Interview | Matthew Leonhart, My Neighbour Totoro
One of the best productions of 2022 for me and probably every other person who has feasted their eyes on this show at the Barbican Theatre. I described The RSC’s production of My Neighbour Totoro as one “that exceeds all expectations and seizes every opportunity to deliver magic”. Therefore imagine my delight when I was able to chat with one of the puppeteers who helps to bring the most iconic character from this show, Totoro, to life.
Matthew Leonhart joins me to chat about his journey to this production, My Neighbour Totoro and any other Studio Ghibli animations which themselves would be great for the stage.
To begin with can you tell us about your journey into theatre, where did it start for you?
Hello Emmie, and thanks for the interview! Theatre started for me back in Hong Kong, when I was 12. I saw an ad in the local newspaper about taking part in an experimental theatre production by the Hong Kong Youth Arts Foundation, directed by Lindsey McAlister OBE. From then onwards I was hooked and performed in about 5-6 productions a year, including the Edinburgh Fringe Festival with HKYAF three years in a row. Once I graduated from secondary school I moved to Los Angeles and trained at the California Institute of the Arts.
When you heard the stage adaptation of My Neighbor Totoro was being made, what made you want to be a part of it?
Actually, I was invited back in 2020 to participate in the first workshop! I was one of several puppeteers working on some of the prototype puppets for a week. Working on the puppetry and helping the designers figure out all the mechanics made me really intrigued as to how it would work onstage. I knew, even before they had figured out how to make it work, that it would be such a huge hit. Totoro is one of those global icons. I was hoping that they would ask me back for the actual production so I could help out with the puppetry in some way. Thank goodness they did!
Did you watch a lot of Studio Ghibli movies before you did this production?
Yes. Grew up on all the Ghibli films. Probably saw Totoro when I was about 5. And to this day I still rewatch a lot of them. They provide such comfort. Some people watch Disney or Star Wars when they're sick in bed. I watch Ghibli.
What do you think it is about Studio Ghibli’s work which means it translates to the stage really well?
I think it's the elements of colour, music, wonder, hope and strong characters. They're fantastical worlds with such vivid colourful settings. And the characters, usually experiencing a coming-of-age story, go through wonderful arcs. There are strong messages of kindness, family, friendship. They're all so beautifully done with such care that any Ghibli work translated to the stage has to uphold those elements successfully to give their audience a sense of awe and wonder.
There are so many levels and elements in this production. What was the rehearsal process like because of this?
Experimental and structured! We knew how the scenes were going to be laid out, and which set piece was supposed to go where. But we had to figure out the flow through each scene, and the dynamics between the kazego (the puppeteers/ensemble) and the characters. So we played. A lot. We learned how to move and express in different 'elements'. We applied different theories we had learned from our director Phelim McDermott and movement director You-Ri Yamanaka. And as more things got introduced to us; the music, the puppets, the props, etc., we played even more. We moulded it together, like claymakers.
We all worked closely with puppetry director Basil Twist and puppetry associate Mervyn Millar discussing the mechanics and movements of all the different puppets and making sure the choreography was the best it could be. Many ideas would bounce around for weeks as to how a puppet would function, and it was great seeing that evolution on a day by day basis.
The majority of us grew up watching Totoro, and we all brought that excitement and care to the rehearsal room every day.
It really was a joy to rehearse and live with these amazing creatives in Stratford-upon-Avon over the summer. Eight weeks of big smiles, knowing a magical show was coming together.
Before My Neighbor Totoro, had you done puppetry work before?
Yes. Almost 20 years ago I began my puppetry career in Los Angeles. When I was 19 I was cast in a theatre production titled "Invisible Glass", directed by Janie Geiser. I had no puppetry experience then, but she saw the potential in me when I auditioned for her. During that process, I got to work closely with Eli Presser, one of today's best puppeteers in America, and former puppetry collaborator of mine. After that show, Eli and I puppeteered on multiple theatre productions, music videos for top artists like Norah Jones, and film projects. Once I left LA to pursue more art endeavours back in Hong Kong for a few years, I created puppetry shows in black box theatres and then created large scale puppets for experimental short films I made in Hong Kong and the UK. I was also part of the team that puppeteered Aurora - the largest ever polar bear puppet, the size of a double-decker bus - through central London a few years back, which was part of a Greenpeace protest. Goodness, that was difficult, yet rewarding.
You are part of bringing the character Totoro to life and it is pretty magic how this is displayed. Without giving too much of that magic away - what is it like to bring such an iconic character to audiences who may see the show?
It's an absolute joy, to hear the audience gasp or laugh whenever the team and I are presenting them with Totoro and his movements. And when the puppetry scene(s) ends and the audience gives us a huge applause, I'm running off to start the next scene with a big smile on my face, knowing the team and I helped bring some happiness to 1200 people.
What are the challenges of working as a puppet with Totoro’s character?
As I mentioned before, the rehearsal process had its experimental side, as well as its structured side. It's no different with puppetry. Sometimes the structured part can be restrictive but then it's the experimental side that makes you realise what amazing possibilities there are within that restriction. Sometimes the puppet won't do what you want it to do, so in a way, you develop a partnership. It's the same with every puppet I've worked on through the years. Let the puppet show me what can be done, and see what sort of play we can have together. There are multiple-sized puppets in this production so it’s also about great teamwork and communication. Sometimes there are eleven of us working on one puppet, and that collaboration of bringing a creature to life is fantastic after weeks of sweating and learning together. Also, maintenance is very important. The puppetry team behind the scenes are fantastic and does daily checks and any necessary mending and fixes. There’d be no show without them.
How do you look after your body when you are working as a puppeteer? It must be quite a physical challenge?
At least a half an hour warm up before each show! Totoro isn't a light puppet and requires a lot of specified strength work. Thankfully if I notice anything going on in my body, I can book a physio or massage session through the RSC. So we're all taken care of for sure! If anything does go wrong, or I’m unwell, we do have swing puppeteers who have learned all of our tracks who can perform instead of us. But yes, lots and lots of stretching and strength building. And baths.
What is your favourite part of the show and why?
The bus stop scene. It's iconic. Even if you've never seen the film you might be familiar with some of those images. I get to puppeteer Totoro's head and facial gestures, presenting his reactions and nuances to the audience. It’s quite a complex puppet to master with lots of mechanisms, so I'm extremely focused and in the zone. But it's magical when I can do things such as make Totoro’s eyes move down to look at Satsuki for the first time, at a particular pace, in a particular way, and the audience reacts in such glee. Love it.
The show is a sold-out run. Did you ever imagine it would have the response it’s had?
Never doubted it. It's Totoro! It's the RSC! It's London, the best place in the world for theatre. Never doubted it.
Would you like to see My Neighbor Totoro have a life beyond the limited run at The Barbican? Do you think it would transfer well to a different stage?
It would be amazing if MNT kept on going! The whole world should see it.
If another Studio Ghibli animation was able to be brought to life on the stage, which one would you choose and why?
Laputa: Castle in the Sky. It's such a solid story, with great characters and maybe my favourite Joe Hisaishi music. Plus, I'd do anything to puppeteer those giant robots.
My Neighbour Totoro is at the Barbican until January 21st 2023. The entire run is sold out but keep an eye on the website for last-minute availability. http://totoroshow.com/
