HISTORY

Welcome, my name is Grant Jarrett although I'm more commonly known as Dan or Daniel.

After years of "thinking about it" I began work began on the puppets in 2003 in Sydney Australia.

The name "Grandan" is a compilation of my real name Grant and my Australian nick name, "Daniel" and has been chosen because it sounds just that teeny bit "old –theatrical" and "grand". :) It has nothing to do with the esperanto word, "grandan" which means "big".

Being a child of the post war era – born in a small town in the North Island of New Zealand, life seemed pretty "colourless" in those days with a decided shortage of goods (and money).

Two wonderful things that were not colourless and still stick in my mind - one, a particular children's book which had a picture of a wondrously bright sunset on a double page spread at the back – and the time a beautiful puppet suddenly appeared in a puppet show being put on by my cousin in the local library during the school holidays. Now I realise the "Fairy Godmother" was merely a puppet dressed in white tulle covered with glued on glitter, (the simplest and most unsophisticated of materials) but as she gracefully descended into the story, I still remember the sighs and "ahhhhs" that emanated from the enthralled audience.

I was delighted to spend time at my cousin's place to see the puppets (marionettes) and learn how they were created. With little choice and availability of materials in those days the heads were modelled in plasticine then moulded into "Plaster of Paris" by my cousin Gaye, and the bodies (and a wonderfully constructed stage) were made in wood by my Uncle. The puppets were not large (10") and with screws being set into the plaster, they were not hardy and I recall, broke easily. Nonetheless, they were fascinating – and this started my lifelong admiration and interest in puppetry in all its forms.

The fact that I never took up puppetry or planned to do something actively with it until recent times, had a lot to do with being diverted by other interests including music and theatre. What is doubly strange is that some years ago I mentioned my interest in puppets to a friend who was so encouraged by my "enthusiasm, he took it up himself and today runs a Punch & Judy Show.

It was some time later before "the bug" really bit me and I decided to actually do something, myself. After seeing the enjoyment he was getting and then attending a Puppet Festival – I finally decided to become proactive. Even then it took me a further two years before I got started. Yea- wheels turn slowly sometimes :)

So began an enormous exercise in experimentation with the wonderful materials of today. Of course I started thinking I was creating the puppets I would be using – only to find I was constantly changing my techniques (and improving) with each new puppet I made. This meant each new puppet seemed to bring obsolescence to the previous efforts- so it took a time before I reached the point where I felt confident the puppets I was making were of comparable size and quality and of a standard" good enough to keep and use.

When one starts such a project such as this, it takes time to make all the decisions that crop up along the way - a big decision had to be "the size" I would make the puppets. In that regard I have been quite adventurous because I did want to create puppets that could be easily seen by an audience of say 600 - so this meant I had to go somewhat large.

This means the puppets are nearly a metre high and of course- this also brings its own set of challenges- such as weight and control. Thank Goodness for the materials of today.

At times I couldn't even make up my mind and once even wavered between making them all rod puppets as apposed to string puppets.

I even converted each one of them to each concept (rod & string), twice over before finally deciding "string puppets" or "marionettes" was the way to go.

Finally deciding on an appropriate "size," I then realised I had issues with weight- they were far too heavy.

At least, I thought- they were strong enough to withstand the rigors of being moved constantly- until one day, a lodger unknowingly decided to move them into a heap in the corner. To my dismay- most of them were broken and I realised the hard way that none of them had been strong enough.

Finally everything started to come together - with some newly discovered techniques and the discovery of some more amazing materials I am now building my puppets one third larger than before (approx 3 feet tall) – yet they weigh just one third of the weight of the previous ones.

To me that is a significant advance because the size of the puppet ultimately determines the size of the audience.

With everything coming together I realised "re-working" the first puppets I had created was not a viable option that would satisfy me in the long term and so they remain my "cupboard children" - perhaps never to see performance, but each and every one of them having played a vital part in giving me the necessary "building skills and experience" I needed to bring this project to reality.

