Performance Animation 2020 Directory by Bill Weber Studios

2020 SHOWCASE AND DIRECTORY

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Puppetry Creature Effects Animatronics Performance Capture Stop Motion

Live Performance Performance Capture Design, Construction & Repair Gaming Talent

Animatronics & Mechanical Effects

Digital Puppetry

member showcase Directors, Editors & Cinematographers

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e h t n i o J Founded in 1956, the Los Angeles Guild of Puppetry brings together professionals, amateurs, enthusiasts and educators to share, promote and advance the art of puppetry throughout the Greater Los Angeles area. The Guild produces events and workshops to entertain and educate performers and the general public. Professional Development Educational workshops on puppet construction, performance, ﬁlmmaking, and marketing. Public Performances The Guild produces Puppetzilla and participates in many Los Angeles puppetry festivals, parades, and celebrations. Puppet Life Magazine Your quarterly connection to people, puppets, and productions in our Los Angeles community.

Connection to World Puppetry The Guild is aﬃliated with the Puppeteers of America and UNIMA-USA (Union Internationale de la Marionnette), which provide opportunities for networking, travel, and professional development. Annual Member Directory Find collaborators and friends among the industry’s top talents.

Membership is educational, inspirational, fun, and affordable! CLICK HERE TO VISIT OUR MEMBERSHIP PAGE

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a l . y r t e p pup

ults, d a r o f s t event e p rnia p o f u i l p a e C v i n uther o ide to l S u g n i r u n o Y childre d n a , s familie

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from the publisher What is “Performance Animation?”

irst came “doll wiggling.”* Then “puppetry.” Then “creature effects.” Now the art and craft of bringing the inanimate to life is called “performance animation.” The term “performance animation” puts puppetry, creature effects, animatronics, performance capture, and stop motion for film, stage, theme parks, and gaming under one industry umbrella. As the terminology has advanced, so have the audience’s expectations; they now demand a high level of sophistication from the productions that compete for their attention. Fortunately for producers,

the cost of technology (cameras, green screens, compositing, and VFX, for example) has come down, leaving plenty of room for professional performance and creature eﬀects in production budgets. That’s why Performance Animation magazine exists – to bring producers and specialized talent together. Do you need an emotional performance from an alien, spider, toddler, or wild animal? Does your opening credit sequence need to build a mood? Do you need a puppet show for a party scene? You don’t have to compromise your creative vision. Just surf through these pages and ﬁnd the people who can bring that vision to life. The greats of fantasy storytelling – Henson,

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Publisher, Editor and Design Director Bill Weber

2020 Showcase and Directory

Bill Weber Publisher *Jim Henson used the term “doll wiggling” to jokingly describe what he did for a living.

Contributing Editors Suzanne Birrell, Aaron Coleman, David Halle, Derek Pietras, Laura Willard Marketing and Promotion Samara Kanegis

Consulting Publishers Michael Breitner Peter Singer

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Disney, del Toro, Lucas, Serkis, Abrams, and their colleagues – know that FX technology is only as good as the human being – motion capture actor, voice artist, sculptor, puppeteer, technician – behind the scenes. Performance Animation is a community of those human beings – professionals who design, build, produce, perform, and, most importantly, breathe life into storytelling. Hire them to create new worlds and new life for you.

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performance animation 21st Century Actors Must Own Digital Versions of Themselves OPINION by Nancy Fulton, Writer/Producer

here’s a seismic shift underway in the entertainment industry that will present major opportunities and major challenges for many actors. The Marvel, Star Wars, Harry Potter, and Lord of the Rings franchises introduced us all to films shot on digital sets, using digital characters, with special FX. We saw very talented performers take on roles like Gollum and Smaug to create non-human characters as compelling as any we have ever scene in a movie. More recently, in Alita, we saw actress Rosa Salazar play a digital character physically modeled after her own body with larger eyes and bionic components. In effect she played an enhanced version of herself. What is not clear to many actors, because they aren’t working on the technology that powers these films, is that actors are now routinely being digitally scanned to create 3D doubles to be used in FX shots

