I began working as a puppeteer by working with children through local charities and schools.
I had several puppets and puppets in the theatre who were puppets from childhood and were used by puppeteers to show that puppets existed. The puppeteer did not make the puppet – he was simply the puppet – so I took that experience and learned from it.
What does it mean to put a character out there to begin with? Does a role have to be written in a certain way for me to begin working on it?
It comes down to the person who wrote the script, not the script itself.
Puppets – and especially puppet shows – are never written for a particular person. I’m never asked to perform one.
Puppet shows that were in development in an era where children were young, were written, and I worked on, were always in that style (puppets).
A lot of stories are meant to be told from both sides, if it can be done. There is never a need to be all-for-one.
If you’re interested in the history of the puppetry industry as a whole, I would recommend this article http://www.puppetgeek.com/history/history.html
What were puppet shows like? The work was like making clothes with magic. Is it fun?
It was hard work to put together puppets so well.
Puppet performances were sometimes chaotic and dangerous, and I had to make sure I was OK.
I was given a lot of responsibility and many different tasks and I did not enjoy it.
Mostly, I enjoyed the work, especially when I knew that the work for these shows could be improved.
Who wrote my shows? Did you write many?
I was writing on a number of occasions.
One show I wrote was The Princess of Laval (1959). She was played by a very good actress and by far the most successful, even though I didn’t do much work.
Other shows I wrote included One Flew Over the Cuckoo’s Nest (1961) and Aladdin (1989).
Aladdin was more of a character than an actor – there was no script. I wrote a lot of things that had the same tone and feel without a script.
Some of the scripts were published – mostly of my own creation – and some were not.
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