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Stan Winston School of Character Arts


Stan Winston School of Character Arts posted my review on Jordu Schell’s maquette sculpting and painting tutorials!

Read my review and then check out these tutorials- they really helped me in my sculpting and painting techniques and great for beginners learning the technique of maquette making.

Jim West Interview!

image_284Puppeteer Q&A with Jim West
Interview by David Manley
While enjoying a week at the Puppeteers of America Festival in Swarthmore, PA back in early August, I was taken by a wonderful sense of community. As a relatively ‘new’ professional puppeteer, there were so many in attendance I was able to learn from and those who were asked, were happy to share their experience. Through my work with Theatreworks, USA, I was introduced to fellow puppeteer Jim West who has been in the puppeteering business for thirty years. His shows have been presented for young audiences throughout the world. Jim has easily become one of my idols with his longevity in the business and the joy he gives his audiences through his colorful and engaging performances. To continue the spirit of community I encountered at the POA Festival, I contacted Jim to answer some questions for the Puppeteers Unite audience.
Q. How did you get your start in puppetry? 

A. A friend told me about an audition for Poko Puppets produced by Larry Engler, and I got cast and did some work for him.  Then Marshall Izen was looking for a new partner.  Larry recommended me and I got cast because Marshall’s first pick had a conflict with the Village Halloween parade.  So I got the job.  Thirty years later, he’s still in my life and I’m still doing puppets.  Marshall was represented by TheatreWorks in 1983, and after five years with Marshall, I started a one-man show, also represented by TheatreWorks, called “North, South East and Jim West,” using hand puppets, shadow puppets and cartooning, which Marshall directed.  Eventually when Marshall retired, I took over doing the larger puppet shows for TheatreWorks, building on Marshall’s material and adapting it for my own.  At the same time, I was supering at the Metropolitan Opera and had the opportunity to develop hand shadows for a production of “Manon” directed by Jean-Pierre Ponnelle.

Q. You have a great catalog of shows developed for Jim West Puppets. I saw your show “Aesop’s Fables” and was taken by the variety of puppets you used from hand puppets to rod puppets and shadow puppets. It really kept the audience engaged. What do you think goes in to making a good show?

A. In developing shows, I like to use a variety of puppetry.  I find that by changing the visuals, I can keep the attention of a younger audience, so I contrast shadow puppets in one segment with rod or hand puppets in another.  Also by segmenting the show, I can hold the young audience members’ attention better than I could with one long story.  In conjunction with the variety of puppets, I also demonstrate how the children can make the puppets themselves at home.  Hopefully, this will keep them more engaged if they see how to use their own imaginations.  I have been criticized for de-mystifying puppetry, but my shows have never been about me showing off, they’ve been about me showing how you can do it too—that it’s easy and fun.  I also like the shows to be colorful, and certainly music enhances the puppetry.

Q. Do you create your own puppets as well or commission any builds with other artists?

A. I try to make my own puppets, especially the ones I show the audience how to make, but I also have Muppet-style host puppets in my programs, and those I will design and then commission professional builders to fabricate for me.

Q. I think there’s a common misconception with any artist that having a booking agent means you’re set. What is the business end of being a puppeteer according to Jim West?

A. In my 30 years, the business end has changed dramatically.  We’ve gone from an era of abundant field trip opportunities for touring artists to one where teachers are very limited as to the number of outside activities they are allowed to provide for their students per year.  These limitation are due to a variety of factors, including gas prices, budget cuts and standardized testing.  Consequently, a booking agent has to adapt to a new playing field and that isn’t always easy.  However, there are venues where I’ve been presented for many years, where they’re still selling tickets and filling their houses.  I keep working to make the shows relevant to the current curriculum, which helps teachers to justify the investment of their time and field trip allotment.

Q. Drew Allison of Grey Seal Puppets said in one of his blogs “Sometimes the places those little hunks of polyfoam take me are just too cool.” Where have your puppets taken you throughout the States and across the world? 

A. Thirty years of touring has been an amazing experience.  You see places you would never have set out to see that are fascinating, fun, some quite beautiful, I don’t think I’ve missed a single contiguous state in the U.S.  Beyond our country, I’ve also performed in Bermuda, Canada and Malaysia, the latter booking the result of producers from Kuala Lumpur seeing my show at the Lucille Lortel Theatre in New York.

Q. When you’re in a place like Malaysia, do you get the time to see sights, experience the culture and make the best of a rare trip?

A. I always try to enjoy the locale, whether it’s Mardi Gras in New Orleans or riding elephants in Malaysia.  I even had a fish pedicure in Malaysia, where little fish eat the dead skin off your feet.  It tickles, but the result is amazing—really old baby feet!  But I really think the most beautiful place I’ve visited is the California coast highway right here in America.  Big Sur is my idea of heaven.

Q. What’s next for Jim West Puppets, what kind of future do you wish to create for your company?

A. My immediate plans are to return to Malaysia this fall with a stop in Borneo, where I hope to keep my head.  Solvent retirement is a more distant goal.

