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 Friday, April 29th, 2011, I performed Fudgie’s Death, a short segment from Growing Up Linda at 14Karat Cabaret during the Transmodern Festival as part of Travesty at Hand: an evening of poupées, toupees and dummies. Baltimore’s New Urbanite described the performance as “eccentric adult puppetry that oscillates between adorable, abject, campy, and earnest”.
This artist talk was made in conjunction with my performance, Fudgie’s Death at the 14Karat Cabaret and my presentation Object/Fetish at a salon/art party in the H&H Arts Building as part of the 2011 Transmodern Festival.
On April 27th, 2011, City Paper in Baltimore, covered the Transmodern Festival, which featured a photo and mention of Fudgie’s Death, which I was performing. In Fudgie’s Death, I transformed table-top pop-up books into full-screen cinema. This neo-noir tale of depravity is centered on the daughter of a famous ice cream mogul, who must come to terms with her troubled past,
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.