national puppetry conference

Pam Arciero, Artistic Director

The National Puppetry Conference provides a meeting and creating ground for master artisans to pass their craft and ingenuity to new artists in the field of puppetry. Each June, participants gather from across the globe to create works that defy the bounds of contemporary theater and the imagination.

The 2021 National Puppetry Conference will occur online June 6 - 11, 2021.

The 2021 Marionette Construction Strand and National Puppetry Conference is dedicated to the loving memory of Jim Rose.


The mission of the National Puppetry Conference is to encourage puppet artists to create and communicate through the visual and kinetic form of the puppet, to push beyond their personal boundaries, and develop new works for puppet theater. Participants collaborate with renowned guest directors, puppet artists, and playwrights to develop innovative productions conceived by guest artists, as well as presentations initiated by the Conference participants. Past conference participants have gone on to work in such venues as HERE Arts Center, Dixon Place, La MaMa, Redmoon, The Puppet Showplace, The Sandglass Theatre, Trouble Puppet, The Center for Puppetry Arts, Zeum, Automata Theater. Their work has also been seen in commercials; in films such as Being John Malkovich, Forgetting Sarah Marshall, and The Muppets; and on television, including Sesame Street, Between the Lions, Saturday Night Live, and Bear in the Big Blue House. On the global stage, our puppeteers have gone on to produce and perform in shows in Afghanistan, Iran, Australia, Scotland, India, Uganda, and China. The O’Neill's National Puppetry Conference was established by key founding members Jane Henson, George Latshaw, Richard Termine, Bobbi Nidzgorski, Bart P. Roccoberton Jr., and Jim and Margo Rose and is dedicated to the legacies of Bill Baird, Jim Henson, Rufus and Margo Rose, Don Sahlin, Martin Stevens, Burr Tillstrom, Brad Williams, Nikki Tilroe, and George Latshaw in the spirit with which they shared their artistry and themselves.

artistic director

Pam Arciero, Artistic Director of the National Puppetry Conference Pam Arciero is a principal puppeteer with Sesame Street, performing numerous characters, most notably Grundgetta Grouch. She has worked on many adult and children's programs including Between the Lions, Blue's Clues Blue's Room, Chappell's Show, Allegra's Window, The Wubbulous World of Dr. Seuss, TV Funhouse, Oobi, Eureeka's Castle and The Great Space Coaster. She has performed in many commercials and films, including Zappos, Fuze, Angel Soft, Sundance Myths, Sundance Film Festival; Extreme Measures, Little Monsters, and Follow That Bird. As a stage director, she directed Iftah Ya Simsim-Sesame Street Saudi Arabia, Sesame Live Shows for Sesame Place, Beaches Turks and Caicos, Beaches Jamaica, Port Adventura, Barcelona, Spain; Sea World Orlando; Play with Me Sesame Live, US tours; and Disney's Wahoo Wagon at the El Capitan Theater in Los Angeles. Pam directed the film Whiskey Neat, and she has also directed Between the Lions and Oobi for television. Pam is the Secretary of the Board of Directors of the Jim Henson Foundation. She has taught for the Hong Kong Academy of Performing Arts, the University of Hawaii, Sesame Street International; South Africa; remotely for Afghanistan and Bangladesh, Taipei National University of the Arts, the University of Connecticut, and California State University, Fresno. Pam holds a BA in Dance and Drama from the University of Hawaii and a MA in Puppetry from the University of Connecticut.

frequently asked questions

We assembled a list of frequently asked questions for your convenience, but should you prefer to ask your questions directly to a member of our literary staff, you are more than welcome. The O'Neill's Literary Office can be reached at or 860.443.5378 x227. If I’ve been to the National Puppetry Conference before, do I have to apply again? Yes. A completed online universal application is always required. What is the application fee to apply for the conference? $35.00 USD How do I pay the application fee? If you are using our online form to submit your script, you will be guided through the payment process step-by-step as you finalize your application. We are glad to accept both debit and credit cards. There are a limited number of fee waivers on a first-come, first-served basis. If you would like to request a fee wavier, please reach out directly to us at before you begin your online application.


