“The work is the thing. A unique portfolio will open more doors than a large follower count.”

The Studio Behind the Characters

Hidden away in New York, Furry Puppet Studio creates characters that millions of people have seen, often without ever knowing who made them. Founded in 2010 by Creative Director Zack Buchman, the studio has produced custom puppets for Apple, Nike, Nintendo, Casper, television, music videos and original productions through its sister company, Uncute Inc.

Unlike many traditional puppet workshops, Furry Puppet Studio brings together sculptors, engineers, costume makers, designers and performers to create expressive characters for screen. According to the studio, many projects begin not with a polished concept drawing, but with a simple doodle, with the team working together to discover “the essence of the doodle” before transforming it into a finished puppet.

For Holly Likes Puppets, Zack shares his journey into commercial puppetry, his creative process, and his thoughts on making a career in one of the world’s most unusual creative industries.

SEEING FACES EVERYWHERE

You are self taught and never went to college. What first pulled you toward puppets?

I think it started before I knew it was starting. From an early age I was putting things together to make faces, and I still do it. When I am tired I see faces everywhere, in a plug socket, in the front of a car, in fruits and vegetables. I just happen to get genuinely inspired by it.

How Puppetry Became My Career

What first inspired you to pursue puppetry professionally, and were there makers, films or experiences that influenced you?

I do not think there was one clean moment where I decided, this is my profession now. It was more that I kept returning to puppets no matter what else I tried. I moved to New York when I was 20, and the city has a way of showing you that unusual creative jobs can actually exist if you are stubborn enough. Puppetry sat in this place between sculpture, performance, comedy, design and production, and I was really attracted to characters and ways to bring them to life.

The influences were all over the place: Jim Henson, early Sesame Street, stop motion, strange European children’s films, old LucasArts games. What connected them was not style as much as the constraints of the medium. They all forced the creators to find clever ways to create the appearance of life with very little. There is something magical about that.

Inside the SoHo Workshop

Can you take us inside the studio?

It is smaller and calmer than people picture. It started as just me. These days it is a small team here in the SoHo studio, plus a wider group of specialists who come in and out depending on what the project actually needs: sculptors, mechanics, costume people, performers. We have shelves of books including many graphic novels, and puppets sitting around like quiet colleagues. It is a working space. The making is slow and physical. We carve each head by hand from foam, an engineer works out the mechanism, and a costume designer sews the fabric the way you would for a real person, so the character feels like it actually lives in those clothes. Near the very end we set the eyes. That last adjustment can change who the character turns out to be.

One thing that has changed a lot in the workshop over the years is the materials. For a long time nothing on the market matched what we needed, especially once fleece was stretched over a carved foam sculpture and had to hold up on camera, so we manufactured our own and called it dream fleece. These days we source specialty textiles through overseas partners instead.

Do you collaborate internationally or mainly with New York based artists?

The puppets are designed and built here in the New York studio, but the work itself travels. For Apple Japan we worked with Apple's team for two years on an iPhone campaign that was built in New York and shot in Tokyo, we've built a cast of monster puppets for a New Zealand based production, and we just wrapped projects in the UK and Japan. The language of puppetry is universal. It's truly beautiful.

How many different skills go into a single puppet?

Creating a commercial puppet rarely belongs to one person. I lead the studio creatively, but the work depends on specialists with very different skills. There is sculpting, where the character first becomes real in foam. There is mechanical design, because the puppet has to move and not just look good. There is costume design, because the clothing has to behave like clothing on a real body. And there is performance, because a puppet only fully comes to life in the hands of the right puppeteer. Those skills all have to meet in one object.

Take a look at some of the studio's work

Fisherman Puppet
Link: https://www.furrypuppet.com/blog/old-sea-dog/

This is a custom character built around an old fisherman. A good example of character design through sculptural elements and texture. You get a certain feeling even before the puppet starts moving.

Monster Puppets
Link: https://www.furrypuppet.com/blog/monster-puppets/
A cast of mechanized monster puppets we designed for a New Zealand based production. They’re very simple with effective mechanisms.

Desus Nice Puppet
Link: https://www.furrypuppet.com/blog/desus-nice/
The Studio created a custom likeness puppet built for Desus Nice

Anderson Cooper Puppet
Link: https://www.furrypuppet.com/blog/anderson-cooper-and-andy-cohen-custom-puppets-for-cnn/
We were commissioned to create likeness puppets of Anderson Cooper and Andy Cohen, built for CNN’s New Year’s Eve broadcast, where the two have co-hosted for close to nine years.

