Hunter College High School - Argus Yearbook (New York, NY)

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magazine, that I one day thought of a theatre that would have a wide range in program. I spoke to friends who were interested, and we evolved the Teatro dei Piccolin. It was to be one of wide scope, yet small enough to be friendly. I soon devoted all my time to it. In the afternoon we gave children's performances. In the evening, we gave operas and dramatic pieces that held our aud- iences spellbound. Soon we were using material of the greatest writers and musicians. Our audiences experienced every emotion, so varied was our production. Our company of eight hundred became known, and we travelled. We have been in uncivilized Africa, and in the palaces of kings. 'AI Iow many are in your human company? We are twenty-four all together. We work with perfect harmony of song, gesture and music. A little story I tell often is this: Hln Monte Carlo, they were celebrating the birthday of the prince. Someone suggested that my puppets entertain. The prince was disgusted at the idea of such amusement. Someone finally won him over, and when he left our theatre, he was en- rapturedf' Tell me, do you like the New York audiences? - Ah! Qin Englishj They are divine! Do you understand the French? - Un peu, I replied. - Un peu. Ah! Elles sont magnifiques! Ravissantes! Piacevole! Bellissimo! Incredible! Amiable! He was becoming so excited that he was getting his lang- uages twisted. As I was a native New Yorker, my heart gave a bound. -- Gracie tanto, I said. - Ah, no fin Englishl. You think I say that because you are here? No, no! Of course a little persuasion was necessary. New York is sophisticated. I could not come and say, 'See, I have puppetsg it is a fine showg you should come.' No, that would not do. I must earn a living. I announce the Teatro dei Piccolin. forty-two

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Vittorio Podrecca by Beatrice Guarnier MUCH to its own surprise, sophisticated New York was de- lighted this winter with the marionette performances pre- sented by Mr. Vittorio Podrecca's troupe. I too, enjoyed these presentations and was fortunate enough to gain an interview with their famous producer. I went to the George M. Cohan Theatre. and the doorman led me behind the scenes. I was met on the stage by Mrs. Podrecca. who explained to her husband that I wanted an interview. Mr. Podrecca nodded his head rapidly. Come in, Signorinaf' said Mrs. Podrecca. Vittorio will take you into the ofIice. ' Bon giorno, Signorina. WOL1ld you be so kind as to follow me? We stepped across a dark stage littered with great boxes of puppets, and innumerable wires. As we came toward the oflfice, Mr. Podrecca greeted me again. You wish an interview? Eh. bene! I have just three min- utes. Today I am busy. Tomorrow I go to Washington. Sol Now I turn journalist? Mr. Podrecca gave me a kindly smile. He seemed to be just the type of person who could love puppets, In his cutaway coat and striped trousers and with a rather rotund waistline he appeared to be a doll, too, who didn't want to be dressed up. Ijlis face was oval, and the heavy horn-rimmed glasses he wore gave him a kindly far away expression. I perceived that Mr. Podrecca could not converse very rapidly with me in English so I invited him to speak in Italian. Ah, you understand the Italian? Sol You are my friend already. 'fWe must not waste time. What would you like to know? 'fWould you tell me a little of the history of the theatre? It was in Rome, when I was director of the Primavera , a forty-one

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Everyone comes the first time. Then what matter if they know I have puppets? '- I saw that your operators were of the same family. Is their work traditional? - Yes. It takes long years of training to work the piccoli, Ten, twenty years: you must be strong. The piccoli are not so light. The fingers must be nimble and quick. Perhaps you think you could work puppets? If you are an amateur, it is different. Eighteen inch dolls are not forty inch puppets. - Are you going to increase the members of your com- pany? - Ah not now. I am busy. We travel much. I have not the time to give. Some day perhaps my company will be one thousand. See! He upset the piles of paper on his desk-'AThis is the first step, tHe showed the drawings of the puppets as they first look.l I have no time for more. You have seen the evening performance? No? A pout- ing disappointed look flashed across his face. Then you do not see 'Iosephine Baker' dance? I am proud of her. I felt that I had taken more than three minutes of Mr. Podrecca's time, and I rose to go. I thanked him for giving me his attention, and expressed a hope that he would return to New York. He in turn thanked me profusely for coming to see him, and told me he hoped one day to give a performance for our school. I left him with a feeling of having spoken to a friend who conversed warmly and frankly. To A Dying Moon You were once a crystal goblet- A crystal goblet drifting on the foamy blue of heaven, Ever moving and ever fixed, with the cold wind pouring forth your frozen silver Till it stained the earth with its passionate glitter as it sank through the deepening dusk. Now, broken and wan, emptied and drained away, You lie there in the darkness, only a fragment of shattered crystal- Of a shattered crystal goblet sinking in a foamy sea. Elena Polk forty-three nd