Pancake Manor

Please give! They are so close to their goal and the show is by far one of the best I’ve seen on the internet!
Please join their Kickstarter campaign HERE

Taking Some Time Off

Hey everyone,
So it has been a very long time since I’ve posted last. I’m very sorry, but since the birth of my son last August my priorities have changed and bit and I wanted to focus on my family for a while. Since August 2012 I have made a conscience effort to drop back my workload in some areas and take time to reassess what I am taking on in life.

At the time my son was born I was working a 9-5 job, working on 3 different puppet builds, developing and working on two other projects- not to mention putting the nursery together, attend Prenatal classes and attend a local lodge that I am a member in…whew! I found I was working myself to the bone and my focus was scattered! When my son finally arrived I found no time at all to do anything! LOL I was staying up till 2am working on puppet builds then getting up for 7am for work. This went on for weeks until I finally decided I needed to stop and prioritize things before I burn out and am no help to anyone. I completed the puppet contracts I had and stopped taking future orders until I was able to reassess EVERYTHING.

This Blog started in 2005. I am very proud that it has lasted this long… but not proud as to the content it sometimes consists of. My blogs postings are often rushed and I feel my focus isn’t 100%. My goal for “Puppeteers Unite!” was (as stated on my ABOUT page) to  fostered relationships, support, empowered present and future puppeteers by providing and promoting information detailing puppet performances, building techniques, and positive business practices. I feel that in order for “Puppeteers Unite! to truly reach this goal and provide the best service possible, I must set “Puppeteers Unite!” free.

It is time to allow Puppeteers from all over the world to Unite and contribute their unique voice on this blog. I have contacted Puppeteers (some old, some new) to join me on this blog and begin writing and posting their work and news findings. The caliber of artists is extraordinary and  I can’t wait to have them join “Puppeteers Unite!”

Over 3-4 months you will see a new design for Puppeteers Unite! and a new cast of writers.

I know this decision is for the best and that “Puppeteers Unite!” will be a better blog for it. So please forgive the lack of posts and be ready for big changes to happen here.

I do occasionally post puppet related news on Facebook so if you want to follow us there:  CLICK HERE !



May 29th – June 1st

Are you interested in learning what it takes to design, build and perform with puppets like those used in some of America’s most beloved productions like Sesame Street or The Muppet Show? Want to learn puppetry techniques from the professionals behind the characters? The opportunity is yours!

Beyond the Sock is a workshop co-hosted by the University of North Texas Department of Radio, TV and Film and Department of Dance and Theatre. This four day intensive workshop will allow attendees to learn techniques for performing with “hand and rod” style puppets similar to those found in some of entertainment’s most endearing television series and films. Over the course of the workshop attendees will learn the vocal and physical techniques vital to creating compelling performances from two of the top names in the field.


Peter Linz is a professional puppeteer who has performed in film, theatre and television using both handheld and full body puppets. Trained by the Jim Henson Company, some of Peter’s most familiar roles include Leo from the PBS series Between the Lions and Walter from the 2012 Disney film The Muppetsand Muppets, Again. Linz has also been featured in Sesame Street and multipleSesame Street specials. Linz has also performed as an ensemble member and understudy for the hit Broadway musicalAvenue Q.

Noel MacNeal is an author, director and Henson-trained puppeteer with a long history of performing beloved film and television characters. His roles have included multiple characters from the well-known children’s programs such as Bear of Bear in the Big Blue House, Lionel of the PBS series Between the Lions multiple characters from Sesame Street. MacNeal has also performed in the Disney film Old Dogs and NBC’s hit series The Cosby Show and 30 Rock.

Pasha Romanowski is a professional puppet-builder, part-time puppeteer, and the founder of Project Puppet, a puppet-design and tutorial website. In addition to creating patterns and tutorials for thousands of aspiring puppet builders, Pasha’s custom-designed puppets have been featured in various television and online programs in the U.S. as well as internationally. His puppets include the stars of Woot’s KidFoot! and Rufus of New Zealand’s children’s television series, Pop-Up

Attendees will also learn character development, design and construction methods by participating in hands-on puppet crafting sessions where they can conceptualize and build their own basic puppet for use during the workshop. There will also be practical application of the skills learned through a culminating studio performance on the final day of the workshop. DVDs of this performance will be available to attendees for a nominal fee.

To Register and for more information please visit

Hamilton Mitsubishi

These commercials for Hamilton Mitsubishi are playing on my local TV station. These well built and manipulated puppets play mobsters at a fake car dealership. Still trying to figure out who built them- anyone know please PM me. Thanks

Puppeteer Judy Brown dies at age 72

Judy B. Brown, a master puppeteer who performed for three presidents and staged puppet shows at the Kennedy Center, the Smithsonian Institution and the National Theatre, died March 8 at Inova Fairfax Hospital. She was 72.

The cause was atrial fibrillation and cancer, said her husband and puppetry partner, Bob Brown.