Refrigerator monster
Link: https://www.furrypuppet.com/blog/monstrous-appliances/

A talking refrigerator puppet with animatronic eyes, part of a set of appliance puppets we built for the energy company of Philadelphia.

All pieces designed and fabricated by Furry Puppet Studio in New York.

The Puppeteer Is as Important as the Puppet

A lot of our readers here are performers. How do you think about the relationship between the puppet and the person operating it?

In my mind the puppeteer is as important as the puppet. I like to have a performer in mind while I am still designing, and to be in the room for casting and rehearsal early. Sometimes the vibe of the person is so close to the vibe of the puppet that you cannot separate the two. The performer brings the breath and the timing, and it feels inseparable from the puppet.

On one music video we built marionettes of two well known musicians, and the choreographer brought in street performers who each came up over the years with their own way of controlling their marionettes. We rebuilt the insides of the puppets so they could carry that same energy, and watching it come together was a beautiful thing.

Why a Puppet Still Gets to People

Why do you think a puppet can still move people so deeply, even adults?

It seems that we are just wired that way. A cognitive scientist could probably answer this better than I can. We are always hunting for faces and for signs of life, and a puppet gives the brain just enough to latch onto. It is in the room with you, you can see it from every angle and touch it, and at some point you stop seeing the puppeteer entirely. I used to think this only worked on kids, but adults are often the ones who fall hardest.

Learning Without a Map

What would you say to someone who wants to make puppets but has no training and no idea where to begin?

Start, and don’t worry about making it right. Let the first few be bad. The physical part is a wonderful teacher because there is no undo button. You cut the foam, you commit, you work with what you’ve got, and you learn faster than you would on a screen.

Be honest about what you do not know. When you come in with genuine curiosity instead of a performance of confidence, people can appreciate that more and show you things. On formal training: it can be very useful, even though I skipped it. One place I would point people toward is the National Puppetry Conference at the Eugene O’Neill Theater Center in Connecticut. It runs every summer and brings people from all over the world together with master artists. There is a pre-conference for people newer to the field. You learn a lot and you meet the community at the same time, which is probably more valuable than either thing on its own.

Zack Recommends

📚 Books and comics: It’s almost a cliche, but Maus really lives up to its reputation. Also, anything by Roz Chast makes me happy. Michael DeForge has really surprising and clever compositions, poses and character design. I never get tired of it.
🎬 Films and shows that shaped how you see puppets: classic Muppets. Also, I really recommend the old Fleischer Brothers Popeye cartoons. There’s so much experimentation and genius there. Truly inspiring.
🧵 Favourite materials: you can never find me without a Blackwing 602 pencil. I developed an addiction to watercolour a few years ago and I can’t even go to a restaurant any more without a drawing tool on me. It’s really out of control.

• Kuretake Gansai Tambi portable watercolour set of 14

• Palomino Blackwing 602 pencils, set of 12

• Muji pencil sharpener
  

Making a Career

What are your top tips for working professionally in the industry?

Keep making things. I know a lot of people are very focused on building an online following, and I understand why, but in my experience it is mostly a distraction. The work is the thing. A unique portfolio will open more doors than a large follower count, and the people hiring you are looking at what you made, not whether your work went viral once. Beyond that: learn to collaborate. Puppetry is not a solo pursuit, and the people who do well in this field tend to be genuinely good to work with. I care much more about someone’s spark than their CV.

How do clients usually find you?

The most honest answer is that the work itself has done a lot of the talking. Distinctive design style, proper credit and a clear portfolio have opened doors.

What makes a portfolio stand out?

What I am really looking for is whether you can tell it is someone’s work even when they are trying very different characters and experimenting with different styles. I really enjoy trying to figure out what the artist’s unique fingerprint is. I also pay attention to finish. For example, I would be embarrassed to put something out that did not meet a certain standard of detail, and what someone chooses to include in a portfolio tells you how they see things.

Recognition

Puppetry is a highly skilled art form, yet many makers and performers in the UK feel it does not always receive the same recognition as other theatre, film or visual arts disciplines. Is that something you have observed in the United States as well?

I think it has been undervalued, but puppets have never really needed permission. People file it under children’s entertainment and it can sometimes feel inadequate, but a puppet does something on a stage or a screen that almost nothing else can, and audiences feel that, and critics too. What I notice lately is a real hunger for things that are handmade and tangible, and that have an authentic emotional connection with the audience.

