In our first work in progress session, we showed a recording of the show (we had a screen and light set up that we couldn’t have in the session) and got feedback on it. The voice over, which was also recorded, was read by Emma as though reading a fairytale to a young child.
This was the feedback we received from it:

Should the puppets be articulated?
Although a very effective method of storytelling, it was not a wholly expressive approach. The more we do with it, the more impressive it will be. The only movement we had was the puppets bobbing, which looked as though it was an unsteady hand as not everyone was doing it. The images were also quite static over the narration and as a result, it felt longer than it was, and so perhaps scenery should be added as well as sound effects and other effects, such as party poppers.

The storyteller needs a character
As mentioned before, well known fairy tales come with expectations and these expectations would apply to the storytelling of the voiceover. We needed to decide who the storyteller was and whom she was telling- the audience? A child? A warning? And where we could get it from- a comedic character from the show? A bystander? Asking who the narrator would be got us discussing the part the narrator had in the piece which helped to clarify the overall structure.

Why is it being used?
We already had the reason for this but it wasn’t clear enough. Although the audience would (hopefully) realise why once the surrealism started, it needed to be clear straight away. With a clear character for the narrator, the right atmosphere would be achieved so as to create the required contrast between the structured reality of the puppet show and the randomness of Cinderella’s mind.
People also wanted to know why we had chosen to use this type of puppetry, rather than a more comedic sock puppet. The piece was dark comedy but only in Cinderella’s mind. We didn’t want the puppet scene to be comedic to provide contrast (and therefore clarity) or too complicated as it was an introduction as well as a separate state
By this stage, we had had a photoshoot for social media and print release. For these, we had focused more on the comedy element rather than surrealism as our style. The pictures reflected this, asking the question if we really understood the surrealist movement, or if we were just using the aesthetic of it. We realised we had reason for using surrealism and but didn’t understand it and so didn’t know how it was going to be used.

An image from our first photoshoot before our work in progress

We were left with the reminder that theatre is always a collaborative medium. The feedback we had received, I felt, was fair. We hadn’t researched surrealism as a company and that was clearly reflected in our marketing. The puppets, although good, were static, and their movements were bordering basic. Until now we had been agreeable to all suggestions within the group and although this created a good working relationship, it affected the quality. Ultimately, although theatre is collaborative, criticism is needed and decisions do need to be made even if unwelcome at the time and treated professionally, rather than personally.

Our next actions were clear: Research surrealism to make sure it was the right style for us, have someone take control and develop our opening puppet scene.