never say never!

After years of stumbling into puppetry again and again, through strange coincidences and seemingly inherited family fate, this year I decided to fully embrace it and apply to the prestigious Eugene O'Neill National Puppetry Conference in Waterford, CT.

Heavens to Betsy, I got in! I was awarded a scholarship from the Terry and Taylor Fator fund, which is "intended to financially and emotionally support puppet artists with a 'never say never' spirit." I'm still $1,175 short of the remaining tuition balance for the 11 day conference, due April 28. This seems like a lot to raise in less than a week, but-- Never say never! So I am fundraising for myself for the first time. 

This series of blog posts is an appeal for donations, a history of my life-long tango with puppetry and community art, and why I want so badly this experience at the O'Neill, which you can read about here. Any small amount you can give to help me get there will be so appreciated for years to come!

To donate, please go to my GoFundMe page by clicking right here!

PUPPET APPEAL, PART 1:

THE CURIOUS HISTORY OF A 3RD GENERATION PUPPETEER

My grandparents David and Helen Bogdan started making and performing with marionettes in the 1950s in West Orange, New Jersey, along with their 2 daughters, Bonnie and Judy. They called their family theater company The Stringpullers, and put shows on for the community, built theaters for other puppeteers, and taught art and puppetry to school groups. This is Helen and Judy in my grandfather's stage construction diagrams.

By the time I came along in the 70's, their house and their lives were full of puppets. From before I can remember, I was making and playing with puppets, too. And there were always shows going on for neighborhood kids. That's me in the crowd on the right in a pink dress, looking very dramatic.

As I grew up, I strayed away from puppetry and towards the introversion of books. I trained in classical visual art at the Rhode Island School of Design and became a children's book illustrator. But I, too, went into schools and taught kids about illustration, as my grandfather had (he was also a cartoonist). Here's my grandfather and me, both talking about illustration to school groups, 30 years apart.

Though I wasn't making puppets, I couldn't stop making dolls. I joined the Original Doll Artisans of Connecticut and focused on figurative sculpting. But I always had an uneasy feeling when these dolls were stiff and posed, which for some reason I felt I had to make them. But secretly, I wanted them to be loose and moveable. Secretly, (obviously now) I wanted them to be puppets. This is "Grace", which I made for Robert's Snow, an art auction fundraiser for a dear friend's very personal cause. 

When my grandmother fell ill years after my grandfather passed away, she was most anxious about the future of their large family of marionettes. I had always promised I would take care of them, but she doubted me, expressing regret that I didn't become a puppeteer. These are just a few of the dozens of puppets my grandparents made together.

The last time I saw my grandmother, the day before she died, to comfort her I lied and said I had found people who I was going to puppeteer with, which brought her tremendous relief. Two weeks later, by the strangest of coincidences, I heard about an open apprentice puppetry position with Bob Bresnick, Leslie Weinberg, and Margaret Carl of Puppetsweat theater company, and suddenly I was in my first puppeteering roll in a show called James Mars. (I'm the one on the far left!)

                                  

I performed with Puppetsweat for many more shows, operating table top, rod, bunraku-esque, and shadow puppets. Puppetsweat productions are mature, dark, brooding, sophisticated, and gorgeous. Puppeteers are visible, and body awareness is crucial. I had never been a stage performer before, and I learned everything from Bob, Leslie and Margaret. With them I got to perform in amazing places, including the Pontine Movement Theater, Wesleyan University, Manhattan School of Music, and Galapagos Art Space. And I began helping them build puppets for Master Peter's Puppet Show, which we took to the Kennedy Center in DC. That's me in the center as Don Quixote's right hand, and the monkey puppet I built from Leslie's design on the right. 

In 2006 I began teaching for the first time, as co-instructor of an Intro to Puppetry class with Bob at Quinnipiac University. I taught building and operation of rod, hand, toy and shadow puppets, while Bob taught history, theory and direction. Again I found myself copying my grandfather. Here's his puppet building class at St. Cloud School in 1976, and my class at QU in 2006. 

Inexplicably I started being asked to teach other places, including Jake Weinstein's Circus class at the Educational Center of the Arts in New Haven where I experimented with my first all-student-designed giant puppet project. We built a giant cardboard monkey puppet with rolling eyes and performed it on Audubon Street in New Haven. Now I was really hooked.

photo: Rich House

In 2007 I became a puppet cover girl (how many people can say that?) when Teaching PreK-8 Magazine came to my attic studio to interview me about book illustration and puppetry. 

In 2010 in my art class at the Common Ground Summer Ecology Camp, I used the resident chickens as study subjects for my elementary school students to translate live animal movement into giant puppet construction. The two giant chickens were completely designed, developed, built, and performed by them as a communal project. Here's my grandfather's students building at St. Cloud again, and mine at Common Ground. (You can see more of these amazing chickens and their design process at the Giant Chicken Blog.)

Around this time I began experimenting with producing my own short acts combining dance, shadow play, and puppetry for a vaudeville festival called Forgot to Laugh curated by Tony Juliano. Over a few years I recruited circus friends as cast members, and two recurring characters began developing who I called Polly and The Moon. 

photos: Mike Franzman & Chion Wolf

More and more opportunities began coming from my collaboration with circus artists, including building and teaching giant puppetry for student shows and street festivals. This giant sea spirit was built for the Torrington Main Street Market and Matica Arts in 2011. 

And, a whole new experiment combining living statue and puppetry called The Mermaid Statue that I built and performed for Hartford First Night on December 31, 2010, and has since been my most prolific project, appearing all over New England at county fairs, private parties, festivals, street corners and museums. 

But most epic yet: in 2011 I was commissioned by Cornerstone Playhouse and Mystic Aquarium to write, build, and perform a show about the ocean for family audiences. Polly and The Moon turned into Luna and The Moon, and became a 40 minute, full stage, 7 cast member production called Luna’s Sea, directed by Karl Gasteyer and choreographed by Christine Poland. After a summer run in Mystic Luna was unbelievably discovered and contracted by the American Museum of Natural History in NYC to perform in 2012. 

photo: American Museum of Natural History

The story isn't done with Luna's Sea yet! But I'll leave that for Part 2 of Puppet Appeal blog post series. Perhaps in the meantime you'll be dazzled enough to throw a dollar, or two, or a hundred into the virtual hat that will help send me to Eugene O'Neill this June by donating at this link! Or if you are unable, but still feel moved to help, please share this post. I promise more shows, more community events, and more participatory spectacles that will be a thousand times better for you having helped send me to the O'Neill!

Photo credits: Mike Franzman, Chion Wolf, Rich House, American Museum of Natural History