Recipient: Lisa Simons Scholarship

After delving into puppetry while getting my MA, I wanted to learn more of this puppet world. But how and where? By some miracle, I was accepted to the Eugene O’Neill National Puppetry Conference, where I received the first Lisa Simons Scholarship.

I can confirm that this puppet world has proven to be an educational game changer for me. Where appropriate, I try to add puppetry into production. It is an important art form for young actors to learn and almost always enhances the value of storytelling.

During my three summers at The O’Neill, I workshopped two additional original pieces penned by myself: Pica & Moba; Draw What You Hear (Lyrics written by me/puppets designed and built by me), and Izetta Jewel 1924 National Democratic Convention.

I also directed The Princess & The Dragon and was a Resident Company Member for Christine Schisano’s Gilded Parable. (see photos above)

Fun, Joyful, Profound.

Puppetry is fun, joyful, profound, endlessly fascinating, and creative. There are rules, yet it is rule-less. It is always innovative depending on the aesthetic of the puppeteer. It is simple, yet complex, accepting, and magical.

I have been so lucky to have worked with writer, actor, marionette master, and Canadian National Treasure, Ronnie Burkett, director Roger Danforth, playwright Stephen Massicotte, and director Art Grueneberger.

Performing a full-sized puppet production of Sweeney Todd that was conceived of, built, and directed by Art Grueneberger, was a unique challenge that I relished. Syncing breath and movement to The Best Pies in London (already crazy difficult) with the young actress and singer extraordinaire, Leanne Brunn, as her right-hander, was extremely satisfying to pull off.

I also performed in a Participant Piece written and directed by New York-based writer/producer/puppeteer, Jonathan Foss.