How can we make the puppetry community stronger?

I think online communities have done more to democratize this than almost anything else. People used to hold their technique pretty close, but now someone can post exactly how they built a mechanism, and a puppet maker on the other side of the world can build on it instead of starting from zero. It has pushed the craft forward faster than most people realize.

Find Zack

People can find the studio's work at Furry Puppet Studio and on Instagram at @furrypuppet. Our original characters and plush toys live at Uncute Inc..

Enjoyed this interview?

💌 Subscribe to support the blog and get more in-depth conversations with artists shaping the future of puppetry and performance. Your support makes this possible.

If you would like to be featured email hollylikespuppets@gmail.com

Subscribe now

I’m so excited to share a project I’m proud to be part of — Gobble, a puppet short film created by sculptor and practical effects artist Ragwort. This dark comedy follows an old goblin wrestling with his ingredients as he tries to cook dinner deep underground. Think grimy kitchens, slimy creatures, and a stew that bites back.

What drew me to this film is its commitment to practical creature effects and puppetry — techniques that feel alive in ways CGI never quite can. The goblin himself was sculpted in clay, cast in silicone, and brought to life with puppetry that blends humour, danger, and just the right amount of weirdness.
The film is crafted with the same Hollywood magic seen in projects like Ghostbusters: Frozen Empire, American Horror Story, and The Mummy — because that’s the world Ragwort has been working in for years. And now, with Gobble, he’s pouring that experience into his own darkly whimsical vision.

As an Associate Producer, I’ll be credited in the film and get to enjoy some amazing behind-the-scenes content: production diaries, the finished short, and even a poster. But more than that, I’m thrilled to help bring this goblin’s subterranean world to life.

✨ Watch this space for updates — I’ll be sharing more about the process as the project comes to life.
👉 In the meantime, you can follow the project here to see Ragwort’s goblin world unfold.

Gobble, gobble.

CLICK HERE FOR UPDATES

⚡️ Crowdfunding Closes Soon — Be Part of the Magic

The team behind FELT are in their final push to raise funds, and every donation truly makes a difference. Whether you're pledging £1 or £500, you’ll be helping bring an ambitious and emotionally rich story to life — complete with puppets, pathos, and poignant laughs.

🎯 This is an urgent call-to-action:
The campaign is flexible funding, but the sooner they hit their goal, the better this film can be.

🎥 What is FELT?

FELT is a short film about Dougie, a former folk singer who’s shut the door on music. That door gets kicked open when Noggin — a hopeful dreamer with studio gear and felt for skin — moves in next door.

The film explores:

• The tension between art and ambition

• The inner critic vs. the hopeful dreamer

• What it means to create even when it hurts

It’s Mike Leigh meets Jim Henson — a slice-of-life tale with puppets, but played completely straight.

From Writer/Director Robert Trott:

“This story means a lot to me because it started as an exercise in writing without thinking.
Now before you say ‘Yeah, it shows,’ what I mean is, I tried to not get in my way and overthink it into oblivion.
What surprised me most was how much I fell for our scrappy tale of dreams gone by, and whether the point is the succeeding, or the trying.

I found the more I wrote, the characters felt like the two battling parts of myself: the part that wants to stop pushing to make stuff because of the vulnerable fearlessness needed to share your art, and the endless dreamer who loves it all too much to stop.

I want to show what happens when those two values meet — and the magic of collaboration.”

Meet the Cast

This isn’t just a felt-fuelled fever dream — it’s packed with talent.

Chris Kendall – Performing Dougie (the puppet)

An established puppeteer and creature performer, Chris has worked on:

• Netflix’s The Dark Crystal: Age of Resistance

• The Sooty Show

• CBBC’s Andy and the Band

• ITV2’s Buffering
  And a slew of commercials, shows, and stage productions. Also an acclaimed puppet builder, his craftsmanship gives Dougie true soul (and decent posture).

Craig Haines – Playing Noggin

Craig and Rob (the director) have been building characters together since they were 10 years old. That kind of chemistry can’t be faked.
Craig’s most recent role was Cooper in Robert’s debut feature 4:00am, where he brought a depth and vulnerability that FELT will twist and play with.

🎙️ Also featuring voice talent across fake TV shows, call centres, and late-night ads. The whole world Dougie’s avoiding is coming to life in surround sound.

Pick Your Perk: Crowdfunding Rewards You’ll Actually Want

What You Get When You Back FELT

There’s something for everyone — whether you’re tossing in a quid or going full puppet-royalty. Every contribution helps bring FELT to life, and every backer gets a little something in return.

