A Pinocchio Tale That Isn’t Wooden

A Pinocchio Tale That Isn’t Wooden

A Pinocchio Tale That Isn’t Wooden

A review of Charlie Petch’s Daughter of Geppetto.
By Derek Newman-Stille

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In their performance “Daughter of Geppetto”, Charlie Petch takes the fundamental idea of Pinocchio – “I want to be a real boy” – and turns it into a Trans tale, asking questions about what “real boy” means and the questions this poses about gender and performance.

Petch performs a one-person play, using multiple media including a sound board that lets them echo sounds and play with soundscapes to provide context for their act of storytelling, music performed by Petch, and shadow puppetry to invite the audience to think about ideas of echoed voices, overlapping waves of sound and the idea of puppetry itself (since Pinocchio is, ultimately, a puppet). Petch brings attention to the ways that theatre is made and the theatricality of theatre, breaking down the boundaries between audience and stage. They invite their audience to think about performance itself and the ways that we perform our identities off stage, pointing to the scripted way that we express gender in our society.

Like much of Petch’s work, “Daughter of Geppetto” defies simple categorization, encompassing theatrical performance, puppetry, musical performance, spoken word poetry, and fairy tale.

“Daughter of Geppetto” illustrates the craving and need for fairy tales in the Trans community and the power that fairy tales have to shift and change and adapt to new voices. For a community that is constantly being told about tradition and that we don’t fit into tradition, the idea of adapting fairy tale traditions for the Trans community is important because we need these stories. We need to play with our fairy tales and see ourselves in and through them.

“Daughter of Geppetto” is a powerful, evocative, and, yes, transformative tale. It is beautifully dark while also delightfully light and playful. It is new and innovative while also playing with and illustrating the magic of traditional tales.


To find out more about Charlie Petch, visit their website at http://www.charliecpetch.com

Check out a trailer for “Daughter of Geppetto” here https://youtu.be/YYt5NHfYB_U

An Interview with Kate Story About Festivus Rattus Rattus 2035, an Adaptation of the Pied Piper

An Interview with Kate Story About Festivus Rattus Rattus 2035, an Adaptation of the Pied Piper

By Derek Newman-Stille


Today I chat with Kate Story about her latest performance “Festivus Rattus Rattus 2035”, an adaptation of the Pied Piper tale. Story and I discuss the complexities of adapting folk narratives into performance and the importance of adapting folk tales to talk about important issues. Story explores the performance’s examination of complex issues like child abuse, capitalism, climate change, and violence. Festivus Rattus Rattus 2035 is a post-apocalyptic tale set in Peterborough Ontario after a plague.

Here are some details about Festivus Rattus Rattus 2035


Date: Thursday, November 30 – Saturday, December 2, 2017
Time: 8 p.m.
Location: The Theatre on King (159 King Street, Suite 120, Peterborough)
Cost: $15 or pay what you can
The performance features Derek Bell, Brad Brackenridge, Sylvie Dasne, Naomi Duvall, Rob Fortin, Ryan Kerr, Shannon McKenzie, Mike Moring, Susan Newman, Robyn Smith, Kate Story.

For more information please visit www.facebook.com/events/564288463913849/