Bride of Wildenstein was made possible with funding from Ibex Puppetry, The Durfee Foundation, The Eugene O’Neill Theater Center, and CalArts (with funding from Student Council, the Special Projects Fund, and an Interdisciplinary Project Grant).
In Bride of Wildenstein – The Musical, an aging socialite grows fur and claws to recapture her philandering game hunter husband’s attention. Using puppets and masks to augment the body, this solo cabaret performance playfully unpacks desire and the contagion of identity with songs that examine the making of a monstrosity.
Ibex Puppetry is an entertainment company 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 supports puppet art in the mediums of film, stage, gallery exhibits, workshops and artist presentations.
The Durfee Foundation is a family foundation that seeks to adhere to the values of their founders, Dorothy Durfee Avery and R. Stanton Avery, by rewarding individual initiative and leadership. The majority of their grant making focuses on the Los Angeles region, where the foundation’s history lies, and where funding needs are great.
The National Puppetry Conference at The Eugene O’Neill Theater Center encourages puppet artists to create and communicate through the visual and kinetic form of the puppet, to push beyond their personal boundaries, and develop new works for puppet theater. In
The Cotsen Center for Puppetry and the Arts (1998-2012) was a teaching laboratory situated in The School of Theatre at CalArts that offered a framework for the practical training, artistic innovation, aesthetic inquiry and interdisciplinary investigation of puppets and performing objects. The Cotsen Center strived to combine puppet theatre with the use of new technologies and emerging forms and practices that cut across traditional boundaries.