INTERVIEW WITH ESTHER SCHOUTEN AND SARA GIAMPAOLO ABOUT PRRRT PRRRT FLAP FLAP

PRRRT PRRRT FLAP FLAP (3+) is the new toddler performance by Maas Theater and Dance. It follows in the tradition of Wanted: rabbit, BullyBully, and Be nice. Esther Schouten and Sara Giampaolo created this show in close collaboration with performers Gianni Noten, Henke Tuinstra, and the artistic team. Before the premiere, they toured for two weeks in Indonesia at the invitation of the Erasmus House.

BIRDWATCHING
Why did you create a show about bird-watching?
Sara: “Children are growing up in a world that seems to move faster and faster. Everything is available on demand, and if you don’t like something, you swipe it away. Happiness feels manufactured or at least like your own responsibility. We wanted to offer an alternative, showing that sometimes you have to wait. That what you’re waiting for might come to you—or it might not. Or maybe something completely different will arrive. Sometimes, the waiting itself is more valuable than the outcome. Bird-watching is one of the few hobbies that isn’t about ‘getting’ something. It’s not about capturing the bird; you just wait for the bird to appear and then disappear again. The concept of bird-watching immediately sparked our imagination. Gianni and Henke started competing with their best bird sounds right away. Our own enthusiasm gave us confidence that the audience would enjoy it just as much.”

PRRRT PRRRT FLAP FLAP
How did you come up with the title?
Esther: “While brainstorming for a title, we quickly landed on bird sounds and how to phonetically express them. It’s funny to imagine a teacher standing in front of a class saying, ‘Today we’re going to see... uh...’ The title confuses adults, while it immediately sparks the imagination of children. PRRRT PRRRT is the sound of a bird, and FLAP FLAP is the bird flying away. The entire performance is encapsulated in the title.”

INTERACTIVE
How do you engage with the young audience?
Sara: “The performers often step into the audience, moving between the chairs, for a reason: the children are truly the third player in this piece. They watch the bird-watchers, and the bird-watchers watch them. It’s one big game: who’s looking for whom, and who even is that? Some moments are designed for interaction, while other moments are not. Three-year-olds aren’t bound by social conventions yet, and their boundless imagination makes them start chirping and fluttering right from the beginning. The adult performers need the whole show to find the bird within themselves.”

Esther: “I’m moved every time by the two children who are invited onto the stage at the end of the show to become little birds. It’s amazing to see them leap onto the big stage and confidently transform into birds. Encouraging that kind of courage is so important to me—go ahead and fly! Don’t just sit still.”

FINDING WHAT YOU’RE LOOKING FOR
What happens to the bird-watchers in the end?
Esther: “Gianni’s character starts off confident, with lots of cool moves, certain he’ll see the bird. Then he finds bird eggs. He indirectly finds what he was looking for—a baby bird. He really wants it, but once he has it, he realizes it’s a responsibility. It’s like how kids want a pet until they realize they have to care for it every day. The bird eggs lead to a shift: Gianni becomes a ‘soft-boiled egg.’ That might sound negative, but it’s not—he gets in touch with his feelings and focuses less on appearances. 

Henke’s character starts by copying Gianni. She’s optimistic and has many techniques for finding the bird of happiness. But when she’s given her all and still doesn’t get what she hoped for, her spirits sink. For the first time, the stage falls silent. There’s no music until Gianni enters, helping her transform from a bird-watcher into a bird.”

COLLABORATION
What was the rehearsal process like?
Esther: “We worked a lot through improvisation, very impulsively. For example, when composer Sergio Escoda contributed something, it would inspire Henke and Gianni to play, creating something new. The show is truly a collective work, and everyone is indispensable. Even small moments, like a joke at lunch or an idea from a child in our test audience, made their way into the show. Our job was to make the final decisions. It was great to do this together—we complement each other well.”

NEXT-DAY DELIVERY
What are the main themes of this show?
Esther: “That things can happen to you. The joy of finding something you weren’t looking for. PRRRT PRRRT FLAP FLAP is also about freedom. You can project so much onto that little pink bird. It symbolizes everything we long for but can’t grasp. We can’t order everything and have it delivered the next day. It’s human to want control over what we desire most, but letting go can open new doors.”

TOUR IN INDONESIA
How was the show received in Indonesia?
Sara: “Theater for toddlers isn’t very common there. People often expected something completely different, like text-based theater or traditional dance. Bird-watching also isn’t a familiar concept. Still, we received so many fantastic reactions. The basic premise—two people searching for a bird—was instantly clear to everyone and sparked a lot of enthusiasm.”

BIRDS
Bonus question: What bird would you like to be?
Sara: “I like grumpy birds, like vultures. They’re big and grouchy, and I find them charming because they don’t conform to typical bird behavior. They’re not the prettiest or the fastest.”

Esther: “Through this production, I’ve come to love the American woodcock, which dances through life. It’s such a beautiful bird to embody. They move so inefficiently, very slowly—it’s fantastic. This bird even made it into the show; Gianni does a great impression. The woodcock steps forward, and its body moves, but its head stays completely still.”

From October 2024 to December 2025, PRRRT PRRRT FLAP FLAP will tour the Netherlands and Belgium.