Applications for the 2021 National Puppetry Conference are now closed. If you are interested in applying for 2021, please review the preplist that corresponds to strands of your interest for a general idea of the application process. Please note that only complete applications will be considered for acceptance.

> Sign-up for PUP updates Tuition & Refund Policy The base cost of tuition for all strands is $450 USD. The Marionette Construction strands has an additional materials fee of $100.00 USD*. The Manual Cinema strand has an additional materials fee of $100.00 USD*. *This fee includes the cost of prepared materials and shipping fees within the United States. If shipping is required outside of the United States, participants may incur additional fees. Included in all tuition fees: classes within your chosen strand, a daily movement warm-up, access to five master classes, chats with guests artists, as well as the opportunity to view and participate in Puppets in the Pub presented by Blue Gene’s Pub. Should you not be able to attend the Conference, the O'Neill will refund half of your total paid cost, minus any non-refundable deposits if the request is made prior to May 31, 2021. The O'Neill is unable to offer refunds requested after June 1, 2021. Daily Schedule The National Puppetry Conference thrives with a rigorous and varied schedule. Below is an example of a potential daily schedule, all strand sessions, mentor check-ins, master classes, and pub events will take place on Zoom between 11am - 10pm EST. Zoom links and further class information will be communicated to you in advance of the Conference. Note: All times listed below are in Eastern Standard Time: 11am-12pm - Movement Warm-Up 12pm-1pm - Strand Class Session #1 1pm-2pm - Lunch (on own) 2pm-3pm - Master Class 3pm-4pm - Strand Class Session #2 4pm-5pm - Optional Guest Artist Conversations 5pm-6pm - Strand Class Session #3 6pm-7pm - Dinner (on own) 7pm-9pm - Strand Class Session #4 9pm-10pm - Puppets in the Pub presented by Blue Gene’s Pub

faculty & staff

Pam Arciero, Artistic Director Jean Marie Keevins, Associate Artistic Director Nehprii Amenii, Guest Artist Tyler Bunch, Pub Master Manual Cinema, Guest Artist Dr. Melissa Dunphy, Guest Artist, Director of Music Matt Dunphy, Guest Artist Georgina Escobar, Participant Project Mentor James Godwin, Participant Project Mentor Alice Gottschalk, Guest Artist, Movement Coach Kurt Hunter, Guest Artist Tim Lagasse, Guest Artist Jonathan Little, Pub Master Jane Martineau, Participant Project Mentor Bobbi Nidzgorski, Participant Project Mentor Martin P. Robinson, Guest Artist Bart Roccoberton, Participant Project Mentor Judy Rose, Tea Mistress Richard Termine, Participant Project Mentor Ken Weitzman, Guest Artist Derron Wood, Participant Project Mentor


