Spark follows puppet master Larry Reed as he and the Gamelan Sekar Jaya orchestra prepare for a performance of “Wayang Bali: Dangerous Flowers” at the Julia Morgan Theatre. For more than 30 years, Reed has studied, performed and developed the ancient art form of Balinese shadow play, producing unique performances that have stretched the bounds of the tradition.
Wayang kulit, or Balinese shadow puppet theater, is a tradition that has been passed down through generations for more than 1,000 years. Mythic tales and archetypal characters are played out, blending high drama, improvisation and slapstick comedy. In one performance, more than 20 intricately carved leather puppets are manipulated by one puppeteer, the “dalang” or “shadowmaster,” who assumes the role of the conductor, director, actor and all the voices. The shadow puppets are animated atop a banana log in between a large screen and a coconut oil flame so that their images cast shadows onto the screen.
The traditionally wayang kulit shadow plays are accompanied by an ensemble of two to four gamelan musicians, who respond to every move of the dalang. Gamelan, meaning “orchestra,” refers to the instruments themselves, which exist as an inseparable set. Each bronze key and gong of the gamelan instrument is forged at the same time. They are then tuned and blessed as a whole and cannot be individually sold.
Introduced to shadow plays in the ’70s while in Bali, Reed found himself drawn to the complex spiritual and ancient tradition and the powerful ephemeral nature of shadows. Reed spent the next 10 years learning the art form in the traditional manner, apprenticing himself with shadowmasters. Today, Reed performs in the traditional style, but he has also created his own company, ShadowLight Productions, a changing ensemble of actors and puppeteers who create modern shadow puppet works on a cinematic scale with scene changes, lighting cues and a larger music ensemble.
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