When she’s
not clowning around as a children’s party entertainer, or cheering up kids as a
pediatric clown, Honey Goodenough produces PuppetPandemic, a touring showcase of works developed at the O’Neill National Puppetry Conference. Since 2009 Puppet Pandemic
has raised funds for alumni scholarships at the conference. Honey has a BA in Theater and Dance
with a focus in costume design and technology from the University of Texas, and
a Masters in Educational Theater from NYU. Currently, she is a NYC Teaching
Artist, developing literacy based puppetry programs for Shadow Box Theater.
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Handle with Care, Puppet Pandemic NYC 2010, Photo Credit: Richard Termine
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Marsian: When
did you start performing in Puppet Slams?
HG: My first official puppet slam was
in 2008, at CoLab’s Puppet Slam
produced by Mary Gragen Rodgers. But, with the help of Matthew Leonard, I
debuted my first original piece called BJ
Tucker’s Freak Show at the Margo Rose Scholarship Fundraiser, hosted by the
CT Guild of puppetry in 2005.
M: Tell
us about one of the acts you have developed at puppet slams?
HG: Most of the pieces I currently tour
were originally developed at the O’Neill National Puppetry Conference. But the
slam piece I like to perform most of all was developed with Marta Mozelle
MacRostie, specifically for Jon Levin and Josh Luxenburg’s Puppet Playlist in NYC. Its called Nothing Compares to You, the story of a girl suffering from a
heart-break and is seduced by ice cream. [Seen on this link under Cream]
M:
What inspired you to start Puppet Pandemic?
HG: Puppet Pandemic is based on the idea that
Puppetry is an infectious art form. It is also a fundraiser for the O’Neill
National Puppetry Conference Alumni Scholarship. I was inspired to start Puppet
Pandemic because I attended the 2009 O’Neill National Puppetry Conference, and
that year the shows sold out early. I was shocked that so many puppeteers were
driving 4 hours from NYC to see a show of peers and then couldn’t get seats. So, I thought, Lets bring the show to NYC! Once I began contemplating the
finances, I thought it might be more beneficial to everyone to use the funds
for a scholarship to attend the O’Neill to produce more work. So basically, the
mission is to produce art in order to fund more art!
M:
Who have you partnered with and where have you toured?
HG: I’m constantly surprised by the
support this movement has inspired. With the help of many friends from the PSN,
I have partnered with other Slams to tour Puppet Pandemic:
Puppet Pandemic
(NYC) - October 2009 & September 2010
PuppetShowplace Slam (Brookline) with Roxie Myrum - January 2010 &November 2011
Puppet Co.Playhouse (Glen Echo, MD) with Eric Brooks – March & October 2010, October
2011
AustinPuppet Incident with Caroline Reck & Connor Hopkins - March 2011
Puppet
Pandemic (Philadelphia) with Martina Plag - November 2011
Many other
slam producers have been willing to host fundraisers in conjunction with their
own Puppet Slams including Beau Brown of The Puckin’ Fuppet Show in Atlanta, Katie
McClenahan’s of Beady Little Eyes in
Portland, Mary Gragen Rogers of CoLAB
Puppet Slam in New Jersey, Hannah Miller of Action Puppet Force in Orlando, and
Madison Crips of The Wham Bam Puppet Slam in Asheville.
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| Carole D'Agostino , Object Theater Time, Puppet Pandemic, Glen Echo, MD, Photo: Bruce |
M:
That’s quite a list! And in such a short period of time! What cities will
Pandemic spread to next?
HG: I hope to partner with Puppet Slamwich
in Baltimore, and I hope to go to Minneapolis, Chicago, and Portland. But, in
order to tour I need a contact person in the prospective city who will help me
organize our tech, travel, and housing. If anyone is interested in helping me
organize a new tour or fundraiser, please contact me at Puppetpandemic@gmail.com
M: What
are some of the acts that have traveled with you on the Pandemic circuit?
HG: Carole D'Agostino Object Theater Time, Carole takes
objects from the audience and invents and performs a story with them on the
spot. It’s very exciting to hear the audience’s reactions to some of Carole’ s
re-interpretations of their common everyday objects. Its like everyone shares
the same huge a-ha moment.