All gifts toward puppetry scholarships are appreciated and go directly to support the next generation of puppetry artists. Click below to make a donation, or contact for more information. The application for scholarships is included within the application for conference attendance. If necessary, we highly encourage all applicants to apply for a scholarship. Most applicants will receive some form of scholarship assistance. Jim Rose Memorial Scholarship This scholarship honors Jim Rose, one of the great marionette masters, beloved Conference mentor, and son of Margo & Rufus Rose. This scholarship is awarded to puppeteers who have a special interest in marionette construction and manipulation. > Give Now Allelu Kurten Generous Spirit Scholarship Please help us honor the memory of the one and only Allelu Kurten with a donation to the "Generous Spirit Scholarship" that has been created in her memory. > Give Now Lisa Simon Scholarship On April 4, 2015, we lost a dear friend in Lisa Simon, longtime producer and director on Sesame Street, on her 64th birthday. Winner of 20 Emmys over a career spanning four decades, Lisa started with a summer job as a file clerk and a caretaker for children who appeared on the show during the early days and rose to supervising producer/director of "Sesame Street". She directed shows for "Between the Lions", "Oobi" and many humanitarian outreach projects. The Lisa Simon scholarship is awarded to a female director whose work is currently or is growing in the puppet arts. > Give Now Jerry Nelson Scholarship This scholarship honors one of the great character puppeteers, Jerry Nelson, and is awarded to puppeteers who have a special interest in character and vocal development of puppet performances. > Give Now Alumni Grants Alumni Grants are awarded to returning participants who display a desire to retool their thinking about their work in the art of puppetry. These artists display a strong desire to learn new skills or challenge themselves in unconventional ways thus bringing a newly invigorated desire for growth to the conference and to themselves. The Alumni Grants began through the efforts of alumna Honey Goodenough, the Conference indebted to this ardent artist and all who helped her to support this grassroots effort. > Give Now Connecticut Guild of Puppetry Scholarship in honor of Margo Rose Given by the Connecticut Guild of Puppetry. Margo Rose was one of American Puppetry's pioneers, with over 60 years of contributions to the field. In 1931, Margo, with her husband Rufus, started the Rufus Rose Marionettes. They were founding members of the Puppeteers of America and organized the first festival in 1937. Rufus and Margo are perhaps best known for giving life to the marionettes of the popular television program Howdy Doody. The couple went on to win a Peabody Award for the best children's program for their series The Blue Fairy. In addition, Margo was a founding member of the Eugene O'Neill Theater Center in 1964 and one of the founders of the National Puppetry Conference at the O'Neill in 1991. > Give Now Ralph E. Cheese Minority Scholarship The Ralph E. Cheese Minority Scholarship is intended to build and promote the community of minority puppeteers in this country. Past recipients have gone on to join the casts of many well known television and Broadway shows as well as create and perform their own small works of puppet theater. All are encouraged to apply with passion. > Give Now

Funding for the National Puppetry Conference is provided by the Jane Henson Foundation.


making manual cinema - manual cinema

Led by Manual Cinema Visual Artistic Directors Drew Dir, Sarah Fornace, and Julia Miller, participants will use Manual Cinema's on-camera techniques to explore puppetry for a new project in development. Participants will work with shadow puppets as well as illustrated paper cut puppets and sets. This strand also includes working with moving cameras and "Manual Cinema" tricks that simulate camera movement and editing in real-time through puppet choreography! Manuel Cinema is an Emmy award-winning performance collective, design studio, and film/ video production company founded in 2010 by Drew Dir, Sarah Fornace, Ben Kauffman, Julia Miller, and Kyle Vegter. Manual Cinema combines handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive stories for stage and screen. Using vintage overhead projectors, multiple screens, puppets, actors, live feed cameras, multi-channel sound design, and a live music ensemble, Manual Cinema transforms the cinema experience and imbues it with liveness, ingenuity, and theatricality. The company was awarded an Emmy Award in 2017 for “The Forger,” a video created for The New York Times and named Chicago Artists of the Year in 2018 by the Chicago Tribune. Their shadow puppet animations will be featured in the film remake of Candyman, directed by Nia DaCosta and produced by Jordan Peele’s Monkeypaw Productions.