and sometimes, somewhat horrifically, to play them in franchise films if they happen to die before their time in a film, or film franchise, is done. We all wonder how often Carrie Fisher’s avatar will appear in future Star Wars films, and which actress will be hired to wear her skin to reprise that role. What many actors also need to know is that 3D production technologies are moving into the independendent Film / TV world at incredible speed. I work with a company, Mobile Motion Mocap in Burbank, that can put live actors on green screen, digital characters, digital doubles, and special effects into full 3D environments to render broadcast quality or 4K+ content in real time. Scanning actors is relatively cheap and easy, and it allows productions to make FX cost less, put exactly the character they need on screen, and gives them assets they can use at will in sequels, prequels, and related films. It will come as no surprise that actors in franchise films

who refused to be digitally scanned subsequently find themselves without the awardwinning roles they want. This hard choice will face almost all actors in the next five years. With all this in mind, up and coming actors need to understand how to benefit from new technologies.

e aware that if you are digitally scanned, it will often be done more than once. You will be captured “in character” which means in makeup and costume also in a “nude suit” as yourself. Your agent should ensure you are compensated appropriately when your avatar is used by a given franchise as a double, and the compensation should go up if your avatar is used out of character or in another ﬁlm or project that you aren’t featured in as a performer. As you become more successful, consider paying to have yourself digitally scanned every three to ﬁve years so you can continued on next page

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play earlier or modiﬁed versions of yourself as you age. If you own your own avatar, you can license that iteration of yourself as often as you like. What if Harrison Ford could play the 30 year old Han Solo again, or license someone else to play him? What if Arnold Schwartzegger could look like Conan the Barbarian or the Terminator again? When you own a given avatar of yourself, you can license it any why you like and you can determine who plays you. If you don’t own it, and someone else does, they are the only ones with that control. If you aren’t working on the tech side of Hollywood, and haven’t been to NAB or any of the big gaming conferences where platforms like Unreal Engine and Unity are showing their “ﬁlm and television solutions”, this advice may seem insane.

t’s important to remember that when Hollywood makes big shifts they happen overnight. There was a time when Hollywood shot movies on film rather than tape or digital drive. There was a time when Hollywood’s studios were the power houses, not worldwide retail giants like Amazon or digital subscription services like Netflix. There was a time when Hollywood used models, optics, prosthetics, and makeup to create special FX. Now almost everything is done digitally in the vast majority of commercially produced Film & TV projects. Over the next five years you’ll see an explosion in the number of actors playing digital characters including digital

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versions of themselves. You’ll see producers, even indie producers, shooting their projects on green screen using digital sets, digital characters, digital special FX, and the occasional live actor in costume to create fully composited content in real time. These production tools make creating great content cheaper. These technologies allow producers to make great movies faster. These solutions give producers assets they can use for decades which cuts the cost and increases the value of future projects. 21st century actors need to understand their own options and opportunities in this brave new world, or they’ll ﬁnd themselves without the options they need to support a lifelong career doing what they love. – NancyFultonMeetups.com

pa special editions about

showcasing the contributions that our talented artists make to the holiday experience

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performance animation Anti-Bias: The Next Step Forward in Children’s Programming OPINION by Bill Weber and Paige Desjardins

“Did you ever stop to think that you can’t leave for your job in the morning without being dependent on most of the world? You go to the bathroom and reach for the sponge, and that’s handed to you by a Pacific islander. You go into the kitchen to drink your coffee, and that’s poured into your cup by a South American. Or maybe you’re desirous of having cocoa, and that’s poured by a West African. And then you reach over for your toast, and that’s given to you at the hands of an English-speaking farmer. Before you finish eating breakfast, you’ve depended on more than half the world. We aren’t going to have peace on Earth until we recognize this basic fact.” – Dr. Martin Luther King, Jr. A Christmas Sermon on Peace December 24, 1967 Ebenezer Baptist Church Atlanta, Georgia