The Domain names were registered December 14th 2006

I formalised the name of the "Troupe" and registered the Domain name for the website- December 14th 2006. It is being hosted by long-time friend Luke, with creative and ever attentive assistance provided by my other good friend and Internet guru, Alex Zaharov- Reutt. I also thought it a good idea to build the website as the project grows, as an entertainment in its own right - so that others who were interested could " come along for the ride" and enjoy a bit of a giggle.

Feb 22nd 2007 began work on a long term project- the show- "The Tartar & The Princess" which is a dramatic costume drama where the action takes place in the Imperial Chinese Court in ancient times. This show, more than any other is specifically for a full puppet theatre only- with a special stage- and remains a longer term project

More about that later...

March 2007

I am amazed at the number of requests I am getting from this website to perform at various functions and venues. It is causing me to re-think that perhaps I need to put the "Tartar & The Princess" show on hold for now and first devote my energies into various "acts" suitable to take into a wider variety of gigs.

May 2007

I continue to recieve offers of work, but one in particular grabs my attention and causes me to change direction as it also forces me to work to a specified date. I am invited to perform at the Gyeong Ju Expo in Korea on the 21st of September. It is a huge compliment and honour to be invited to this event and I am keen to do it.

Because it will be an International act, I have to take into consideration the fact that language cannot be used- so opt for a musical program instead.

I have to completely create the puppets for the full program as nothing I have ready is suitable. I spend several sleepless nights coming up with concepts for the show.

The response to my suggested program with the Korean organisers of the Expo is extremely positive and so the plans are put in train.

June 2007.

One of the directors of the Expo is in town and wanting to meet me- Mr Ahn- a charming gentleman who is well known in Korea and has built the famous traditional puppet theatre four hours drive from where the Expo will be held. He invites me to peform there after Expo but I have to decline due to other commitments back here in Australia. On his request I give him a puppet (Porky the dog- from the Little Red Riding Hood Show) to take back to Korea and put on display as part of a world puppet display.

August 2007

The puppets are almost completed and stringinging and tweeking is in full swing. I am dismayed that the ostrich segment of the act is not going well so change the act by dropping the ostriches and replacing it with "Funeral March For A Marionette".

September

One week later exactly- on the fifth of September, the replacement act is completed. It is based on Gounod's "Funeral March For A Marionette".

Something very strange happens the day I complete the Pavarotti marionette- the news of his death comes over the radio. It was such a strange thing to happen it almost seemed that fate has determined my puppet of him will be a tribute to him for some time to come.

This is not the first time coincidences have happened to me since I began working on the puppets. The way I have found the very things I need during construction- or the way things have come to me has been incredible to the point where I have to say it is as though fate is pointing me in the right direction and helping me.

Two days later, after completing Pavarotti, Alex and I complete the soundtrack for the Hi Jinx show, plus we take a few photos and put them on the website.

All the tweekings and final details on the puppets for "Hi Jinx" are completed on Saturday September 8th- rehearsals are the order of the day.

September 19th - Arrive in Korea. Set up on the 20th and the Shows begin on the 21st.

The shows are a huge success with people reportedly fighting outside the theatre to obtain seats (limit of 600 per performance). 25th - a local TV Channel films and interviews Dan in preparation for a TV documentary on him going to air ten days later.

Before I leave, I officially donate "Porky" to Mr Ahn, who will feature him in the permanent world puppetry expo exhibition at his House of Puppetry. Porky will be in great company with some of the most famous puppets in the world.

I return on September 30th and continue working on expanding the repetoire. For photos of the Korean tour see separate page- link on homepage.

Before Christmas I finish five more puppets, specially created for the Cabaret show, to entertain at adult parties.

On January 25th 2008 I purchased the first staging platform for conversion to a full theatre. The conversion goes smoothly, with the whole thing designed to be assembled in about ten to fifteen minutes. The small version of the stage is five feet wide and it is ideal for smaller shows like the cabaret shows. The fully expanded staging stretches the stage to ten feet wide and is ideal for "full story shows".

On January 30th I place an order to have a special trailer custom made that I can fit behind the car. This means there will be no more hassle with transporting the shows in and out of the car- the trailer is fully enclosed and will be ready within a week.

With new spotlights and an upgraded sound system we are well set up to be able to take the show into a wide variety of gigs.