string theory - nehprii amenii

Calling on all rhythm makers, musicians, movers, artisans, digital artists, story-tellers, doll-makers, puppeteers—and those who have maybe never seen themselves as so before! Artists from various disciplines and all levels of experience within puppetry arts are invited to apply to be a part of an experimental ensemble for the making of a new work. As a part of this workshop participants will join in as artistic collaborators and learn the process of taking the various skills, materials, and personal experiences we possess, and using them to create and enact a story. "String Theory" is about exploring and re-stitching the seeming disconnect between black peoples and this thing called “puppetry.” For this work, I am inspired by the research of Dr. Paulette Richards and her theories that during the enslavement of African peoples – while no longer allowed to own objects—African performance objects and relics had to be absorbed into sound. This workshop will explore that theory while aiming to reattach these missing ancestral puppet strings and expand our current thinkings of the word “puppetry.” I am also inspired by the work of Hanne Tierney and her process of “puppeteering at a distance.” Thus, this virtual workshop will also serve as a means of delving further into the current need and possibilities of puppeteering at a distance. My work is based in what I call “Creative Anthropology.” The same way an archeological restoration artist uses chemicals and swabs to preserve and care for cultural objects, I use the imagination, puppetry, storytelling, and personal narrative in an attempt to restore what has been damaged in humanity. At this point in time, I am particularly interested in the excavation and reconstruction of African peoples of the diaspora who have gone through a unique process of cultural erasure. As a means of creating a safe and authentic space for this work to take place, this strand is reserved for applicants who identify as being a member of the Black/African-Diaspora. Nehprii Amenii is a Director, playwright, and visual theatre artist. She’s worked with Penumbra Theatre, The Flea, Pan Asian Repertory, Bushwick Starr, La Mama E.T.C, In the Heart of the Beast Puppet and Mask Theatre, The Czechoslovak-American Marionette Theatre, Virginia Stage Company, American Dance Institute, The Holland Festival, The Minnesota Orchestra, Bread and Puppet Theatre, Cirque Du Soleil, NY Philharmonic and The Alvin Ailey American Dance Foundation. She has been awarded the Lipkin Prize for playwriting, invited as US delegate for the Women Playwrights International Conference, is the recipient of the LMCC Creative Engagement award, and The Puffin Foundation award. Nehprii uses puppetry and multimedia storytelling to teach English to recent immigrants. She serves as an advisor for the Ballard Institute and Museum of Puppetry, is a member of the Lincoln Center Theater Directors Lab, and holds an MFA in Theatre Production from Sarah Lawrence College.

marionette construction - kurt hunter teaches the techniques of marionette master jim rose

This workshop is led by Kurt Hunter, a professional marionette builder and performer, and the former student of the National Puppetry Conference’s beloved Marionette Master, Jim Rose. Kurt will offer a thorough examination of marionette design, layout, and construction methods for the creation of a new marionette. Participants will design, build and string a complete marionette from a marionette kit of materials and precut pieces. Each participant will also receive a list of necessary tools and optional additional materials. Demonstrations, guidance, and responses to individual questions will be presented online. The participants will need access to the following tools and additional materials: saw (bandsaw or coping saw), electric drill (corded or cordless) and bits, a vice, rasps, brown paper, and wood glue for paper-mâché. The 2021 Marionette Construction Strand and National Puppetry Conference is dedicated to the loving memory of Jim Rose. Kurt Hunter is a Minneapolis-based puppeteer best known for his innovative solo marionette work. His introduction to marionettes was a performance by Tony Urbano’s company at the Laguna Beach Festival of the Arts in 1975 during a family vacation. While attending Washington University in St. Louis he performed regularly with Bob Kramer’s Marionnettes, including a television special and several performances of Peter and the Wolf with the St. Louis Symphony.
Kurt has designed and built puppets at the Minneapolis Children’s Theatre Company and performed with In the Heart of the Beast Puppet and Mask Theatre. As a solo marionette artist, he has performed with the Minneapolis Chamber Symphony and the Lake Superior Chamber Orchestra. For Open Eye Figure Theatre, he has constructed marionettes for A Prelude to Faust and The Sorcerer’s Apprentice and was a featured performer in three “Toy Theatre After Dark” festivals. Recently he has directed productions by Seth Eberle and Z Puppets Rosenschnoz. He has rigged and performed with marionettes for commercials for the Mall of America, Target and Disney/Pixar. Kurt has studied with marionette masters Phillip Huber and Albrecht Roser. He is a frequent workshop leader in marionette construction and performance. In 2008 he received an UNIMA-USA Citation of Excellence in Puppetry for Sock Puppet Serenade. In 2018 he was awarded a Family Grant from the Jim Henson Foundation for development of his solo production “Penguin in my Pocket.”

