The first in a series of short interviews with the cast of The Amazing and Marvelous Cabinets of Kismet. All photos are by Sarah Gingold
Bio: Born helpless, nude and unable to provide for herself, Heather Carter eventually learned to overcome two of those three problems. Preferring to refer to herself not only in the third person but also as a ‘theater-maker’ she works on developing a type of theater that is holistically informed: that is, everybody does everything. A puppet maker, physical theater performer and erstwhile lighting designer and electrician, she loves the spectacle of theater and introducing the improbably and imaginative into Everyday LIfe. Formal training includes: The Center for Movement Theater (DC), Sandglass Puppetry Institute (VT), Commedia Dell-Arte with Antonio Fava (Reggio Emilia, Italy), Shakespeare and Co. (MA), Yale School of Drama (CT) and Marlboro College (VT).
When did you first get interested in puppetry?
Apparently I used to pull the tongue out of a crocheted cow hand-puppet when I was a three year old. Later I went to a college in Vermont where puppetry was a really big deal and I really hated it for my first year and a half there. But then I saw Autumn Portraits, a famous show by my advisor Eric Bass and I finally understood why some stories can only be told by puppets.
When I was at the Sandglass Institute for puppet training, one of my first practice ensembles had a puppet that looked like a giant blue sun head, some sort of fabric and a plumb line in it. We spent a huge amount of time trying to figure out when the plumb line should drop out of the head and I still don’t know what that show was about, exactly.
Which is your favorite puppet that you perform in Cabinets of Kismet?
Kismet! As I discover more about how the puppet is built and his specific movement qualities, he’s become a very sweet, clumsy, myopic and steadfast creature. He has a lot of character and fidelity, who’s the kind of person I would be friends with.