Company
Ambergris
an alchemical puppet operetta
by Patrick Sims
Director, scenography and puppets Patrick Sims
Masks and puppets Joséphine Biereye
Costumes Camille Lamy
Set construction and mechanics Richard Penny and Nicolas Hubert
Sound creation and design Karine Dumont
Lighting creation Sophie Barraud and Jean Grison
Stage manager Florent Klein
With
Karine Dumont
Patrick Sims
Nicolas Hubert
Richard Penny
The poetic power of ambergris
Ambergris is the story of Pinocchio in the belly of the whale.
Pinocchio is a classic story about transformation. Nowhere is this more evident than in the chapter where Pinocchio finds himself in the belly of the whale, a pivotal moment in which the puppet is confronted with his maker and his own essence. It is inside the belly of this great whale that the puppet begins his process of individuation before being spat out again into the world as a real boy.
Ambergris (æmbəʳgriːs) is formed from a secretion of the bile duct in the intestines of the sperm whale, and can be found floating on the sea or washed up on the coast. It is sometimes found in the abdomens of dead sperm whales. Because the beaks of giant squids have been discovered within lumps of ambergris, scientists have theorised that the substance is produced by the whale’s gastrointestinal tract to ease the passage of hard, sharp objects that it may have eaten. The sperm whale usually vomits these, but if one travels further down the gut, it will be covered in ambergris, which smells like nothing else on this earth.
A bizarre digestive by-product, ambergris is highly sought after by perfumers for its key ingredient that makes sophisticated scents linger on the skin. Ambergris has an ability to transform a perfume through some sort of synergy. It has fixative powers, helping the perfume, or any object scented by it, such as clothing, retain the scent for years. In a perfume, it’s not just the scent of the ambergris, it’s the ability of the ambergris to ‘anchor’ all of the other scents.
When this rare secretion produced only by sperm whales is expelled at sea, it floats on ocean currents for years, slowly transforming, before it sometimes washes ashore looking like a nondescript waxy pebble. Despite being one of the world’s most expensive substances (its value is nearly that of gold and has at times in history been triple), ambergris is also one of the world’s least known. It can appear almost anywhere but is found so rarely, it might as well appear nowhere.
Ambergris has a magical ability to bind disparate smells harmoniously. It is an odour that is inexplicable to anything else.
Ambergris tells the tale about the production of this rare substance through a blending together of great literary characters, all of whom have been swallowed by a whale.
Appearing in the tale are:
- Jonah, the biblical character who was swallowed by a whale for his disobedience, then spat out again thanks to his re-found faith.
- Pinocchio, who threw himself into the mouth of the whale in search of his maker, and upon being reunited with his father, brewed a sneezing powder and was also ejected from the beast.
- Captain Ahab who, in his obsessive hunt for Moby Dick, is taken under by the mythical monster, refusing to let go.
We find these three characters together in a kind of rub-a-dub-dub, three men in a tub, the prophet, the puppet, the pirate whale hunter. Fused together, floating on the sea in a lump of ambergris.
Ambergris is set inside a giant perfume laboratory. Behind the doors is a charlatan perfumer who is obsessed with finding the perfect lump of ambergris in order to complete his great olfactory masterpiece.
Ambergris charts the process of a base substance into its purest form; from excrement to gold, whilst following the psychological purification of our puppet hero.
Patrick Sims, director
Related events
Thu 25 January
Post-show talk (BSL-interpreted)
Hosted by Joseph Seelig and BSL-interpreted by Anna Kitson. Free to same-day ticket holders.
Tue 13 February
Members event: Puppets in Theatre – Bringing New Life to the Stage
Discover more about the imaginative art of puppetry at this MimeLondon in-conversation event with Basil Twist and Phelim McDermott, facilitated by Cheryl Henson. Free for Members.
Biographies
Patrick Sims
Director, scenography and puppets
Patrick Sims grew up in a rural farming community in Vermont. He studied Cinema and Theatre Direction at Middlebury College before pursuing postgraduate studies at the Samuel Beckett School of Theatre at Trinity College Dublin. His thesis was titled ‘The Pataphysics of the Puppet; Alfred Jarry and the Inhuman Performer’. Since the early 2000s he has continued his performance research and practice blending particularly the use of masks, puppets and machines – often in wordless, sonically driven narratives. As a writer, director, composer, teacher, scenographer and puppet-maker, Patrick Sims heads the French company Les Antliaclastes, working extensively in theatre and puppet programmes, universities and festivals worldwide.
Richard Penny
Set construction and mechanics
Richard Penny studied Theatre Design at Croydon College, and Dramatic Arts at Bretton Hall, University of Leeds. After working on festivals and creative projects in Portugal, he met Patrick Sims in Barcelona and started making puppet shows with him. He has continued to do so for nearly 20 years.