the solo show challenge - jean marie keevins & guest mentors

Growing out of its success in 2020, this new strand builds upon the beloved Participant Project process. The Solo Show Challenge has been created to support artists as they devise original solo puppet works. With the support of experienced mentors, participants will work on the development and performance of a pre-existing or brand-new piece of puppet theatre. Projects developed through this intensive process have gone on tobecome nationally-recognized full-length shows, cabaret acts, pitches for television, classroom performances, and everything in-between. Participants are encouraged to Risk. Fail. Risk Again. in this supportive environment. Please review the participant preplist for this strand prior to starting your application. Jean Marie is a NYC-based, multi-hyphenate creative and business expert. Known in the arts as an Emmy-nominated supervisor, award-winning producer, writer, puppet artist and designer she is most proud of her role as an all around cheerleader and coach for those who work outside of the box and are on a mission. At Little Shadow Productions, Jean Marie is chief creative visionary, business planner and team coach. Based on the knowledge gained working for companies such as Apple, Sesame Workshop, Disney and the like, coupled with her time moonlighting in hedge funds, Jean Marie understands what it’s like to serve the needs of a large engine. As a serial entrepreneur and someone who frequently serves and consults small businesses, Jean Marie also understands how to build and maintain the business itself. Her hybrid approach to her business and creativity is her secret sauce. For Jean Marie’s extended bio, please click here.

creating music at home for puppetry projects - melissa & matt dunphy

Over the course of a week, music participants will dive headfirst into collaborating with individual puppetry artists, supporting their storytelling with music in the creation of brand-new performances. You will be challenged to produce soundtracks, scores, or musical accents for multiple original short works as they are developed during the conference. Ideal candidates are composers interested in writing for theater or film, with a strong performance and improvisation background and familiarity with or openness to diverse styles and genres of music. Composers will have opportunities to learn about the process of collaboration with theater artists, explore or refine techniques of producing and recording music quickly and inexpensively in a home studio, and network with performers from an international community of puppetry artists and other theater professionals. Music participants will be mentored by composer/performer Melissa Dunphy and electronic musician/audio engineer Matt Dunphy. For the virtual conference, it is important that participants have access to a computer with a webcam and a reliable high-speed internet connection. Participants should also have some means of home recording available to them—please note this can be as simple as a cellphone with a decent microphone, although an external microphone, USB microphone, or digital recorder is preferable. Participants should ideally already have experience with either a scoring application that exports MIDI/VST (e.g. Sibelius, Finale, Dorico, or Musescore), or a digital audio workstation (e.g. REAPER, Ableton Live, Logic, FL Studio, etc.) to be able to create audio for projects on their own. Access to a variety of instruments (of any kind) or noisemakers is a plus. Composer Melissa Dunphy specializes in political, vocal, and theatrical music who first came to national attention in 2009 when her large-scale work the Gonzales Cantata was featured in The Wall Street Journal, The Atlantic, National Review, Fox News, and on The Rachel Maddow Show. Dunphy is a Barrymore Award-nominated theater composer and sound designer and has been Director of Music Composition for the O'Neill National Puppetry Conference since 2014; theatre companies she has worked with include Interact, People’s Light, Azuka, Simpatico, Theatre Exile, Philadelphia Shakespeare Theatre, Almanac Dance Circus Theatre, and Pig Iron School. Notable concert works include the song cycle Tesla's Pigeon, which won first place in the NATS Art Song Composition Award, and choral work What do you think I fought for at Omaha Beach? which won the Simon Carrington Chamber Singers Competition and has been performed by ensembles including Chanticleer and Cantus. Dunphy is the recipient of a 2020 Opera America Discovery Grant for Alice Tierney, a new opera commission by Oberlin Conservatory set to premiere in 2023, and is also working on a collaborative opera commission for Experiments in Opera in NYC. She has been composer-in-residence for the Immaculata Symphony Orchestra, Volti, and the St. Louis Chamber Chorus, and recent commissions include works for Voces8, Kaleidoscope Chamber Orchestra, the Museum of the American Revolution, and the Mendelssohn Chorus. Dunphy has a Ph.D. in composition from the University of Pennsylvania and a B.M. from West Chester University and is on faculty at Rutgers University. More at Matt Dunphy specializes in creating performance-oriented electronic music, eclectic sound design, and soundscapes, employing analog synthesizers and effects. Since 1996, he has produced his own music under the name Leviathant, and he has also played drums for several punk and indie rock bands. He has a background in both live and studio recording engineering, ranging from classical concerts to rock performances and sound effects work.