Backers at £5 get a heartfelt social media thank you — and might even bring a tear to the director’s eye (especially if the moon’s in the right phase). 🌕

At £10, you’ll receive a private link to the finished film, so you can enjoy it on your own terms, with your beverage of choice.

For £20, you’ll unlock a bundle of behind-the-scenes photos, videos, a digital copy of the script, and that all-important private screening link.

£30 gets your name in the Special Thanks credits at the end of the film — plus all the digital goodies above.

With £50, you’ll receive a Digital Fan Pack including poster artwork by Gordon Skalski, a backer-exclusive wallpaper, and a sneak peek at the score — on top of all previous perks.

At £75, we’ll post you a signed A5 physical poster, along with a personalised thank-you print. It’s real art, from real artists, for your real walls.

£100 gets you access to a live group Q&A Zoom call with Robert Trott and members of the cast and crew. Ask anything — filmmaking, felt, failure, festivals, or favourite snacks on set.

£250 lets you choose a 1-on-1 Zoom workshop in either script development, podcast production, or cinematography — a proper creative deep-dive with the team.

At £500, you’ll be credited as an Associate Producer on IMDb and receive a personal thank-you video from Robert and Dougie (puppet tears not guaranteed).

And for the bold-hearted, the £850 tier makes you an Executive Producer. You’ll get a character named after you, a Zoom call from the set, and every single reward tier included. Immortalised in felt forever.

🔗 Click here to back FELT now

💡 Why Support This?

• It’s a rare mix of authentic emotion and surreal visual storytelling

• It supports independent UK film at its most original and DIY

• You’ll be directly helping puppeteers, composers, artists, and emerging actors make something truly special

• You get cool stuff!

🧵 TL;DR

🎥 Short film called FELT
🎭 Puppet drama with a big heart
💸 Crowdfunding now with amazing rewards
⏳ Campaign closing soon — act fast!

🎁 Back the Project on Crowdfunder

More info and Support

Now, he’s one of just three artists selected for SO Festival’s brand-new Outdoor Arts Development Scheme – a year-long programme supporting Lincolnshire creatives who are developing bold, original work for public outdoor spaces.

In the piece below, Samuel shares more about the scheme, his own creative journey, and what’s next as he develops a brand-new marionette-inspired show by the sea…

From Puppets to Public Spaces: My Journey with SO Festival’s Outdoor Arts Scheme
By Samuel Pearson

I’m incredibly proud to be one of the artists supported by the new Outdoor Arts Development Scheme launched by SO Festival.

This exciting initiative is designed to support artists living and/or working in Lincolnshire who are developing creative work suited to outdoor public environments. Over the next year, SO Festival will support three selected artists through training, ‘go-see’ visits, and idea development, with the aim of championing local voices and connecting creativity with Lincolnshire’s communities and landscapes.

I applied to be part of this scheme because I wanted to take the next step in my journey as a performer and puppeteer — to move into developing my own original outdoor works.

My Path to Puppetry

For the past two years, I’ve been developing my puppetry practice alongside my career as an actor. In 2023–2024, I worked closely with Kazbah Theatre., performing in shows like Cirque Du Pierre, Salty’s Holiday, and The Dog Show at festivals and venues across Lincolnshire and Yorkshire.

With support from Create North East Lincolnshire’s Development Fund, I deepened my puppetry skills through hands-on training with brilliant practitioners such as Kathleen Yore (Odd Doll), Natasha Holmes (Tell Tale Hearts), and Sophie Powell (Puppet Box). I also built a library of books, DVDs, and research materials to continue learning independently.

I jumped at the chance to train with Sue Buckmaster (Theatre-Rites) at Shoreditch Town Hall, October 2024. I’ve long admired her ‘puppet whispering’ techniques, and it was an amazing opportunity to work alongside other professional puppeteers – many of whom I’m still in touch with.

Looking Ahead with SO Festival

Being selected as a SO Festival Supported Artist means I’ll now be developing a brand-new outdoor project — one that blends my passion for puppetry with public performance. I’m especially interested in exploring marionette puppetry, inspired in part by a historical marionette show that once visited Cleethorpes in the 1950s.

I look forward to learning from other outdoor artists, attending festivals across the UK, and building connections that will shape my future work.

I’m truly grateful to SO Festival and Magna Vitae for championing Lincolnshire-based creatives and helping make work like this possible.