r. King’s words are still relevant today, 51 years after he said them, because xenophobia, bigotry, religious intolerance, and hate crimes are back on the rise worldwide. We believe it is time for children’s media to push back with programming that teaches children to not just celebrate world diversity, but to recognize bias. Programming that helps children form conﬁdent self and group identities, supports critical thinking and empathy, and honors the diverse contributions of an interconnected world. As storytellers, we open windows into this diversity. Dora the Explorer introduces kids to Mexican

culture and the Spanish language. Doki and his friends travel to the wonders of the world. Justin Time takes kids through time to historical settings like the pyramids and Viking ships. Nina's World shows the world through a six-year old Latina's eyes. These shows, along with major movies like Moana and Coco, turn young children into tourists, making them feel more at home in the world. (We do have to be careful; the tourist approach only oﬀers children a limited perspective of individual cultures that can be over-generalized.) But as families travel, intermarry, and/or immigrate, what is tourism to one child is home to another. With the global reach of our programming, it is now just as likely that a child viewer will identify with the subject of the lesson continued on next page

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as the star of the show. Shouldn't we make sure that the stories we share don't label viewers as tourist/ foreigner but as equal contributors to a rich and varied cultural life? Academia calls this "AntiBias," a 20-year old perspective that is gaining momentum in the educational world. The AntiBias approach to teaching and learning asks us to present our lessons without labels, stereotypes, tokenism, or making any culture subservient to another. The essential text in the Anti-Bias movement is “AntiBias Multicultural Education with Young Children and Families.” In this book, Professors Louise DermanSparks and Patricia G. Ramsey lay out a curriculum for teachers, parents, and media professionals. We have been using the Anti-Bias curriculum (along with other sources like “Growing Up Global” by Homa Sabet Tavanger) as the underpinning of an animated pre-school show called Avery’s World. We’d like to share Profs. DermanSparks and Ramsey’s four “Anti-Bias Education Goals” so that you can join us in counter-programming hate. GOAL 1 - Create the conditions in which children are able to like who they are without needing to feel superior

to anyone else. Enable children to develop biculturally – able to eﬀectively interact within their home culture and within the dominant culture.¹ Children’s learning is a social process, and a child’s social foundation is their family. Avery’s World is built around a multi-cultural family of animal characters that have equal standing and prominence in the ensemble. There are adult, baby, and child characters that viewers of diﬀerent races, ages, cultures and personalities can identify with. The characters model a cooperative society and share their cultures in everyday life experiences while advancing the plot. In the pilot, for example, Rosalia, a South American bird of paradise, needs a new hat to keep the sun out of her eyes. While looking for a suitable chapeau, she interviews the other characters – Avery the Western dove, Ragnar the Scandinavian seagull, Lakpa the Asian kitten, Ricotta the European mouse, Jubnah the Middle Eastern mouse, and Grandma Bibi the African snake – and learns how the hats of their homelands were designed to keep out the sun and serve other cultural needs. Rosalia learns that there is no one solution, just plenty of good ideas to choose from.

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GOAL 2 - Promote each child’s comfortable, empathic interaction with people from diverse backgrounds.¹ Many of the issues caused by bias and intolerance come from the way people have been unknowingly socialized not to notice, ask openly about, or discuss differences. As Prof. Derman-Sparks puts it, “It is not differences in themselves that cause the problems, but how people respond to differences.”¹ In order to teach good responses, we ground Avery’s World in domestic life. There is no need to visit distant ports – the world is already being delivered to children via food, fashion, art, and media. The people we know are already from diverse backgrounds. Avery’s World’s main context is “contribution:” all these people are contributing to you, and you can contribute to them, too.” So interaction with others begins on a high, appreciative level. Our show’s parental figures model gratitude, curiosity, and respect. Our characters are paired up, so they empathize with and support one another. In this way, viewers are taught to recognize that everyone around them is different from them in one way or another. GOAL 3 - Foster each child’s critical thinking

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COMING 2021

T S R I F

the performance animation L A U show T R I V

All Live, Online, on Zoom

Virtual Exhibit Hall with the Latest in Performance Animation Technology

The Opportunity to Create and Grow an Industry

Splash

Keynotes and Reports on the Industryâ&#x20AC;&#x2122;s Challenges and Opportunities

