Find the power of family in ‘The Oldest Boy’

it as some kind of prop. As Gilstrap explains, it’s all about the details.

Coming Attractions

When does a performer become the character they’re playing? at’s not an easy question to answer and it gets even more challenging when that performer is a puppet. But the creative minds behind Miners Alley Playhouse’s new production, “ e Oldest Boy” are more than up to that challenge. e show tells the story of an American mother and Tibetan father whose three-year-old son is believed to be the reincarnation of a Buddhist lama. And that son is brought to life on stage by a puppet. “ is allows us to play with the idea of reincarnation in a really interesting way,” said Len Matheo, director of the show and Miners Alley’s producing artistic director. “It’s a really witty, lovely show about all the separations we experience through life. And the way the puppet comes to life is absolute magic.”

“ e Oldest Boy: A Play in ree Ceremonies” runs at Miners Alley, 1224 Washington Ave. in Golden, through Sunday, June 11. Performances at 7:30 p.m. ursday through Saturday and 2 p.m. on Sunday.

Written by Sarah Ruhl and featuring performances from Peter Trinh, Lisa DeCaro, Rob Payo, Tess Fuqua and Tim Inthavong, the show follows the family as they grapple with what to do when a Tibetan lama and a monk arrive at their home. e travelers want to take their child away for a life of spiritual training in India and the parents must decide if they can allow that or not.

To ensure the production properly portrayed and honored Tibetan culture, Miners Alley worked with Golden’s Sherpa House Restaurant and Cultural Center and were even given traditional clothing to use as costumes.

But the bulk of the work went into the development and characterization of the puppet character. Cory Gilstrap, design and production coordinator at Imagined Designs, collaborated with artist Kamala Presswalla to make a puppet that could fully come to life on stage. e result is a Japanese Bunraku puppet that allows both the rest of the cast and the audience to fully immerse themselves in the momentous decision the family must make.

“ ere have been moments where just working on the blocking has made us cry,” Gilstrap said. “Something happens with puppets when performers interact with them properly. You can hear the audience gasp or applaud spontaneously.”

Performing with a puppet in a way that is believable and a ecting to the audience goes beyond using

“Every motion needs to have a complete intent and there can be nothing left to chance,” he said. “It’s not just a matter of interacting with the puppet — it’s choosing moments with a character.” e magical realism element of the puppet performance enhances “ e Oldest Boy’s”ability to provide an opportunity to investigate the power of parenthood and celebrate a culture that many may not know much about.

“I hope audiences come away touched by the mother’s journey and the erceness of her response in making sure her child is safe and loved,” Matheo said. “I also want them to get a sense of this amazing multicultural community that is right here in Golden.”