Imagination Is My Happy Place
An Interview with Kathleen Yore of Odd Doll Theatre - Words by Kathleen Yore | Introduction by Holly Likes Puppets
In this exclusive interview, Kathleen Yore, the mastermind behind Odd Doll Theatre, takes us on a wild ride through her journey into puppetry, the strange and beautiful worlds she creates, and the creative process that fuels her work. From her early days of self-taught puppetry in a derelict building to her latest, bold works exploring the complexities of the human heart, Kathleen's passion for combining humour, raw emotion, and the surreal is evident in every project.
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
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