Melissa and Matt collaborate together in their band Up Your Cherry, and as co-hosts of the archaeology podcast the Boghouse. They are the owners and developers of the Hannah Callowhill Stage, a new performance venue in Old City Philadelphia that they hope to launch in 2022.

the language of material and objects: movement and experimental puppetry  - alice gottschalk

Participants will have the possibility to discover the movement and stories of different materials and objects. Participants will gain tools to animate persuasively in both direct and indirect ways, serving as a basis for all kinds of puppet animation, manipulation, and storytelling. The workshop will include movement description videos, live chats, and times to work independently on tasks and then share the results via video.
Participants should bring curiosity, the joy of movement, a favorite poem, different materials, objects (a more specific list will follow), and the ability to video recording their discoveries and sharing them with others. Alice Therese Gottschalk built her first marionette at the age of sixteen. She studied many years with Professor Albrecht Roser, as well as at the acting school Ernst-Busch in Berlin, and the University of Music and Performing Arts in Stuttgart, Germany where she received her Diploma for Puppetry. Alice is teaching at several Universities in Germany and gives workshops worldwide. Her company FAB-Theater works together with other artists from all fields of the performing and fine arts. Alice is traveling with her own shows throughout Germany and the World. She also directs, performs and designs for other companies (i.e. the State Theatre of Stuttgart). Alice is the Vice President of the German chapter of UNIMA and founded the German Puppetry Conference in Northeim alongside Ruth Brockhausen.

character and craft - ken weitzman

What makes us care about a character? What makes us want to follow their journey through a play? These questions will serve as our jumping off point. Through that lens we’ll explore structure, dialogue, and world-building by writing micro-plays that isolate each of these elements of the craft. Our workshop will culminate with your putting all these elements together in a final adaptation exercise in which each participant will create a short one-act play (with puppets or without, up to you). Applicants are required to submit a writing sample that is no more than 5 pages. Sample could include the draft of a script, an outline, a storyboard, or a synopsis. Ken Weitzman’s plays include, Halftime with Don, (National New Play Network Rolling World Premiere, O’Neill’s National Playwrights Conference), The Catch (The Denver Center Theatre Company), The As If Body Loop (Humana Festival), Arrangements (Atlantic Theatre Company), Fire in the Garden (IRT, The Warehouse Theatre), and seal boy (Boulder Ensemble Theatre Company, upcoming), among others. His devised work includes, Memorabilia (Alliance Theatre), Hominid (Out of Hand Theatre/Theatre Emory/Oerol Festival Netherlands), and Stadium 360 (Out of Hand Theatre). National Awards include The L. Arnold Weissberger Award for Playwriting for Arrangements, TCG Edgerton Foundation New American Play Award for The Catch, the Fratti/Newman Political Play Contest Award for Fire in the Garden, Boulder Ensemble Theatre Company’s Generations competition for seal boy. Ken’s plays and monologues have been published by Samuel French, Playscripts, Smith and Kraus, Blackbird, and Applause. Ken received his MFA from University of California, San Diego and has taught at UCSD, Emory University, Indiana University (head of MFA in Playwriting) and, currently, at Stony Brook University.