Karine Dumont
Sound creation and design
Karine Dumont is a French musician, composer and sound designer, working mostly for performing arts. She studied French literature, electroacoustic composition and sound technique. Her work focuses mainly on experimental music and dramaturgy of sound. She met Patrick Sims through Les Antliaclastes’ production of Waltz of the Hommelettes, and also performs in Ambergris and Batrachomyomachia.
Nicolas Hubert
Set construction and mechanics
Nicolas Hubert has primarily worked in the arts as a set and prop maker with a special interest in stage machinery since 2005. He studied fine art, theatre and literature before honing his craft with Theatre du Lamparo touring in a circus tent, making sets and props for scenographers including Goury and theatre companies such as Cie Grand Tigre (formally known as Cie Grand Théâtre). He met Les Antliaclastes in 2010, having viewed their beautiful show Hilum and has worked on many projects with them since. He is sometimes engaged for handmade projects and builds, which is always exciting!
Les Antliaclastes
Les Antliaclastes are a puppet theatre company based in Hérisson, France. The company is led by Patrick Sims, founder and former creative director of Buchinger’s Boot Marionettes. Les Antliaclastes use a unique blend of puppetry techniques and styles, masks, machines and original organic soundtracks. The company’s primarily wordless performance style moves fluidly through countless surprises and often violently contrasting images.
antliaclastes.net
MimeLondon
MimeLondon is a new curatorial project created by Helen Lannaghan and Joseph Seelig, directors of London International Mime Festival (LIMF), which ended in 2023 after five decades of award-winning success. MimeLondon will support occasional seasons of contemporary visual theatre, in collaboration with different partner venues.
For its first series in London, which runs from 12 January to 17 February 2024, the Barbican, the National Theatre, Sadler’s Wells and Shoreditch Town Hall are hosting eight productions new to London, the work of four overseas groups, and four UK-based companies co-commissioned by London International Mime Festival in its final year. A series of workshops organised in association with the London Academy of Music & Dramatic Art (LAMDA) and Shoreditch Town Hall is taking place during the same period.
mimelondon.com
For the Barbican
Barbican Centre Board
Chair
Tom Sleigh
Deputy Chair
Sir William Russell
Deputy Chair
Tobi Ruth Adebekun
Board Members
Randall Anderson, Munsur Ali, Stephen Bediako OBE, Farmida Bi CBE, Tijs Broeke, Zulum Elumogo, Wendy Mead OBE, Mark Page, Alpa Raja, Jens Riegelsberger, Jane Roscoe, Irem Yerdelen, Despina Tsatsas, Michael Asante MBE
Clerk to the Board
John Cater and Kate Doidge
Barbican Centre Trust
Chair
Farmida Bi CBE
Vice Chair
Robert Glick OBE
Trustees
Tom Bloxham MBE, Stephanie Camu, Tony Chambers, Cas Donald, David Kapur, Ann Kenrick, Kendall Langford, Sir William Russell, Tom Sleigh, Claire Spencer AM, Sian Westerman
Directors
Chief Executive Officer
Claire Spencer
Director of Development
Natasha Harris
Director of People, Inclusion and Culture
Ali Mirza
Head of Finance & Business Administration
Sarah Wall
Acting Director for Buildings and Renewal
Cornell Farrell
Director of Commercial
Jackie Boughton
Senior Executive Assistant to Claire Spencer
Jo Daly
Theatre Department
Head of Theatre and Dance
Toni Racklin
Senior Production Manager
Simon Bourne
Producers
Liz Eddy, Jill Shelley, Fiona Stewart
Assistant Producers
Saxon Mudge, Mali Siloko, Tom Titherington
Production Managers
Jamie Maisey, Lee Tasker
Technical Managers
Steve Daly, Jane Dickerson, Nik Kennedy, Martin Morgan, Stevie Porter
Stage Managers
Lucinda Hamlin, Charlotte Oliver
Technical Supervisors
James Breedon, Charlie Mann, Jamie Massey, Matt Nelson, Adam Parrott, Lawrence Sills, Chris Wilby
Technicians
Kendell Foster, David Kennard, Burcham Johnson, Bart Kuta, Christian Lyons, Josh Massey, Kieran Poynter, Fred Riding, Fede Spada, Matt Turnbull
PA to Head of Theatre
David Green
Production Administrator
Caroline Hall
Production Assistant
Michaela Harcegová
Stage Door
Julian Fox, aLbi Gravener
Creative Collaboration and Learning
Head of Creative Collaboration
Karena Johnson
Producer
Josie Dick
Producer
Lauren Brown
Assistant Producer
Rikky Onefeli
Assistant Producer
Carmen Okome
Marketing Department
Head of Marketing
Jackie Ellis
Deputy Head of Marketing
Ben Jefferies
Senior Marketing Manager
Kyle Bradshaw
Marketing Assistant
Olivia Brissett and Rebecca Moore
Communications Department
Head of Communications
James Tringham
Senior Communications Manager
Ariane Oiticica
Communications Manager
HBL
Communications Assistant
Sumayyah Sheikh
Audience Experience
Deputy Head of Audience Experience & Operations
Sheree Miller
Ticket Sales Managers
Lucy Allen, Oliver Robinson, Ben Skinner, Jane Thomas
Operations Managers
Ben Raynor, Elizabeth Davies-Sadd, Samantha Teatheredge, Hayley Zwolinsk
Operations Manager (Health & Safety)
Mo Reideman
Audience Event & Planning Manager
Freda Pouflis
Venue Managers
Scott Davies, Tabitha Goble, Nicola Lake, Maria Pateli
Assistant Venue Managers
Rhiannon Brennan, Sam Hind, Bronagh Leneghan, Melissa Olcese, Daniel Young
Crew Management
Dave Magwood, Rob Magwood, James Towell
Access and Licensing Manager
Rebecca Oliver
Security Operations Manager
Naqash Sheikh
Audience Experience Coordinator
Ayelen Fananas
With thanks...
