By Alix Cohen

Parched opens with the recording of an actual public service announcement about conserving water and the song “Waiting on the Rain. ” Lighting (Tyler Kieffer) and Scenic Design (Marcie Mars) are bleak, ominous. Even clouds look jagged and empty.

Water scarcity has lead to human extinction, yet life exists. What seems to be the remains of a human we see abandoned early on aggressively searches for water despite the fact the artfully constructed bone and sinew being has no head. (A cowboy hat is perched on vertebrae)

Also searching is a figure made predominantly from discarded kitchen implements. Her transparent head (gender is listed in the program) houses apparently sentient mushrooms (also in the program.) The figure moves like a jointed scarecrow, both stiff and floppy. She’s followed by what appears to be a plastic dish of mushrooms acting like a pet. Tumbleweed creatures observe, roll, and dance.

Action takes place on several, mobile plateaus covered in what looks like cracked earth. The second figure, let’s call her DK stumbles upon a deep well and the remnant of some dry pumps.

Eventually a water processing plant is discovered. Ground shakes and rumbles as DK exerts sufficient effort to retrieve liquid. Ridged tubes undulate. Rusted Mechanics add to sounds of harsh wind. Earth separates beneath her feet. There’s smoke.
A large container of water with a flame on its front is discovered. She attaches it to her back like a knapsack while passing a Vandam street sign. (Comic relief or indication that no one’s immune?)

DK arrives at a bar. Cue swinging saloon door. Other creatures made of plastic bottles and garbage appear. There’s a steer head fossil with a water bottle body, what’s left of an ambulatory crocodile; a horse-like thing with no head, four legs, and a bifurcated belly.

The cowboy swaggers in. Protagonists fight for precious water breaking up furniture. Despite strangeness of participants and lack of facial expression, violence feels palpably real. I found myself wincing in sympathy. Just when it appears the cowboy has won, a flying silver figure whips it out of his hands. DK and the cowboy chase the thief. Where did it come from?

One assumes that thirst without a head or mouth is like “the missing limb syndrome” where one feels an appendage despite its absence.

The story continues. At one point figures appear to be underwater. A squad of silver robots return to an evidently functioning plant. Where does mail come from? The earth rebels. Much is left to our conjecture.

Puppetry is marvelous; production creative. Even shaking one’s head in puzzlement, the piece fascinates. Spoiler alert, it ends with hope- for the planet.

Dorothy James’ inspired puppet design deserves a separate call out. Garbage-components create a wide variety of creatures, many in collaboration with mushrooms, the one genus to survive. Style of movement is unexpected. Disintegrating buildings and service robots (observe in what position they fly) are well designed.

Also wonderful is the evocative score by (collectively) Hilary Hawke (Banjo / Clarinet / Music Director), Brett Parnell (Electric Guitar), Jess Tsang (Pump Organ / Percussion)

Photos by Richard Termine

Parched by Official Puppet Business
Through March 1, 2026
Puppeteers: Andy Manjuck, Dorothy James, Jon Riddleberger Joseph Lymous

Developed with funding from The Jim Henson Foundation.
A Dream Music Puppetry Commission
HERE 145 Sixth Avenue https://here.org/