PuppetryReviewsWest End

Review: La Manékine, Barbican Centre

MimeLondon 2025

summary

Rating

Excellent

Masterfully blends puppetry, live music, and physical theatre to reimagine a dark fairy tale of resilience and empowerment.

La Pendue Theatre’s “La Manékine”is an exemplary homage to the French traditions of physical theatre and guignol-style puppetry, from a company created in 2003 by Estelle Charlier and Romuald Collinet. The production radiates an unmistakable Frenchness, blending humour, artistry, and poignancy. It is a masterclass in storytelling and performance, deftly reimagining the Grimm Brothers’ tale “The Girl Without Hands” with innovation and heart.

At the core of the production lies the remarkable talent of Charlier. Her precision, physicality and skill breathe life into an array of characters and puppets, creating a mesmerizing, dynamic interplay to watch. Her ability to narrate, embody and manipulate her characters seamlessly is magical. The live one-man orchestra, Martin Kaspar Orkestar, adds another layer of texture, crafting an evocative soundscape that heightens the emotional and dramatic peaks of the play.

The story itself is a rich, dark fairy tale centered on resilience and self-belief. The narrative unfolds across three acts, each exploring a different stage of Manekine’s journey, from her father’s fateful bargain to her defiant quest for freedom and eventual reunion with her love. The themes of female empowerment and triumph over adversity resonate strongly, making the tale both timeless and deeply relevant.

The production’s experimental multimedia elements are ambitious, merging puppetry, music and practical effects in ways that delight and surprise. At its best, these elements elevate the storytelling, creating moments of pure theatrical wonder.

Despite its many strengths, La Manékine occasionally stumbles in its pacing and balance. The live music, while almost flawless, sometimes lags behind the action on stage, which disrupts the rhythm of the performance. Similarly, the decision to have Orkestar speak during Manekine’s battle with the dark force in Act 1 feels unnecessary and overexplained, detracting from the emotional immediacy of the scene.

The multimedia experimentation, while exciting, occasionally feels overstuffed. The abundance of techniques can obscure the core narrative, making the production feel more like a showcase of skill than an emotionally cohesive story.

Despite minor hiccups, La Manékine is a triumph of creativity and craft. It balances the whimsical and the profound, to deliver a story that speaks to the resilience of the human spirit. This is a piece that lingers in the mind long after the final curtain, stirring both the heart and the imagination. For those who appreciate innovative theatre rooted in tradition, La Manékine is an unforgettable experience that leaves both your inner child and your adult self deeply moved.


Concept, artistic direction, puppets and masks by: Estelle Charlier
Music by: Martin Kaspar Orkestar
Stage direction by: Estelle Charlier and Romuald Collinet
Adaptation and texts by: Romaric Sangars

La Manékine is playing at the Barbican until Saturday 18 January. Further information and tickets available here.

Jess Gonzalez

Jess González is a multilingual storyteller, performer, short-film director, and theatremaker based in London. She has produced for theatre and film in English and Spanish, both written by herself and others. Her shows have been staged in Spain, Italy, and the UK. She has also directed for the award-winning series "Dinosaurio". In recent years she´s turned to comedy, directing and co-writing the web series "Bitching Kills", where she also played Barb. It is also easy to find her on the London stage doing stand-up comedy with her nickname Jess "The Mess" or in the improv group "Loose Beavers".

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