Six Months of The Puppet Lobby

At our company meeting last summer, when I asked if there were any projects we wanted to start for the upcoming year, Patricia Germann mentioned that she’d like to curate a lecture series on puppetry, featuring local artists. She had noticed that we often had lots of people come up to us at our shows looking for more information about puppetry and puppet-building and realized that there might be an audience for a free event bringing artists and spectators together. One year later, we’ve had six great conversations with a wide range of puppet artists. Here’s Patricia, talking a little bit more about what has turned into The Puppet Lobby.


Michelle Valeri and Ingrid Crepeau, Genna Beth Davidson and Hamida Khatri presenting at the Puppet Lobby in 2017-2018. 


Cecilia Cackley: When did you get the idea for The Puppet Lobby?

Patricia German: I’d been thinking about an event series like this for about a year before we actually started it.  DC is such a networking town, and I often come across events like this in so many other industries.  Creating a space for artists to connect about puppet design, building, and performance felt like we were filling a gap.

CC: Has it gone the way you had hoped when you started? Is there anything you would change?

PG: I’m really happy with this first year, and the response from the community has been great.  We’ve had so many incredible speakers willing to share their work, and we’ve covered such a breadth of topics — stop motion, hand puppets, full body costumes, installation pieces… It’s really exciting to see how much talent we have in the area, both in DC and in Baltimore.  (And people from Baltimore have been willing to drive into DC on a weeknight for this! For me, that’s been wonderfully unexpected.)

I think the speakers have kind of surprised themselves with how much they have to share.  When we initially asked for a 15- to 20-minute presentation, some speakers were worried it was going to be a stretch to fill that much time.  But once we got going with the series, it started feeling like even at 20 minutes we were cutting off some great conversations. So over the year, we started setting aside more time for the featured speaker, rather than trying to fill out the agenda with several different topics.  I think that’s worked well.

CC: What are some of your favorite moments from this year’s conversations?

PG: Ha!  Each one has been different in its own way.  I loved playing around with Alex Vernon’s Fettig Project puppet mechanics.  They were so expressive, and I hadn’t seen anything like that before.  Hearing more of the story about Hamida Khatri’s mom as the inspiration for her short film was really great.  And pretty much any part of Ingrid Crepeau’s presentation could be a favorite moment.  She’s a hoot, and had so many great design tips to share!

CC: If you could invite any puppeteer to visit The Puppet Lobby, who would it be and why?

PG: Nicholas Mahon, who created the puppets for the Olympic Opening Ceremonies this past winter in Pyeongchang.  I’d love to hear about the process of creating those characters, actually getting them over to South Korea, and incorporating them into such a huge event with so many elements.  Also, I’d love to work on an Olympics opening ceremony, so I’m curious to hear how he got the gig!

CC: What can we expect to see in the upcoming year from The Puppet Lobby?

PG: More puppets!  More lobby! I have some ideas for panel discussions around a specific theme, like bringing together the three artists from this season who we discovered have all built large-scale dinosaur puppets.  And for the more typical presentations, we’re continuing to reach out to artists across DC and Baltimore. We’re hoping that with a little more lead time, some of the speakers who couldn’t make it last year will be able to join us in 2018-19.  But part of the idea of The Puppet Lobby is to connect artists who don’t normally work together — so if you have some great project you’ve been working on that you want to share with this community, send us an email and let us know!

SAUDADE Process Video

Saudade7This video contains some of the various pieces of the process it took to create Saudade: building shadow puppets, experimenting with movement on the various screens and finally the moving crankie and puppets in the finished piece. We hope you enjoy it!


Workshop Photos

Puppets are not for the faint of heart. Photo by Patricia Germann.

Puppets are not for the faint of heart. Photo by Patricia Germann.

We had a fantastic two showings of Malevolent Creatures a few weeks ago. If you were unable to join us, here are some photos of the puppets and the process. Check back soon for more information about the next development stage of this show!