🔗 Find out more about the SO Festival scheme:
SO Festival Champions Lincolnshire Artists with New Outdoor Arts Initiative

🧵 Follow my journey and latest work:
🌐 Website: www.samuelpearson.co.uk
📸 Instagram: @samuelcpearson
📘 Facebook: Samuel C Pearson
💼 LinkedIn: Samuel Pearson
🌍 BlueSky: @samuelcpearson

Subscribe now

This project, led by award-winning filmmaker and puppeteer Mark Crane, whose impressive credits include Labyrinth, Clive Barker’s Nightbreed, and Who Framed Roger Rabbit, will bring this rich alternative world to life, blends the best of 80s puppetry with a futuristic dystopian vision. It’s not just a film, it’s an artistic statement. The puppets, crafted by legendary industry creatives, will shine in a world where the bare hand is a symbol of dangerous individuality. The story explores complex themes of control, mental health, and personal autonomy, using puppetry in innovative ways.

If you're a puppeteer, a fan of puppetry, or someone who appreciates ground-breaking artistry, supporting The Dominion of Fancy is a chance to help bring back the magic of traditional puppetry while supporting a project that has the power to inspire generations to come.

More info about the cast and creatives

Get Involved — Support Without a Reward or Seize an Amazing Opportunity

This is more than just backing a film. It’s an opportunity to connect with the creative process, to meet the artists behind it, and to be part of a community of dreamers and puppetry lovers.

Depending on the reward level, you could be featured in the credits of the film, attend a Zoom meeting with the director Mark Crane himself, receive exclusive behind-the-scenes photos, and even get your hands on limited-edition art and memorabilia. Some rewards even give you access to exclusive set visits, where you can meet the puppeteers and creative minds behind the scenes. For those who want to be truly immersed in the experience, some higher-level rewards will even give you a VIP invitation to the premiere of The Dominion of Fancy, where you’ll be able to rub elbows with the cast and crew and witness this amazing project come to life on the big screen.

This is more than just backing a film. It’s an opportunity to connect with the creative process, to meet the artists behind it, and to be part of a community of dreamers and puppetry lovers.

For more details about the rewards and to check out all the exciting perks, visit the Kickstarter page and see how you can make your mark on this extraordinary film. Trust me, you won’t want to miss out!

Pledge your support today

For more information about the creative team, the thoughts behind the film, and the amazing team already lined up, check out the Kickstarter page.

THE DOMINION OF FANCY
In a dystopian nightmare ruled by glove-puppet-wielding tyrants, Flueric has 24 hours to prove his sanity or face execution.

Discover the secrets behind her unique storytelling style, how she balances dark humour and deep messages, and why she believes puppetry is a form that can stir both the mind and the senses. Learn how her productions like Whiskers' First Winter and Seaside Terror defy expectations, mixing charm and terror in unexpected ways. Plus, hear about the powerful influence of collaboration, her approach to building a team of passionate, multi-disciplinary artists, and the personal challenges that have shaped her creative journey.

Whether you’re an aspiring puppeteer, a theatre lover, or just curious about the magic behind the scenes, this interview is packed with insights, stories, and inspiration from one of the most innovative voices in the world of puppetry today.

Childhood, Craft & Becoming "The Expert"

What first led you to puppetry, and how did it become your career?

“Imagination is my happy place.”

Kathleen Yore didn’t grow up surrounded by puppets. In fact, they didn’t appear in her life—not even once—through childhood or formal theatre training.

“I grew up reading folk tales, so for me, the world has always been a magical place. Imagination is my happy place.”

But everything shifted in her twenties, when a performance by the company Faulty Optic sparked something extraordinary.

“This changed everything. I was excited, inspired and blown away!”

So she bought some craft supplies. Moved into a derelict building. Taught herself how to make puppets—and then, how to bring them to life.

“They were heavy and nothing made much sense. I did not know anyone else around me working in puppetry, so even though I knew nothing, I became the expert!”

From zero to puppet-maker, on nothing but raw instinct, grit, and curiosity.

The Birth of Odd Doll Theatre

Odd Doll Theatre is known for its bold, visual storytelling and handcrafted aesthetic that blends humour, beauty, and strangeness. Founded in 2012, the company has built a reputation for creating immersive, emotionally resonant puppet shows that speak to audiences of all ages.

What sparked the creation of Odd Doll, and what does the name mean to you personally and artistically?

