Plays for Young Audiences (PYA) Spotlight: ‘Mr. Popper’s Penguins’!
There are hundreds of plays for theatre-makers to choose from in CTC’s expansive PYA catalogue, but it can be hard to decide which one to bring to the stage! In this feature, PYA Spotlight, we’ll be looking at shows from our catalog and asking theaters why they loved producing these works.
This week, we’re featuring Mr. Popper’s Penguins, based on the book by Richard and Florence Atwater, adapted for the stage by Jody Davidson, and featuring music from Brett Schrier. Mr. Popper lives a pretty normal life with his wife and two children in a small town. He works as a house painter, but dreams of traveling to Antarctica, just like his favorite explorer, Admiral Drake. When a letter he sends to Drake gets noticed, Mr. Popper receives a special surprise from the Admiral — a penguin of his very own. Learning how to take care of a penguin in a small town is a tall task, but before they know it, the Poppers have a family of a dozen penguins living in their home! Mr. Popper and his big family hit the road as a performing flock and learn more about chasing their dreams and looking out for one another.
PYA Interns had the chance to see a production of Mr. Popper’s Penguins come to life on stage at St. Anthony Community Theatre (SACT). After the show, we sat down with director Eric Norton and and Cathy Gustafson, costume designer and president of SACT, to find out why they love Mr. Popper’s Penguins so much.
PYA: Did you know the story of Mr. Popper’s Penguins from the book or movie before you found this script?
Gustafson: From the book. It was one that I read to my kids in elementary school, so we’re very familiar. It was one of their favorite books, so when Eric brought it up, [I said] “Seriously, it’s a play? Is it a musical? Yay!”
Norton: When I grew up, my parents were super strict about what movies I wanted to see. If there was a book version, I had to read that before seeing the movie. I grew up just reading a lot and, [with] my parents, with their love of literature, I ended up reading Mr. Popper’s Penguins with them. But, it’s also nice to have that movie adaptation so it’s in more of our contemporary brains. That way, when we say Mr. Popper’s Penguins onstage, there’s some kind of branch over there, like “oh yeah, that thing with Jim Carrey? Okay!” and that stems some interest, which I thought would be helpful. But yes, I read the book first.
When you were choosing shows for your season, what about Mr. Popper’s Penguins made you realize this was a show you definitely wanted to do? Norton: There was a committee that pitched shows and [certain past shows had gone] over really well because of the large amount of involvement with kids. Mr. Popper’s Penguins was one that resonated with the committee in terms of its importance of literature, that sentimental value, and what it brings to the audience [with its message that] it’s important to chase your dreams. There’s a lot of people who say that their dreams and their hopes don’t matter, [so] to have something where . . . a whole community is helping Mr. Popper achieve what he is doing . . . reflected out here, is really important.
Is there anything in this production that you think is more exciting to see on the stage than the book?
Norton: Oh my gosh, anytime you can put kids into a penguin role and just go at it is a lot of fun. I know that they’re really proud of the work that they do. They all have backstories for their penguins — we have a penguin that loves crafts and a penguin that loves attention, so we’re trying to work that into the story like, “What does that mean [for these characters]?” Also, collaborating with Cathy, our costume designer, to make sure that it’s not just that these kids are in penguin garb, but that they are penguins. Costuming like that, I hope that’s of interest.
What kind of work did you do with the penguin ensemble to help them get into the mindset of being that bird?
Norton: Working with “what is the anatomy of a penguin?” was a big deal. [We did] exercises like, “You don’t have knees! You don’t have elbows!” Some physical reminders: we put a small piece of tape on their arms and said “if you can feel that tug, you’re probably bending your arm too much.” And we put tennis balls in [between] their knees to have to waddle to see, “can you keep that ball strictly between your knees?” and they had fun with that as well. But then with every scene, you have to remind [the actors] of [what’s going on]. There’s so much happening! [The actors playing penguins] are responsible for so much and being a bird, on top of all that. It also gives them ownership where it’s like, “you have responsibility for more than just standing on stage”; there’s a constant activity that brings you back to your physical character that then brings you into the scene.
Do you have a favorite moment in the show?
Norton: The “Lonely Lovesong” with Captain Cook and Greta is my favorite. They’re so adorable together, [especially when] their little West Side Story moment happens. In the play, it says they open up the refrigerator and there’s penguin eggs, which is cute, but [in our production] we opened up the refrigerator and all the other penguins came out. I think that’s also one of my favorite moments. When we introduced that moment, [the actors] were just beaming, they thought it was so cute, and I think that’s a successful moment.
Gustafson: You know, I like the reprise in the jail scene. It’s such a tender moment to really absorb.
Norton: That moment is a huge questioning of what it means to treat an animal well. That’s a big thing in this play, and the book — the treatment of animals in performance. For that moment to be, “you guys wouldn’t choose this,” and they say “no, but we’re still here for you,” is such a beautiful moment of understanding and compassion.
Did you have any other adventures working with this show?
Norton: [Our music director, Ginger Larson,] is working in communication with the composer of the show and arranged a full orchestral score based off the included piano music. That’s something that’s so important and something that our team feels really strongly about — getting as many people involved and having the cast work with the orchestra.
Gustafson: We have people who like to play in our orchestra. They’re part of our community and part of the big family that we’re trying to build.
And it’s so fun to have live music.
Norton: Exactly! They totally bounce energy off of each other, so I feel like it could be dangerous and risk becoming stale if it’s just something that’s been recorded every day. Especially for performers, many of whom are doing their first show, [it’s great] having someone who’s there with them, if they get a little bit off track, to be like “okay, we can do this,”and not just a CD that is going to keep playing. That relationship is really important, too, and its been really healthy for them.
Gustafson: Ginger has worked well with the members in the orchestra, so she could provide, “this is what I’m thinking” and [for] them to [offer suggestions]. It was very collaborative in that setting, as well.
You definitely have an incredible community here. You can tell that everyone enjoys working with each other.
Norton: Oh yeah, it’s a fun group of people, for sure.
Gustafson: And there a couple [families in the production], like Mr. Popper has two kids in the cast, and its been an amazing experience for them to work as a family. He’s never done anything [on stage,] but his daughter’s done several shows, and her younger brother [has too]. They’ve talked about what an amazing experience its been for them and [it’s] really encouraging other families in the community to do this fun thing.
Where’s your favorite place to watch the show from?
Norton: I love sitting in the back and watching everyone else [in the audience].
Gustafson: I like watching from the wings. Then, I can fix the bows and tell them to waddle.
Check out Mr. Popper’s Penguins and more at playsforyoungaudiences.org.
Article written by Liza Alrutz.