Networking Salons, Break-Out Sessions and Social Events BB-8

The First Annual Performance Animation Awards

Classrooms on Performance Capture Acting, Editing, and Animation

Freddy Krueger

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Alexandra designs and fabricates felt and tabletop puppets

Alexandra and actor Marita De La Torre performing at the Lummis festival in Los Angeles

• Puppeteer • Puppet Maker • Playwright • Craft Facilitator Available for performances, content creation, and making posable felt and tabletop puppets. Developmentally appropriate material for audiences 2-7 years old. alexandraglow@gmail.com

310-908-7605

Alexandra (right) and her assistant, Marita De La Torre

Some of Alexandra’s woodland creatures

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Alexandra has been writing, producing, performing and promoting the monthly puppet show followed by puppet craft for Puppets in the Park at La Culebra Park in Los Angeles

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CHRISTINE PAPALEXIS Design - Fabrication - Performance Papalexis Productions christinepapalexis.com

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MistyRosas

SINGER/SONGWRITER DANCER ACTOR STUNTWOMAN MOTION CAPTURE COSTUME PERFORMANCE MISTYROSAS.COM Photo by Keon Kim

Agent: Heidi Hydar, Kazarian, Measures, Ruskin and Associates HHydar@kmrtalent.com 818-755-7550

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If you want to create a character, construct a crowd-pleaser, or communicate with customers, call me.

BILL WEBER STUDIOS creative direction for media writing - design - strategy product development billweberstudios.com bill@billweberstudios.com 818-305-4487

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…where the worlds of fantasy, horror and science ction come to life. …where human talent, imagination and skill intersect with lm-making and stagecraft. …where the latest technology in animation, creature effects, performance capture and computer science is only as good as the performer behind it. …where lmmakers, game developers, advertising agencies, animators, stage and theme park producers nd the talent to create and staff their worlds. …where the human beings behind the magic gather in community to improve their craft.

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The industryâ&#x20AC;&#x2122;s own center for education and history

Thank You to our industry friends who have helped us advance the art, science, and popularity of puppetry.

unique cultural treasure whose mission is to inspire imagination, education and community through the global art of puppetry. Since 1978, the Center has introduced millions of visitors to the wonder and art of puppetry and has touched the lives of many through enchanting performances, curriculum-based workshops, and the hands-on Museum as well as distance learning and outreach programs.

Center for Puppetry Arts is a non-proď&#x20AC; t, 501(c)(3) organization supported in part by contributions from corporations, foundations, government agencies, and individuals.

The Center is a member of Theatre for Young Audiences (TYA/USA/ASSITEJ) and serves as headquarters of UNIMA-USA, the American branch of Union Internationale de la Marionnette, the international puppetry organization.

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storyboards - concept art - character design

schunncheng.com 626-318-1613 schunncheng@gmail.com

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STEPHEN COHN | Composer Stephen Cohn is internationally recognized for his music for the concert stage; scores for feature lms, theater and television. His concert works have been performed and recorded by the nest orchestras and chamber music ensembles in the U.S. and Europe. Stephen's classical and commercial recordings have been released by Warner Bros., Motown, A&M Records, MCA, Columbia Records, Albany Records and At Peace Media. EMMY AWARDS Outstanding Achievement in Music Dying With Dignity PBS documentary narrated by Joanne Woodward Stephen Cohn, composer Carlton, Your Doorman Outstanding Animated Special ABC animated special starring Lorenzo Music Stephen Cohn Composer Hunger in the Promised Land Emmy Award and Kenny Rogers Hunger Awardwinning production PBS documentary narrated by Colleen Dewhurst Stephen Cohn composer It ABC children's special Song by Stephen Cohn PEABODY AWARD Edith Ann’s Christmas ABC special starring Lily Tomlin Produced by Lily Tomlin, Jane Wagner, Bob Kurtz Stephen Cohn composer PARENTS' CHOICE GOLD AWARD Two Together, an American Folk Music Suite CD album released by At Peace Media. Stephen Cohn Composer

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educational consultant As an early childhood advocate, Paige is passionate about creating engaging learning experiences that fuel childrenâ&#x20AC;&#x2122;s social, physical, emotional, and creative development. As an educational consultant, she applies child development principles, educational objectives, content expertise, and research-based strategies to ensure that projects and programs are educationally sound and developmentally appropriate for their target audiences. Paige is also the creator of NaturalLearningKids.com, a 25,000+ member community which oďŹ&#x20AC;ers developmentally appropriate, play-based early-learning opportunities for children. Natural Learning Kids is also a hub of information and resources about the best practices in Early Childhood Education.

