British UNIMA Magazine
Sarah Wright, who grew up as a puppeteer in the Little Angel Theatre in London, has invented and staged "Silent Tide" with an international cast of puppeteers, musicians sound- and light designers; amongst them her mother Lyndie Wright.
Hartmut Topf thinks it is a great play:
As darkness falls in the theatre hall of DOCK 11 a defunct backyard Factory in Berlin’s borough Prenzlauer Berg, there is only a whisper in the air, the chirping of distant intercom signals, a human voice endlessly repeating ciphers. Mother Earth is projected as a pale spaceship, while another spatial vehicle orbits through cold emptiness. The tabletop stage is covered with sand.
In the background under a tall tube, a chimney perhaps, we see a compact
building dominated by a dome. A temple? A nuclear power plant? Bob Rutman starts playing one of his steel cellos, big metal sheets, a monochord and steel rods, agitated with a bow or rather an archaic fiddle-stick, sometimes with hands and hammers, for a music, which becomes overwhelming as more instruments join the orchestra on both sides of the scene. Bob Rutman also sings like a shaman, darkest bass and overtones....
In the sand, under a dune, emerge a frail feather, a weak wing, and soon a second one. Is it Icarus resurrected? Is it a fallen angel? As the figure tries and eventually succeeds to fly, a procession of people rise from the floor on a sort of conveyor belt, a narrowing wedge magically pulled to the central building, the dome. Finally they all fall into a nowhere, a ditch, a moat, a trench, an abyss. The curious angel man follows and disappears.