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To say I enjoyed Dead as a Dodo is somewhat of an understatement. My jaw was open throughout most of it. The artistry was mesmerizing. The vocals? Sublime. The puppets and scenery? Pure magic.
From the moment the show began, I knew I was witnessing something special. Dead as a Dodo is unlike anything I’ve seen before—a mix of breathtaking puppetry, stunning visuals, hauntingly beautiful music, and a story that is at once heartbreaking and hopeful. Wakka Wakka Productions has created something truly remarkable, and I only wish the run had been longer so I could have gone back to see it again (and maybe again after that).
The show’s premise alone is intriguing—a skeletal Dodo and a boy navigating the underworld, surviving by collecting bones until something impossible happens: the Dodo starts to regrow its feathers. What unfolds is a tale of transformation and survival, but also one of deep friendship. There’s a sense of wonder woven into every moment, and despite its themes of death and decay, the production pulses with life.
Visually, Dead as a Dodo is mesmerizing. The puppetry is some of the best I’ve ever seen, seamlessly blending intricate craftsmanship with fluid, expressive movement. The characters feel alive—more than alive, really. They radiate emotion, even though they’re built from wood, fabric, and bones. The skeletal aesthetic of the underworld is both eerie and beautiful, and the production's ability to create such a rich, immersive world with puppets and scenery alone is nothing short of extraordinary.
And then there’s the music. The vocals soar, weaving through the narrative like a spell, drawing you in deeper. The melodies linger long after the show ends, haunting and exquisite. There are moments of such raw vocal beauty that I found myself holding my breath, not wanting to break the spell. The combination of sound and visuals creates a fully immersive experience, transporting the audience completely into this strange, wonderful underworld.
But it’s not just the spectacle that makes Dead as a Dodo unforgettable—it’s the heart. This is a story that stays with you. It explores themes of mortality, change, and what it means to hold on to hope in the face of the impossible. The friendship between the Dodo and the boy is deeply moving, a reminder that even in the darkest places, connection and love can still thrive. I found myself emotionally invested in their journey in a way I wasn’t expecting, and by the end, I was both devastated and uplifted.
Leaving the theater, I kept thinking about how rare it is to see something so completely original, so full of artistry and meaning. I wanted to turn around and walk right back in, to experience it all over again. I’ve seen plenty of theater that’s moved me, but Dead as a Dodo hit differently—it felt like stepping into a dream that I never wanted to wake up from.
For those who missed its NYC run, there are still chances to see it. The next performances will be at the Gangneung Arts Center in Gangneung, South Korea on May 17, 2025, then at the Chuncheon Culture & Arts Center in Chuncheon, South Korea (May 23-24, 2025), and finally in Charleville-Mézières, France from September 19-25, 2025 as part of the Festival Mondial des Théâtres de Marionnettes. If you have the opportunity to go, don’t hesitate—this is the kind of show that doesn’t come around often, and it deserves to be seen and celebrated.
I don’t say this lightly: Dead as a Dodo is one of the most stunning theatrical experiences I’ve ever had. It’s bold, beautiful, and utterly unforgettable. I can only hope that one day it returns so I can sit in that audience once more, jaw dropped, completely in awe.
