This modern theatrical adaptation of Kipling's timeless Jungle Book story featured set pieces based on our Mask designs that were rendered in larger than lowpoly life. The production took place in a gorgeous 19th century opera and theatre house called Staatstheater Braunschweig, nestled in the heart of Brunswick, Germany.
These amazing images are courtesy of photographer Volker Beinhorn. We'd also like to thank Patrick Pohl and his team for the dedication and ingenuity they put into the massive Mask set builds. For the full story on their behind-the-scenes process go below:
Black Russian is an interactive theatre production based on Alexander Pushkin’s famous unfinished novel Dubrovsky.The play is set in Troekurov House - an 18th century mansion nestled in the heart of Moscow. Once one enters Troekurov House, they put on a new face as the doors are closed...
When we were first approached by the theatre company, we knew it was a special collaborative opportunity from the outset. The idea was to use our Animal Masks to create an invisible, yet tangible distinction between the audience and performers. The anonymity that the Masks provide the attendees allows the audience to become part of each scene – creating the sensation that they are witnessing and living the events with the characters rather than simply watching a retelling of the tale from afar.
For more imagery, clips and information follow the link below. It must be mentioned that Black Russian is not for the faint heart...
Thank you to Tim Nat – Writer and Director of INANNA - for making Wintercroft Masks part of his vision. Here is a brief description of the production in his own words:
“The Sumerian myth brought to life through song and dance as Inanna, goddess of love and warfare, must appease her sister's labours in order to descend to the nether world. The hour-long production incorporated stylized dancing and traditional folk music, as well as four of the incredible designs provided by Wintercroft. The seven-person ensemble included four principal actors and three protean roles, playing a myriad of characters. INANNA debuted as a new work during the 4th Annual San Diego International Fringe Festival.”
New York-based costume designer Sera Bourgeau got in touch with us earlier this year about using some of our animal mask templates for a stage production of Georg Büchner’s Woyzeck. She cleverly employed needle-point canvas as the construction material to increase the visibility on a dark stage and audibility necessary for the actors. She also fortified the inner headband with hardhat liner. The way she decorated the animal masks brings the air of menace and intrigue necessary for the classic harrowing tale of a man’s mental breakdown. Though the tone of the play is very dark, the future looks very bright for this talented young costume designer. You can see more of her work here…
These stunning photos were taken by Paul Kennedy at University of California, Irvine, in March 2016.
We are very proud that a paper mâché version of our badger mask made a brief appearance in last weeks episode of the classic children's television program Blue Peter.
Earlier this year I was contacted byLush Cosmetics about a very special musical performance they were organising entitled “The Tales of Bath”. The performance was to be centred on an ancient fable of a king who became a pig herder. The musicians would be dressed as animals and it was to be performed in the Wookey Hole caves. We were very grateful of the opportunity to contribute to the atmosphere with our masks and decided to redesign our Pig mask to better suit the needs of the musicians. All of the animal masks where built by the shop staff of the Lush store in Bath UK, Well done to all involved!
Our fox masks were recently used in a new play called Slavisk Dans by Swedish playwright Staffan Gote. I think that you will agree that the performance looked beautiful.
At the beginning of 2015 the Tiroler Landestheater commissioned us to design a Gas Mask for their production of The Emperor of Atlantis. This one-act opera was written by Viktor Ullmann with a libretto by Peter Kien whilst interned in the Nazi concentration camp of Theresienstadt (Terezín) around 1943.