“One day I found a history book about dolls, full of very strange pictures. It made me laugh. I liked the idea of these funny little hand-made humans that we have been playing with since the start of time!”
“I also think the two words put together look good, and probably quite accurately describe me as a person!”

Kathleen co-founded Odd Doll with her best friend and long-time collaborator Rebekah Caputo, who’s now thriving in Denmark’s puppetry scene.

“She is a powerhouse, so when she left to live abroad it took a lot of time to trust in my own abilities and build up my confidence.”

The Beauty and Strangeness of Life

Much of your work blends humour with heartbreak, softness with darkness. You’ve spoken about being fascinated by the beauty and strangeness of life—how does that outlook shape the stories you choose to tell?

“Life pulls and pushes us about on a daily basis. One moment we are crying, the next we are laughing. The ugly and the beautiful are all mixed up.”

“How we go down these little paths to explore these complexities fascinates me. How we fly people off to the most unusual corners, expose truths, and give out joy.”

“I want all my senses and emotions to be awakened when I watch theatre. For me, this is through visual aesthetics, movement expression and sound. I like to write my own stories that are inspired by the old. Rooted in tragedy, but played with a light absurdity.”

The Art of Puppetry and Theatre

Your shows speak through visuals, movement and feeling — often without a single word. What is it about puppetry, specifically, that captivates you as a storyteller? Why this form?

“I like to see stories, not just hear them.”

“When a puppet moves, the audience create and feel a story in their head. They are fully immersed, in a carefully chosen, delicately crafted visual world.”

“Puppetry works are passionate gifts for those that receive them. Perfect and pleasing. Mind blowing and limitless.”

Movement and Emotion

Your productions often blend movement with strong emotional intent. Can you describe how you perfect this balance in your work?

"My theatrical training really grounded me in physical theatre and clowning, where the focus is all about staying present in a state of wonder. Clowns live in this constant state of wonder, and I think puppets share that same quality. You can break down each moment and ask yourself, ‘What am I seeing physically? Does this make sense through movement?’ I also draw a lot from dance—how it communicates emotion through the body. Language comes much later, after the physical language of the performance has fully translated the story."

“When working with puppets, it’s like they witness something, process it, and then react through subtle shifts in muscle and weight distribution that dictate the movement. It's this intricate and almost scientific process that we, as puppeteers, get totally lost in. There’s a real joy in geeking out over these details together—it’s a thrill, honestly!”

Choosing Collaborators

Collaboration plays a pivotal role in your creative process. What qualities do you look for in your collaborators, and how do you ensure that you all push each other to reach new heights?

"For me, collaborators need to do more than just show up—they need to spark something in me. They should make me laugh, make me think, and, honestly, make me a little bit nervous, too. That’s how I know we’re pushing boundaries and stepping outside our comfort zones."

"From the outside, artists can sometimes look a little ridiculous, but trust me, when it comes to our craft, we're dead serious. It’s a blend of passion and play, but the work always comes first!"

"I’m all about building teams that embrace different disciplines and let those influences inform one another. When everyone brings their own expertise to the table, it creates a collaborative energy that feels like we’re all working toward the same dream, the same world we’re creating together."

"On a personal note, I gravitate towards artists who are deeply involved in their own creative process, who value the journey as much as the destination. Puppeteers who hop from job to job just aren’t the right fit for me. My work is so personal—it needs love in the room. That’s the energy that makes magic happen."

About the Productions

Whiskers’ First Winter

Whiskers’ First Winter" has been praised for its "atmospheric and charmingly visual" experience. What was the creative spark behind this immersive production, and how did you approach bringing its enchanting, wintry world to life for young audiences?

"The development of Whiskers' First Winter took place in Denmark, and the inspiration was deeply rooted in the puppetry traditions there. Danish puppetry has such a distinct, intimate quality, and I wanted to capture that magic in a way that felt both universal and deeply personal. The show isn’t just about the story of Whiskers—it’s about embodying the feeling of winter itself. It’s about how the simplest moments in winter, like the hush of fresh snow or the quiet joy of a chilly breeze, can fill us with wonder. There's a softness in winter that I wanted to reflect in every corner of this world."

"The audience sits inside a fluffy, white space, almost like stepping into a snow globe. The projections of animation dance across the space, becoming part of the environment, while the music gently sways with the visuals, creating a seamless, almost meditative experience. It’s a feeling of being wrapped in a dream, a world where the magic of winter feels alive and tangible."