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Puppets & Film: An Interview with Ilya Tovbis


Puppeteer Michael Meschke’s life and work are the focus of the recent documentary The Man Who Made Angels Fly (2013), which will be in DC this weekend as part of the 2014 Washington Jewish Film Festival.  Patricia Germann, Wit’s End’s Managing Director, caught up with Festival Director Ilya Tovbis to learn more about the film and its selection for the festival.

Patricia Germann: What led you to select this film for the festival?

Ilya Tovbis: The base qualifier to be in the festival is purely quality and diversity of vision.  So on that characteristic it really stood out.  I think it’s a tremendous documentary, and a unique one at that.  It’s done without almost any interviews, and very little sound that’s not coming directly from what’s happening.  A lot of the film is just the puppeteering happening on stage, and you’re meant to gather that the weighty subjects being discussed, or the Greek tragedies, or the philosophy that’s on stage… You gather what importance they are to Michael Meschke himself.  At times he and his wife talk, but it’s kind of a prime example of the “show, don’t tell” mentality and of a documentary where – especially for me, who’s not a subject matter in puppeteers or the craft – it allowed me to understand it from a very human perspective, and that was immediately attracting.  I think the cinematography is tremendous, the use of light and air, and just space and the pacing of the whole documentary is absolutely fabulous.

PG: It really did come across in the trailer that the puppetry and the puppets support the storytelling aspect of the film.

IT: More so than that, they’re really the prime characters, and I think the reason he agreed to be on film was that he’d be allowed to sort of speak through them and speak through his art more than one-to-one with a moderator before the camera.

PG: You mentioned that you’re coming from a background that is not in puppetry, and I’m wondering what in particular non-puppeteers would get out of this film.

IT: For me, it piqued my interest in puppetry and is something that I hope to look into more post-festival.

PG: That’s wonderful to hear!

IT: A lot of what I saw on screen I would love to see in person, and I just had never considered going to such a show.  So in terms of piquing interest, it’s amazing. Also, his life is a fascinating account.  It’s certainly not exclusive to him, but it is a pretty unique story in that he grew up thinking that he was Christian.  He had some nominal notion of his past and heritage, but he actually found out that he was Jewish as he was being set upon by a mob of people.  He and his mom hid in a church, and he asked her, “Why are these people after us?” and she said, “Well, you happen to be Jewish.” And that’s informed a lot of his artwork.  From a Jewish Film Festival perspective, that’s a tremendous story of finding one’s identity and doing with it something unique. I think that’s why he does the puppetry and why he takes on the stories that he does.  A lot of these stories are grand myths, and it’s evil fighting good, and it’s getting at the root of what humans are and what our universal struggles are.  I think that’s clearly rooted in his personal history.


Michael Meschke, puppeteer.

PG: Is there anything else that you wanted to share about this film, or that you think would be of particular interest to the puppetry community?

IT: One thing that’s important for us about this film within the context of the festival is that it’s part of our spotlight on Polish cinema and where that particularly intersects with his stories – Again, this notion of finding out you’re Jewish a little bit later on.  That was quite common in Poland, which is just beginning to grapple with its Jewish history, and it’s become a real topic of conversation recently.  You’re seeing that again in cinema, and a lot of that is about the ‘hidden’ identity and people discovering that they’re Jewish and that their family hid it from them as a means of perseverance and moving forward.  So from that standpoint, it’s in a larger framework of films, but it also is very unique and set apart from the other ones that we have like Mamele and Ida and Aftermath, that all make up that Polish focus.

PG: I’m remembering now from the description that there are a number of different countries credited in the production of this film.

IT: Yes, so it’s a co-production: the filmmaker is Polish and quite a number of the crew are Polish, and also the UK and France – the subject lived there [in France] for a while and much of it happens there.  When you have a number of countries credited, it means that considerable funding or cast/crew (in this case crew, since there isn’t really a cast, being a documentary film) come from those countries, and as film has been globalizing, you notice more and more that those list are getting longer.  It used to be a huge deal if 2 countries collaborated on a film, but it’s becoming increasingly common as the borders come down.

The Man Who Made Angels Fly screens March 1-2 as part of the 2014 Washington Jewish Film Festival. Tickets $12 each. Learn more at

Interview edited for length and clarity.