A decade of the Puppet Slam Network (curatorial)

Marsian-PSN-Slide

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.  

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Puppet Up! Uncensored, Los Angeles (puppeteer, improv performer)

On October 26th, 2015, I performed in Puppet Up! Uncensored for a special private viewing of friends and family on the Charlie Chaplin Sound Stage at the Jim Henson Company Lot in Hollywood, Los Angeles.

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Improvatorium – 7/13, Los Angeles (improv performer)

The July 25th, 2013 edition of  Improvatorium – The Next Generation featured Chris Sheets, Debra Eckloff, Alexandra Hoover, Frank Banz, Javier Estrella, and Paul O’Flaherty, with musical guest, Dan Ring, and special guests Vanessa Whitney, Grant Baciocco, and Julie Brown. Improvatorium – The Next Generation was an improv show at Theatre Asylum in Los Angeles directed by Jayne Entwistle.
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Portland Press Herald, (Puppet Slam Network)

On January 28th, 2013, The Portland Press Herald briefly covered my work with the Puppet Slam Network as part of a larger story on Blainor McGough, curator of King Friday’s Dungeon in Portland, ME.

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Feast of Fun #1603 – Puppets Gone Wild, Patrick Bristow (podcast)

On June 14, 2012 Patrick Bristow (Ellen, Showgirls) was a guest on Feast of Fun, a Chicago-based LGBTQ comedy podcast hosted by Fausto Fernós and Marc Felion, to promote Henson Alternative’s Stuffed and Unstrung in Chicago.  When the topic came to my work, Bristow said, “this person is a walking work of art”.
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The Puppetry Journal (Press)

In the Spring of 2012, The Puppetry Journal 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. The Puppet Slam Network 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.   Continue reading “The Puppetry Journal (Press)”