The Barbican is London’s creative catalyst for arts, curiosity and enterprise. We spark creative possibilities and transformation for artists, audiences and communities – to inspire, connect, and provoke debate.
We’re committed to making a difference locally, nationally and internationally by showcasing some of the most inspiring and visionary work by artists and communities. We’re not-for-profit. Each year we need to raise 60% of our income through fundraising, ticket sales, and commercial activities. Our supporters play a vital role in keeping our programme accessible to everyone, which includes our work with local schools; development opportunities for emerging creatives; and access to discounted and subsidised tickets.
Barbican supporters enjoy behind the scenes access across the centre and see first-hand what their gift enables through enhanced priority booking, as well as access to tickets for sold-out performances and exclusive events. For more information please visit www.barbican.org.uk/join-support/support-us or [email protected].
With thanks...
Founder and principal funder
The City of London Corporation
Major Supporters
Calouste Gulbenkian Foundation (UK Branch)
Kiran Nadar Museum of Art
SHM Foundation
The Terra Foundation for American Art
Leading Supporters
Trevor Fenwick and Jane Hindley
Marcus Margulies
Programme Supporters
Goodman Gallery
Romilly Walton Masters Award
Jack Shainman Gallery
The Rudge Shipley Charitable Trust
Director’s Circle
James and Louise Arnell
Farmida Bi CBE
Jo and Tom Bloxham MBE
Philippe and Stephanie Camu
Cas Donald
Alex and Elena Gerko
Trevor Fenwick and Jane Hindley
Sian and Matthew Westerman
SHM Foundation
Sir Howard Panter and Dame Rosemary Squire
Anonymous (1)
Corporate Supporters
Audible
Bank of America
Bloomberg
BMO
Bolt Burdon Kemp
Campari
Google Arts & Culture
Linklaters LLP
Norton Rose Fulbright
Osborne Clarke
Pinsent Masons
Searchlight Pictures
Sotheby’s
Slaughter and May
Standard Chartered
Taittinger
UBS
Vestiaire Collective
Trusts & Grantmakers
Acción Cultural Española (AC/E)
The African Arts Trust
The Ampersand Foundation
Art Fund
Bagri Foundation
CHK Foundation
Cockayne – Grants for the Arts
Company of Arts Scholars Charitable Trust
Fluxus Art Projects
Institut français du Royaume-Uni
John S Cohen Foundation
Helen Frankenthaler Foundation
High Commission of Canada in The United Kingdom
Korean Cultural Centre UK
Kusuma Trust UK
London Community Foundation
Mactaggart Third Fund
Maria Björnson Memorial Fund
U.S. Embassy London
We also want to thank the Barbican Patrons, members, and the many thousands who made a donation when purchasing tickets.
The Barbican Centre Trust Ltd, registered charity no. 294282
Presented by the Barbican in association with MimeLondon.
Co-produced by TJP de Strasbourg / CDN – Mini Théâtre de Payerne and Festival Mondial des Théâtres de Marionnettes de Charleville.
Supported by the Institut français du Royaume-Uni.
Les Antliaclastes are supported by DRAC Auvergne-Rhône-Alpes, Région Auvergne-Rhône-Alpes and Conseil Départemental de L’Allier.
The original production of Ambergris opened in November 2018 at the TJP at CDN in Strasbourg and at Le Mini-Théâtre in Payerne; followed by performances in September 2019 at the Festival Mondial des Théâtres de Marionnettes in Charleville.
Images by Jeff Lefranc.