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| Alissa Hunnicutt, Red Dress - Puppet Pandemic, 2010, Photo: Richard Temine. |
Alissa Hunnicutt is a conservatory
trained singer, and it is always to pleasure to see her blend her love of
singing and puppetry together to create a auditory and visually stunning pieces
like Uninvited and Red Dress.
In Z Briggs’ Dumb Lovers, Z not only performs this beautiful puppetry piece without the use of puppets, but she also demonstrates the amount focus it takes to create two independent characters through one puppeteer.
In Z Briggs’ Dumb Lovers, Z not only performs this beautiful puppetry piece without the use of puppets, but she also demonstrates the amount focus it takes to create two independent characters through one puppeteer.
M:
How much money have you raised for scholarships?
HG: In 2010 we raised $2,500 or
the equivalent of 7 scholarships. In 2011 we raised $5,500 or the equivalent of
9 scholarships. If you want to donate to the 2012 scholarships, you can donate
online through Flock Theatre.
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Honey Goodenough - Making of Handle with Care, O'Neill 2009, Photo Credit: Honey Goodenough
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M:
What is your goal with fundraising for scholarships?
HG: My goal is to inspire other alumni
of the O’Neill to consider ways they can give back to their community. It can
be challenging for artists to find time and the funds to follow their passion
and produce their art, while working a day job. I’d like to remove as many
financial hurdles as possible.
There is no
clear path as to how to become a puppeteer and learn about the art of puppetry,
but the O’Neill National Puppetry Conference has been an important part of my
artistic process and the crux of my puppetry community. It is my goal to raise
as much as possible each year. I haven’t made any official announcements about
the scholarship funds this year, but I hope we can award at least 7 scholarships.
That would mean we would have awarded 23 scholarships in just 3 years. That’s
one more scholarship that there have been years of the conference!
M:
How do you see what happens at the O'Neill Puppetry Conference being relevant
to Puppet Pandemic and the Puppet Slam Network?
HG: The O’Neill Puppetry Conference has
a component that is called “participant pieces” for works 3 minutes or less.
It’s a great place to work with other creatively powered professionals. If you
need a singer, a director, a writer, or a musician, you and just ask for it and
someone will help you. It’s an artists dream!
M:
Where do you see Puppet Pandemic in the next few years?
HG: Currently, Puppet Pandemic is in
search of a new home in NYC. I would love for La Mama ETC to invite us to perform in their theater. Pandemic is an
ensemble of very dynamic puppetry pieces, produced by young artists. I think
the concept of Puppet Pandemic is something Ellen Stewart would be proud to
support.
M:
What do you think of the current crop of slam names? Puppet Pandemic sounds
infectious like a disease. Austin Puppet Incident sounds like they have a
problem with the police. Puppet Meltdown has nuclear disaster connotations. Puppet
Rampage - Do they have anger issues? My favorite name this year, King Friday’s Dungeon less apocalyptic and
more kinky - sounds like Mr. Rogers + S&M.
HG: I love it! I chose Puppet Pandemic
because I wanted a name that had the word puppetry in it, but didn’t sound like
it was for children. I think these names have a similar vibe. The names promise
an intense puppetry experience.
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Alissa Hunnicutt with Honey Goodenough & Kate Katz - Puppet Art Attacks, Photo courtesy of Honey Goodenough
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M:
Any advice to future slam organizers or slam organizers who are just starting?
HG: Above all, be good to your performers.
There can be a lot of stress related to producing an event, but if you want
people to continue to work with you it must be worthwhile for the performers.
We have to support this art form, from the ground up! So work hard, be kind,
and have fun!
M:
Anything else you’d like to tell the readers of our blog?
HG:
I would like to thank the Puppet Slam Network for supporting this movement.
It’s not only helping support our artists on a micro level, but also making it
possible to connect with other artists and producers who believe in the same
principals. I think of puppet slams as more than just one show, but a rather a
collection of shows that the audience gets to see in one sitting. I think the
format really appeals to today’s audience. And it can give wings to young
artists who are learning how to create full-length works.
I am always
trying to think of innovative ways to fund raise, and looking for donations for
our raffles and silent auctions. If anyone has any suggestions, please contact
me at: Puppetpandemic@gmail.com
