On September 2nd, 2016, I finished my tenure at the Puppet Slam Network (PSN), which I co-founded in 2005 with Heather Henson and through support from her production company, Ibex Puppetry. As PSN coordinator for just over a decade, my work focused on cataloguing, connecting, supporting, and generating awareness for evenings of short-form puppetry for adults.
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.
On Saturday, December 4th, 2010, I performed Fudgie’s Death, at Theater at Avalon Island as part of Puppets from the Edge. Produced by Ibex Puppetry, Puppets from The Edge was evening of short form puppetry for adults, which I curated and hosted with Hannah Miller during the 2010 Orlando Puppet Festival.
On Saturday, December 4th, 2010, I curated and hosted Puppets from the Edge with puppet artist, Hannah Miller at the Gallery at Avalon Island in downtown Orlando. Puppets from The Edge was an evening of short form puppetry for adults, during the 2010 Orlando Puppet Festival.
On December 2nd, 2010, I appeared on Film Snobbery, hosted by Nic Baisley, with guests Sean Keohane from Pinnochio’s Marionette Theater and Heather Henson, founder of Ibex Puppetry. We had a lively conversation about how the power of puppetry has flourished in recent years.
On July 7th, 2010, Dan Walechuck appeared on CJOB (Winnipeg) to talk about The Puppet Slam Network and the Winnipeg Puppet Slam, (which I performed in). The Puppet Slam Network, which I co-founded with Heather Henson, fostered connections for 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.
October 31, 2009, Bride of Wildenstein – The Musical was reviewed during it’s run at the Cameo Theatre in Orlando by Archikulture Digest, a blog on Ink19. In Bride of Wildenstein – The Musical, an aging socialite grows fur and claws to recapture the attention of her philandering game hunter husband. The review characterized the show as a “unique piece of musical performance art”, and my performance portraying both “Jocelyn and hubby Alec with a double sided costume, allowing character switches with a spin of the high heel.”
On October 29th, 2009 Bride of Wildenstein – The Musical began its run at the Cameo Theatre in Orlando. In Bride of Wildenstein – The Musical, an aging socialite grows fur and claws to recapture the attention of her philandering game hunter husband. The weekend of performances – October 29th-November 1st, 2009 headlined the Orlando Puppet Festival, organized by Ibex Puppetry.