On September 2011 – I began a series of informational blog posts on the Puppet Slam Network website that addressed topics related to organizing evenings of short-form puppetry and object theatre for adults. Topics included: the significance of puppet slams, puppet slam history, the future of slams, sources of inspiration, working with a fiscal recipient, learning from fabulous failures, advice on hosting and performing in slams, self promotion, and how to get the most out of the Puppet Slam Network.
August 19th, 2012
Listen in to leading puppet slam artists and curators who reflect on why puppet slams matter to them – “I like to laugh at jokes that are on a more adult level of humor, whether it’s bawdy, or sophisticated…” (Read more)
August 3, 2012
When was the very first puppet slam? Surely there must have been Paleolithic Slams or something like them with cave people projecting shadows onto their walls by torchlight to communicate where all the food was. (Read More)
June 14, 2012
Leading Puppet Slam Artists reflect on where they see the Puppet Slam movement in the future. “I see more collaboration between puppeteers and musicians.” (Read More)
June 7, 2012
If genius is one percent inspiration and ninety-nine percent perspiration, what makes these leading slam artists sweat?…“Most of my ideas are about situations I can imagine the TV and I struggling with onstage.” (Read More)
June 3, 2012
“When choosing a fiscal recipient, select your partner organization carefully.” (Read More)
May 18, 2012
“Never try and simulate the sound of someone’s pelvis cracking by breaking celery into a microphone…” (Read More)
May 17, 2012
“Maintain a spirit of adventurousness and experimentation but also never forget the importance of the audience. What is the journey you are hoping to take them on? How successful are you? Whenever experimental work forgets to continuously engage or reward the audience then it misses the inherently conversational nature of live theater and risks being over-indulgent…” (Read More)
April 19, 2012
“I will customize my own resumes to suit the client- some people don’t care if I can build. I have a show resume. Some people don’t care if I can make puppets- I have a costume resume…” (Read More)
September 3, 2011
Here in Puerto Rico, I can attest to the PSN helping to bring together the puppet community. Being on an island can be quite isolating and the sense of the puppeteers being in a wider dialogue with puppeteers from the US I think has helped artists here see a wider variety of work. (Read More)
From February 10th, 2012 – April 6th, 2013 I published a series of 24 interviews with puppet slam artists and curators for the Puppet Slam Network. Subjects included Nick Hubbard (Seattle), Tommy Cannon and Nancy Smith (Phoenix), Res (Toronto), Dylan Shelton (Cincinnati), Christine Papalexis (Los Angeles), Blainor McGough (Portland, ME), Vanessa Gilbert (Providence), Evan O’Television (Boston), Alexander Winfield (London), Kat Pleviak and Jessica Simon (Chicago), Debrah Hunt (San Juan), Enda O. Breadon (Honolulu), Lana Schwarcz (Melbourne), Alissa Hunnicut (Brooklyn), Geppetta (Philadelphia), Carole D’Agostino, Honey Goodenough, and Cathy Shaw (NYC), Roxie Myhrum (Brookline), Valeska Populoh (Baltimore), Beau Brown (Atlanta), and Valerie Meiss (Asheville). (Read them all here)
In the Spring of 2012, The Puppetry Journal (magazine) ran a substantive cover story on the world of puppet slams, featuring my work as co-founder of The Puppet Slam Network and my interviews with puppet slam artists.
In the “The North American Puppet Slam Scene in 2010”, I was interviewed by Teresa Smalec for Puppetry International (magazine) on my work as a curator of short-form puppetry for adults and in my role as co-founder of the Puppet Slam Network.
- 2013 – Portland Press Herald (newspaper)
- 2010 – CJOB, Winnipeg (radio)
- 2010 – Film Snobbery Interview (interview)
- 2006 – Feast of Fools #395 – Life On Marsian (podcast)
- 2006 – Spoiler Alert / BSR 88.1 FM, Providence (radio)
The Puppet Slam Network fostered connections between independently produced puppet cabarets, so that puppet artists knew where they could perform, venues could find puppet artists, and audiences could enjoy an intimate, tactile, and compelling form of entertainment.
Ibex Puppetry (the parent company of the Puppet Slam Network) was dedicated to promoting the fine art of puppetry in all of its mediums. Founded in 2000 and receiving multiple UNIMA (Union Internationale de la Marionette) awards, Ibex Puppetry supported puppet art in the mediums of film, stage, gallery exhibits, workshops and artist presentations.