"What I love most is how it stands in contrast to the typical British style of Christmas shows. In the UK, there's often a lot of hustle and bustle, bright lights, and high energy. Whiskers' First Winter strips all of that away and invites the audience into a slower, more immersive experience. It's a space to breathe, to feel, and to let the winter magic unfold at its own gentle pace."

Seaside Terror

Seaside Terror is a show that blends dark humour with a sense of eerie nostalgia. How do you strike the balance between the thrill of horror and the lighter, more playful elements in this production?

"Diving into 1970s British seaside holidays was an absolute blast! There’s something inherently strange and unsettling about those places—half tacky, half charming—but when you dig deeper, you uncover a whole world of bizarre, slightly sinister energy. The goal with Seaside Terror was to take those memories and amplify the oddities to a level that was both terrifying and ridiculously funny."

"I wanted adults to feel like they were slipping into these strange, surreal worlds—like disappearing into soft toy arcade machines or getting cursed if they dared stick their heads through a painted board. We had donkeys, overworked and on the brink, turning into zombies, a crazed B&B owner who believed the seagulls were her children… and so much more! It was a celebration of the worst of the worst, but in this absurdly exaggerated, over-the-top way that made it all the more ridiculous."

"The entire thing was set in an ice cream van, and the vibe was very much in line with those old-school ‘portmento horrors’—you know, where the performer pushes the audience’s limits and makes them question what they’ve gotten themselves into. I would honestly be laughing my head off during the whole performance. The absurdity of it was just too much fun."

"The best part? I kept a guestbook full of audience comments, and the reactions were priceless. Some people left, completely bewildered about what they had walked into, but others said it was the best thing they'd ever seen. I loved that show—it was my absolute playground for dark humour and absurdity."

The Worried Walrus

In The Worried Walrus, Wendy’s journey beautifully highlights themes of inner beauty and self-acceptance. What do you hope young audiences take away from this show, and how do you weave humour and meaningful messages into your work?

"At the heart of any story, the audience needs to care about the character's journey. That’s what makes the whole experience resonate. Crafting a story where the character’s hopes, failures, and triumphs unfold in a way that feels genuine is a delicate process. Wendy the Walrus is such a wonderful character because, despite her large, clumsy appearance, she's incredibly vulnerable—soft and gentle at her core. She’s not just a walrus; she’s a character that children can really relate to. From the start, she sees the audience as her best mates, and that connection is key. Wendy’s journey is about embracing who you are, quirks and all."

"The puppeteers who bring Wendy to life share in that journey too. They jump around, playing and having fun, feeding off the energy of the kids. There’s something about the joy of a walrus fart that kids just can’t resist, and that humor gives us a way to bond. But what’s beautiful about that is that it sets up the perfect moment when we shift gears and deliver something a bit deeper. I love creating those unexpected moments where the humor paves the way for something more meaningful, something that gives the audience the space to reflect and fill in the gaps themselves."

"It’s all about pacing and timing. I want kids to have an unforgettable time, laughing and engaging with Wendy, but also walking away with a little nugget of wisdom—something they’ll carry with them, even if it’s just the reminder that they’re all worthy of love just as they are."

Advice for Aspiring Makers

Her Advice?

“Firstly try everything and be aware of your own judgements. What you think you want and know is probably wrong.”

“Soak up EVERYTHING and ignore ALL the rejections. Your theatre-making journey is a process... The best people have failed hundreds of times. The world really does need your creations XX”

On Challenges

“In the past I struggled with the idea that my creativity felt like an all-consuming selfish act... Now as a solo mum to an autistic boy, making art is my identity and my lifeline.”

“I still battle with funding bids. But the way I tackle them is to never give up and keep throwing more out!”

“That person with the big smile, so happy to be there and full of questions is always good to have in the room I reckon.”

Recommended Resources

“Instagram is a huge inspiration. Makers tend to be really nice people and will often have you over to their workshop for a cuppa and a chat...”

“Check out legendary workshops at Little Angel Theatre, Nick Barnes, Russell Dean, Judith Hope... Get trained at Curious School of Puppetry in London—or write to your fave companies and say: ‘I want to learn from you!’”

What’s Next?

“I am currently researching and developing two new connecting works about the human heart... They explore how beautiful it feels when our hearts are allowed to explode but how we create our own traps and end up feeling restricted.”

“It is heavily inspired by graffiti art, large-scale puppetry, Bouffon and club music. It will be a bold visual feast of a rave up… probably best enjoyed with a beer in hand and a few glow sticks!”

