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My Journey as a Puppeteer: An Artistic Evolution

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Early Influences and the Genesis of a Passion

Growing up in Hawaiʻi during the 1990s, I was captivated by the transformative ability to animate inanimate objects. This early fascination manifested in spontaneous performances during hotel stays on family vacations and occasional forays into ventriloquism during visits from my grandparents. What initially emerged as an innocent childhood pastime gradually evolved into a defining artistic identity by the time I entered higher education.

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The Intersection of Puppetry and Film

Between 2004 and 2007, I pursued a degree in film at the University of Hawaiʻi at Mānoa. Recognizing puppetry as a visual medium capable of evoking profound emotional responses, I sought to integrate it into my cinematic work. My creative exploration took the form of a series of guerrilla-style short films, featuring both my peers and, inevitably, puppets.

 

By my final year, I had become known for my distinctive, fantastical comedic films. This reputation culminated in the production of my thesis film, The Monkeyboy Fever. Shot on mini-DV with a budget of approximately $1,000—allocated primarily to special effects makeup—the film prominently featured a monkey puppet under my performance. Though unconventional and provocative, the film marked a pivotal milestone: my first official screening in a movie theater. This moment signified my public introduction to puppetry as a legitimate artistic medium.

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Building a Puppet-Centric Cinematic Universe

From 2008 to 2012, I dedicated myself to the development of what I now term The Puppet Cinematic Universe, an independently financed series of short films produced in collaboration with former film school colleagues. Working with puppets presented a unique set of technical and creative challenges. Unlike human actors, puppets lack an inherent spatial presence, requiring puppeteers to manipulate them in ways that create the illusion of life. This often necessitated physically demanding positions and meticulous coordination of eyelines to maintain audience engagement. Despite these challenges, the medium offered a distinct visual charm and narrative potential.

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A common inquiry I receive is whether I construct my own puppets. My response is always, "I am a pilot, but I do not build my own airplanes." Initially, I repurposed stuffed animals, but as my aspirations grew, I sought collaborations with professional puppet fabricators. This led to my partnership with Eddie Horn, an Illinois-based comedian and skilled puppet builder, who contributed to The Green Tie Affair, Giant Monsters Attack Hawaii!, and Poison Apple. These projects collectively garnered over 30 awards, reinforcing my commitment to puppetry and encouraging further exploration of its artistic possibilities.

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Expanding the Scope of Puppetry

Between 2014 and 2017, I ventured into web-based content with Not Another Puppet Show, a series featuring Puppet Dane, an avatar of myself built by Jarrod Boutcher, interviewing various guests. Although it did not achieve viral status, the project provided valuable experience in collaborating with local celebrities and refining the aesthetic and functional design of Puppet Dane. The character’s final iteration was realized through the craftsmanship of Australian artist Jarrod Boutcher.

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In 2017, I was invited to write, direct, and perform in Pele Awards: The Musical, an awards ceremony celebrating Hawaiʻi’s advertising industry. This production, featuring 11 original songs co-written with Jason Lent, underscored the capacity of puppetry as an effective medium for musical storytelling. The project reinforced the philosophy that artistic endeavors should provide opportunities for diverse participation and recognition.

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Musical Exploration Through Puppetry

Given my longstanding practice of composing music for my films, I aspired to create a platform through which my compositions could have a sustained impact beyond their respective projects. This ambition materialized as FELT Something Beautiful, a conceptual album narrated through Puppet Dane’s perspective. The album was released on major digital platforms alongside 10 accompanying music videos, further solidifying my role as Hawaiʻi’s foremost multimedia puppeteer.

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Navigating Challenges: The Pandemic and Beyond

In 2020, amidst the COVID-19 pandemic, I embarked on two simultaneous projects. The first, Parental Guidance Suggested, was a documentary following two puppet parents as they sought guidance from local LGBTQ leaders on how to understand their gay son. The film’s production concluded on the same day Hawaiʻi reported its first confirmed COVID-19 case, necessitating a fully virtual film festival circuit. Despite these challenges, the documentary was screened at 24 festivals and received nine awards.

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The second project, Lonesome, was a YouTube series featuring a ghost puppet interviewing creatives about their adaptations to the "para-normal" circumstances of the pandemic. Beyond fostering artistic collaboration, the series evolved into a platform for engaging with diverse individuals worldwide, exploring their unique experiences across industries, from real estate to raves, books to boutiques, politics to porn.

 

A Landmark Audition: The Jim Henson Company

In 2021, the Jim Henson Company announced a workshop aimed at training diverse puppeteers. As a qualifying candidate, I submitted an application and was subsequently invited to audition. The virtual audition, overseen by Kevin Clash (original performer of Elmo and Baby Sinclair) and Patrick Bristow (host of Puppet Up!), required improvisation using Puppet Dane. While I received positive feedback regarding my eyeline control, my energy was deemed overly manic. Although I did not advance, the experience reaffirmed my commitment to puppetry as a professional pursuit.

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Performing for Honolulu Pride

Later that year, I was invited by the Hawaiʻi LGBT Legacy Foundation to perform at the annual Honolulu Pride celebration. My puppetry was featured in the Virtual After Party, a production spearheaded by Sandy Livingston and enhanced by the humor of drag performer Miss Candi Shell. This event reinforced the profound impact of puppetry in fostering joy and supporting socially meaningful causes.

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Reflections and Future Directions

Puppetry is often perceived as a solitary and unconventional art form. It is not traditionally associated with mainstream artistic recognition, nor is it typically regarded as a mature medium. However, it is precisely these misconceptions that I seek to challenge.

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I view my work as a mission to redefine the cultural perception of puppetry, to illustrate its potential as a legitimate storytelling device that transcends age-based stereotypes. By inviting audiences into my world, I aim to demonstrate that puppetry is not merely a medium for children’s entertainment but a dynamic and compelling art form in its own right.