The Adorable Debut Of HAPPY BIRTHDAY, MON AMI by Alex and Olmsted

HAPPY BIRTHDAY, MON AMI is a new show by Alex and Olmsted, (Sarah Olmsted Thomas and Alex Vernon), the debut of which I was privileged to enjoy on the very cusp of May/June 2024. It is tiny, enchanting and exquisite, like a delicious handcrafted chocolate truffle in a gleaming box. As the title hints, we are transported to Paree, er, Paris, to celebrate a special birthday with a fondly awaited guest. 

Alex and Olmsted, whose work as a theatrical company has earned multiple awards from the Jim Henson Foundation, and an assortment of other recognitions including the Maryland State Arts Council, are Baltimore-based filmmakers, musicians, movement artists and, oh yes, puppeteers. Their works MAROONED and HUBBA HUBBA, at Baltimore’s Theatre Project are theatrical shows which happen to include puppets as characters and/or scenery. HAPPY BIRTHDAY, MON AMI is much more of what one thinks of as a traditional puppet show, and incorporates familiar elements of Lambchop’s Play-Along, Kukla, Fran and Ollie, and Punch & Judy. It is the puppet-iest show I’ve yet seen from Alex and Olmsted.

Given the history and cultural depth of puppetry, I shouldn’t have been surprised to learn it has a home in the culture-rich city of Baltimore. The Black Cherry Puppet Theater has been hosting quirky and puppet-centric shows in the Hollins Market neighborhood of South West Baltimore since 1980. Black Cherry Puppet Theater often features musical acts, various community youth workshops and a quarterly event called Puppet Slamwich!. According to their Facebook page, “Puppet Slamwich! celebrates puppetry for adult audiences in all of its forms, from traditional to experimental, as well as related genres, such as vaudeville, cabaret, toy and Object Theater.” There’s more here about the Black Cherry Puppet Theater in a short film made, non-coincidentally,  by Alex and Olmsted.

The theater seems one part barn, one part warehouse, one part black box theater and one part child’s painted toy box. It delights me immediately. There is swag for sale, and popcorn, but we’ve just eaten amazing mediterranean food at Zella’s Pizzeria down the block at the corner. Audience seating is chairs of average size, arrayed in a rough arc around a slightly raised stage. The theater is not designed to seat many people, so even a small-ish audience looks like a full-ish house.

Alex and Olmsted themselves greet us to introduce their new show, remind us to silence our devices, then whee! We’re off on a miniature adventure of the most cozy sort. Their accents are Fronch, which is to say, won’t impress anyone actually from France, but they are effective as a device to transport us from an eclectic little theater in Baltimore to a pretty neighborhood in Paree, ahem, Paris. 

Colette, played by Sarah Olmsted Thomas, stands at Sarah’s own full height plus heels, arrayed in a lovely ensemble that evokes both Jackie Kennedy and Coco Chanel, playing a gleamingly refined accordion. Alex Vernon, equally charming though less resplendent during their welcome and introduction, is invisible thereafter, performing Jacques and most of the other characters, like the "Professors" in Punch and Judy's tradition. 

The only set piece is the puppet booth, though, being Fronch, it is more elegant than the  wide carnival stripes of Mr. Punch’s iconic tent. It’s a theater unto itself, complete with burgundy velvet and golden tassels, creating a show-within-a show aesthetic right away.  A marquis above the proscenium defines our situation. The scenic changes are smooth and the environmental backdrops are rendered with loving detail. 

The show plays on American notions of “French-ness,” and is structured in little episodes. There is one sequence which includes a nod to the whacking and smacking, (punctuated by appropriate accordion riffs), which viewers often associate with Punch & Judy, but HAPPY BIRTHDAY, MON AMI is not violent: it’s driven by tender emotions. Colette’s frequent protestation of “ooh, Jacques… le public est la`!”* becomes a pleasantly anticipated refrain.

The thoughtfully crafted script has designed abundant opportunities for fourth-wall-breaking interaction, though the ‘wall’ is more of a gauzy curtain over an Open Window. We are not separated from Jacques and Colette- we accompany them through each sequence, speaking when invited to do so. Do be prepared for some call-and-response action, and a sing-a-long. Much of the time, however, our part of the conversation is rapturous observation of Jacques and Colette’s relationship and their fascinating Fronch preparations. 

When the ‘ami’ of the piece arrives, not all proceeds as planned, of course, but the resolution is satisfying and sweet. Though there’s a great deal of this show that is adult-targeted, it would not be out of place in a children’s event, even for very young ages. 

HAPPY BIRTHDAY, MON AMI is written by Alex and Olmsted, directed by Alex and Olmsted, built by Alex and Olmsted and performed by Alex and Olmsted. In fact, performers Alex Vernon and Sarah Olmsted Thomas do everything for each and every show: choreography, music, sound effects, publicity- in fact, as far as I can tell, the only things they do not handle independently are lighting and photography. It’s impressive to be immersed in that level of multi-skilled world-building even if you’re not actively thinking about it, but for a tech nerd like myself, it’s practically mind-blowing.

There is no intermission during the performance of HAPPY BIRTHDAY, MON AMI, which it doesn’t need, since from start to finish it is under one hour. It’s so active and engaging, you’ll feel as if you’ve attended a much longer performance, satisfyingly so, but without the urgent need to pee immediately.

Alex and Olmsted have had a full summer touring schedule of regional performances which include MILO THE MAGNIFICENT, MAROONED! and HUBBA HUBBA, plus several appearances with Happenstance Theater. They bring HAPPY BIRTHDAY, MON AMI to Baltimore’s Theatre Project in December. (Scroll down to find it. Keep scrolling. It’s there, I promise. ) Those dates are December 5th through December 8th. That’s one weekend, readers. ONE. Tickets, priced at a very reasonable $20.00, are available now ; if you don’t purchase tickets right away, at least post a reminder on your device or refrigerator so you don’t miss this one. I predict sell-out performances. 

HAPPY BIRTHDAY, MON AMI is a show for lovers, for puppet lovers, for accordion lovers and for those who love the idea of travel but not the exertion of actual travel. Transport yourself to Paree, er, Paris, with Alex and Olmsted and enjoy the tiniest, darlingest homage to classical puppetry you’re likely to see without leaving Baltimore.

Run Time: 50 minutes, with no intermission.

HAPPY BIRTHDAY, MON AMI by Alex and Olmsted debuted at

Black Cherry Puppet Theater, 1115 Hollins St, Baltimore, MD 21223

and is coming to Baltimore’s Theatre Project, 45 W. Preston St. Baltimore, MD 21201

Administration: 410-539-3091 -Box Office: 410-752-8558 -Email: office@theatreproject.org

Photo: Jacques and Colette, played by Alex Vernon and Sarah Olmsted Thomas

Photo Credit: Ryan Maxwell Photography

Final Factoid: *Translation: “Oh, Jack… the audience is here!”

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