctive edge.   The essay by Adrian Kohler provides a valuable history of the company and their projects. It also reflects their growth as artists – both creative and performance. I’m intrigued that the starting point had been to use puppets to produce new works for children. But Kohler notes that from the start there was a strong desire to make work for adult audiences. The progress from their early production – Episodes of an Easter Rising – staged at the Baxter Theatre in 1985 - is a wondrous and exciting journey. Kohler’s insightful account is truly fascinating and hugely informative.    Adrienne Sichel, herself an iconic arts journalist, has tracked the development of Handspring from that production of ‘Easter Rising’. She recalls: “What I saw...had an immediate impact on my then keen interest in and developing sense of indigenous South African theatre-making. .....Any previous preconceptions I had about marionettes....evaporated”. Her critical assessment is incisive and fascinating.    Each of the contributions intrigues. William Kentridge talks about his fruitful association with Handspring. Lesego Rampolokeng – a rapper and poet who worked on the script for the production of Faustus in Africa - has written a poem about this collaboration. Artist Gerhard Marx gives us an intriguing analysis of his understanding of creating life through puppetry.   The final essay by Basil Jones is a lucid and erudite examination of who is the author or perhaps it raises the question ‘whose life is it anyway?’ This account certainly helps one come to grips with the hugely complex relationships that come into play in creating this vital theatrical life force. In essence Jones tries to identify and locate the creative soul of the puppet.   The book Handspring Puppet Company is a stimulating read and a valuable resource. A veritable treasure that costs R480 in soft cover.   Book launches: 19th November, David Krut Publishers, Arts on Main, Johannesburg 18th of December, Kalk Bay Books, Kalk Bay, Cape Town   This new book is centred around an absolutely RAVISHING collection of pictures from all our adult shows, including sketches, designs and posters. Photographers include John Hodgekiss and Ruphin Coudyzer. There are production shots, portraits of the puppets but also many designs, sketchaes and posters. There are essays by Adrian Kohler on the motivations behind our work, by Basil Jones on the nature of authorship in the puppet theatre, by Gerhard Marx on the puppet as object, and by Adrienne Sichel on Handspring’s impact on the theatre scene in South Africa. There is an interview with William Kentridge on his work with puppets and  a more general overview on puppetry by Jane Taylor, the book’s editor.    The book was designed by Ellen Papciak-Rose who was responsible for the design of William Kentridge’s beautiful FLUTE book.    This book  provides readers with a real insight into Handspring’s work and thinking.

Journey Of The Tall Horse by Mervyn Millar With its mix of magnificent puppets, live actors, captivating costumes and evocative music, video projection and dance, Tall Horse has enchanted theatregoers world wide. This spectacular production was the result of an exceptional meeting between South Africa’s Handspring Puppet Company and Mali’s Sogolon Puppet Troupe. Visiting Handspring to observe their work and then staying attached to the project as Assistant Director, Mervyn Millar had unique access to the production, from development workshops, through rehearsals and premiere in Cape Town, to the re-rehearsals and first performances for the world tour. The book tells the story of the collaboration between Handspring and Sogolon, and their creative partners Marthinus Basson and Koffi Kôkô.  This publication includes photographs of the production and a playscript of Tall Horse by Khephra Burns.    ISBN 9781840025996. Available worldwide from the publishers via www.oberonbooks.com

The Horse's Mouth: Staging Morpurgo's War Horse by Mervyn Millar From 2005 until 2007, Handspring worked with the National Theatre in the UK to create an epic show for the large Olivier auditorium. The multi-award-winning War Horse, a moving adaptation of Michael Morpurgo's novel set in the First World War, was the stunning result. This book, part of the series 'The National Theatre at Work', follows the production of War Horse from early concept workshops, through the design and development of the magnificent life-size horse puppets, rehearsals with the ensemble, and onto the Olivier stage. Mervyn Millar's involvement as a member of the creative team and a puppeteer gives an extraordinary insight into the way this stage version of Michael Morpurgo's novel takes audiences on a journey through history.    ISBN 9781840027655. Available worldwide via www.oberonbooks.com