by Robin Galen Kilrain

Julie Taymor—Playing with Fire: Theater, Opera, Film
Julie Taymor, Eileen Blumenthal, and Antonio Monda

What do Bunraku and Spider-Man have in common? Julie Taymor. Yep, the director known for her use of traditional—and not-so-traditional—puppetry will be spinning the web as both director and cowriter when Spidey hits Broadway next spring. But what does she have to do with small theater, you might ask. More than you might have imagined. If you thought this Renaissance woman of the performing arts was an overnight success when, for Disney’s The Lion King, she became the first female to receive a Best Director Tony Award, think again. Then pick up a copy of Julie Taymor—Playing with Fire:  Theater, Opera, Film.

I defy you to read through this book—or even to simply check out the multitude of performance photos and the sketches that led to some of the featured creations—and not come away inspired, eager to try something new in the way you conceive your own work. Neither the size of your venue nor your budget has to be large: unusual techniques and rampant use of imagination can always serve to effectively stir things up, for the theater professional and audience member alike.

Currently in its third incarnation (it’s hard to keep up with all of Taymor’s accomplishments), this in-depth presentation does a thorough job of representing a vast cross-genre oeuvre. The first section is written by Eileen Blumenthal, a seasoned author of theater-related books, articles, and criticism, as well as a professor of the subject. In a dense but intriguing examination, Blumenthal reveals Taymor’s lifetime of artistic curiosity and vision, tracing her international travels spent soaking up a fascinating blend of cultural rituals and theatrical influences. The latest edition also includes a Stage to Screen section, introduced with an essay by Antonio Monda, who, besides teaching and writing about film, is also a moviemaker.

The majority of the nearly 300 pages, however, are pure Taymor. Accompanying the numerous photographs and sketches—a pleasure to peruse in this oversized format—are commentaries by Taymor herself on nearly two dozen of her productions. From rehearsal processes rooted in ideographs, to her legendary use of masks and puppets, Taymor describes stunning examples of her refreshingly broad interpretation of the word theater. And speaking as someone who has long worn a myriad of hats, sometimes atop one another, this writer, director, actor, costumer, choreographer, and designer has plenty to share.

Through her work on the stage, and in opera and film, Taymor has already extensively explored several fields. Nevertheless, she no signs of slowing down. I smell yet another edition . . .

You might want to check this tome out of your local library, as, at $50, it’s a bit pricey. But if that’s affordable for you, or your theater, by all means consider it a priceless investment.