📲 Stay Connected

Follow Kathleen’s work at:
👉 Instagram: @OddDollTheatre
👉 Website: www.odddoll.co.uk

Loved this interview?
💌 Subscribe to support the blog and get more in-depth conversations with artists shaping the future of puppetry and performance. Your support makes this possible.

When I first started exploring puppetry and model-making, I had absolutely no idea where to begin. I mean, you hear about people getting hired for big theatre productions, or making puppets for TV, and you think: “How do I even get started?!" Honestly, I felt like I was constantly playing catch-up. There’s no roadmap or easy guide, and at the time, the internet wasn’t quite the treasure trove of knowledge it is now. But somehow, I managed to stumble across a few courses and opportunities that kept me moving forward.

I kicked off my puppetry adventures with an animatronics course in Yorkshire (yes, you heard that right) after leaving the seaside town of Bournemouth. I had just finished a Fine Art course at Arts University Bournemouth, and I was itching to try something new. So, I hopped in my tiny Fiat Panda – a car that was about as suited for long-distance motorway travel as a shopping trolley – and off I went. I was off to study animatronics at a university miles away (cue my terrifying nightmares about being squished between two massive trucks on the M1!). I quickly realised I had bitten off way more than I could chew. I thought (I was sold) I could master everything from coding to sculpting to painting to, well, everything else under the sun. Turns out, each of those skills requires years of practice and dedication. I learned a lot (including that not every course is what you think it’ll be), but the most valuable takeaway from that time? Meeting talented people and working for Madame Tussauds!

A year and a half later, and mastering the motorways of England, I found myself in Los Angeles, studying special effects makeup at the Make-Up Designory (MUD) – another experience that blew my mind. At MUD, we got hands-on with prosthetics, masks, and all kinds of exciting special effects. You know, just casually making fake blood and monster masks with people who had worked on some of the biggest blockbusters. Burbank is magic!

I came back to Bournemouth and found my niche. I ended up studying ModelMaking for Design and Media at the Arts University Bournemouth – and that course? Perfect. It was a creative playground that covered everything from architectural model making to 3D computer design. I’d highly recommend it for anyone who isn’t sure exactly what kind of model-making or puppetry they want to specialise in. You get to try a little bit of everything, and it’s a great introduction to the world of design.

One of the best parts of my experience was working with Rainbow Productions in London. They create walkarounds for theatre, TV, and film. Remember the giant nurse who ran the London Marathon? Probably not, but that was one of the projects I worked on! There, I learnt about pattern making, materials, and how to work super fast when deadlines are tight (which is all the time!). I also learnt that getting paid per product instead of per hour means no time for pattern making – and mistakes are expensive!

I got involved with some other really fun projects. One of the most memorable was working with Arts By The Sea Festival and Zerelda Sinclair, a collaboration where my puppets actually made it all the way to Canada! Another highlight was performing in a prop at the Steakhouse Live in London – what an experience. And let’s not forget the Carnival of Objects by Nicola Baylis – that’s where I made the most epic whale puppet, which featured on BBC South Today (Local UK news).

Trailer for The Sea by Carnival of Objects

After a while, I moved to Salisbury where I spent a decade working in the marketing department for an International Arts Festival, Producing Theatre and Arts Venue. During that time, I had the chance to make props and puppets for plays like Aladdin and Cinderella, and even run a puppet workshop for Stage 65 Youth Theatre. But honestly, all these jobs helped me learn more about the behind-the-scenes world of theatre and event production. And boy, did I get an education in what it takes to make an event run smoothly! (Also – spotlighting a musical when you’ve never worked with a spotlight before is a nightmare, but hey, I survived!)

Now, here’s the thing: puppetry is so much more than just making things. It’s about performing, character, and storytelling. Puppets can be larger than life, full of emotion, and have a voice of their own. It’s a form of art that has such a rich and epic history – and yet, in the UK, it’s an endangered art. It’s a real shame, because the power of puppetry is so immense. The ability to bring inanimate objects to life and tell a story through them, It’s magical. And that’s why we need to keep supporting this art form. Whether it’s through learning, creating, or simply showing up to a performance – every little bit counts. We can't afford to let this incredible craft fade away.

So, here I am, still a hobbyist, but enjoying every step of the way. I’m having fun, meeting amazing people, and creating some really fun work. I hope this blog can be a place to share resources, workshops, and tips with others who are on this same creative path. If you’ve got any stories to share or courses that helped you, please reach out. Let’s keep the conversation going – who knows where it might lead?