sock puppets gone wild - tim lagasse & martin robinson

We’ve been considering how we can best serve the National Puppetry Conference in these weird times. Some creative processes just demand to be hashed-through face to face. Since we all are in a video space this year, let’s embrace it and play to its strengths! So, sock puppets. We have a very simple yet successful sock puppet construction method to get your project on its feet. (Yes. Sock puppets. No groaning.) However, in this strand, we concentrate on the story first and then design your character to serve your process. After the characters are made, we will have a quick, comprehensive tutorial on the most useful techniques for these puppets on video, then jump into the process of getting your ideas into ones-and-zeros. We included photos of our sock puppet style, so you can tell we are not kidding around! Oh, yea, the story. For you to apply to this strand, you need to bring us a story… Here’s the pitch: Think of a compelling story, feeling, or message, from the deeply personal to the universal. Now, who/what is the character (just one) to present your idea? How can you best create a video to communicate all this? This puppet style tends to talk well, so words are useful, but we will encourage action: the stronger language of puppetry. Please submit 2 potential short storyboards for consideration. We will then select and discuss the storyboards with the participants ahead of the conference to help focus your intent. We are very excited to see what you have to say! Puppet Artist Tim Lagasse, who most recently performed “Scatter” on Sesame Workshop’s new AppleTV+ show “Helpsters”, has been entertaining audiences with his unusual skill set for over 29 years. A “Sesame Street” alumnus, Lagasse designs, builds, and performs all forms of puppets. A series of short puppet films he created for the PBS children’s series “Between the Lions” garnered him three Daytime Emmy nominations. Additionally, Tim has designed and fabricated puppets for “Blue’s Room,” and “Chappelle’s Show”, among many others. He may be best known for playing the title role on Nick Jr’s “Oobi”. A graduate of the University of Connecticut with a BFA in Puppet Arts, Lagasse was the first student to receive the Jim Henson Memorial Prize in Puppetry. He also received a Broadcast Design Silver Award and the coveted Union International de la Marionette Citation of Excellence in the Art of Puppetry. Tim also designs and builds puppets for The Jim Henson Company, regularly performs his Cabaret Hand Shadow Act, and is a Magician Member of the Academy of Magical Arts at the Magic Castle. He married the love of his life and lives with her and their cats in Hollywood, CA. Martin P. Robinson: Broadway: Little Shop of Horrors (designer/performer); The Frogs (designer). Off Broadway: Little Shop of Horrors (Drama Desk, L.A. Drama Critics, Villager Awards); Night on Bald Mountain, Carnival of the Animals and Firebird for the Young People’s Concerts at Carnegie Hall (designer/performer). Film: Muppets Take Manhattan, Follow That Bird, Elmo in Grouchland, Teenage Mutant Ninja Turtles, The Producers. TV: “Sesame Street” – since 1981 playing Mr. Snuffleupagus, Telly Monster, Slimey, etc. (Emmys, Outstanding Children’s Performer nom.); “Allegra’s Window”; “Wubbulous World of Dr. Seuss”; “Spitting Image”; “Oobi.” Sesame Street International Senior Muppet Coordinator/Teacher – numerous countries worldwide (Peacebuilder Award); Eugene O’Neill Theater Center National Puppetry Conference – staff. Recently wrote, designed, directed musical, “All Hallows Eve” for a NYC showcase run. Currently performing Mr. Primm in the new Apple+ production, “Helpsters”.

all conference events

Movement warm-ups with Alice Gottschalk Join Alice each morning as she leads you through exercises designed to awaken and prepare your body and mind for an active day of art-making. Master Classes Join renowned puppetry artists and master teachers as they highlight their area of expertise in personalized conversations. These five ticketed events are offered for free to all Conference participants. Tea Time Conversation with Judy Rose Your optional opportunity to take a break, enjoy a cup of tea and share conversations about anything and everything, Puppets in the Pub presented by Blue Gene’s Pub hosted by Tyler Bunch and Jonathan Little End your evenings with Puppets in the Pub presented by Blue Gene’s Pub. This curated open mic will occur online each night of the Conference.

30 years of puppetry

Timeline Photo Credits: Richard Termine, Jean Marie Keevins, Isaak Berliner, A. Vincent Scarano.

Puppeteer in Workshop
Participant Presentations
Puppet Eyepieces
Puppet Manipulation