Contact Paige NaturalLearningKids@gmail.com

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Voice Over Direction Casting

Performance Career Coaching

Mj Productions works with the top talent in animation, commercials, and narration. MJ Lallo is a Los Angeles based voice over artist, director, casting director, producer and composer with over 24 years experience.

CLICK HERE FOR

Phone: (818) 749-5255 Email: mjlallo@creatingvoices.com Website: CreatingVoices.com Skype: mjlallo

LISTING

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American Federation of Musicians promoting L.A. composers and musicians.

Listen LA

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plastic fabrication

custom awards promotional products printing & graphic design

Woodland Hills CA 91367

local 818-344-5191 toll free 800-370-3564 fax 818-344-5501 trophyman@trophyman.com

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Producers! Ÿ Do you need a spider to walk across a table on cue? Ÿ Do you need an emotional performance from an alien, toddler, or wild animal? Ÿ Do you need an imaginary best friend for your child star? Ÿ Do you need an actor’s head to turn 360 degrees? Ÿ Do you need an opening credit sequence to pull your audience into your fantastic world?

Charlotte from Charlotte’s Web by Sam Winston Studios © Paramount Pictures

You need the professional talent in

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Category Index Actors Misty Rosas

Designers - Product Bill Weber

Awards & Trophies Trophyman.com

Casting - VO MJ Lallo

Directors Joe Annabi Sean T. Cawelti Alex U. Grifn Chris Heady Michael Paul Mark Royston Jack Venturo

Character Design Schunn Cheng

Directors - VO MJ Lallo

Cinematographers Alex U. Grifn

Educators Sean T. Cawelti Robert Guthrie Chris Heady Alissa Hunnicitt Sherrie Rossi

Booking Agents GigSalad.com

Composer Stephen Cohn

Actors Puppet Builders Performers Joe Annabi Alexandra Busby Dan Garza Alex U. Grifn Robert Guthrie Chris Heady Alissa Hunnicutt Erik Kuska Elizabeth Luce Annett Mateo Stevie Anne Nemazee Leah N. Olbrich Christine Papalexis Sherrie Rossi Mark Royston Jack Venturo Gregory Paul Williams Performers - Motion Capture Misty Rosas

Composers and Musicians Union ListenLA

Educators - VO MJ Lallo

Concept Art Schunn Cheng

Educational Consultants Paige Desjardins

Consultants Bill Weber

Engraving Trophyman.com

Costume Performance Misty Rosas

Museums Center for Puppetry Arts

Promotional Products Trophyman.com

Plastics Fabrication Trophyman.com

Props - Graphic Trophyman.com

Printing - General Trophyman.com

Puppet Builders Joe Annabi Alexandra Busby Sean T. Cawelti Dan Garza Robert Guthrie

Costumes Leah. N. Olbrich Dancers Misty Rosas Designers - Graphic Bill Weber Trophyman.com

Performers - VO MJ Lallo

Plastics Fabrication Trophyman.com

Printing - Large Format Trophyman.com

Designers - Publications Bill Weber

Photographers Alex U. Grifn

Category continued on next page Los Angeles Guild of Puppetry

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Puppet Builders Writers

Puppet Builders Continued from previous page Amy and Nancy Harrington/ The Passionistas Puppets Elizabeth Luce Annett Mateo Stevie Anne Nemazee Leah N. Olbrich Christine Papalexis Sherrie Rossi Mark Royston Gregory Paul Williams Show Creators Elizabeth Luce Signs Trophyman.com

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Storyboard Art Schunn Cheng Writers Alexandra Busby Stevie Anne Nemazee Michael Paul Sherrie Rossi Jack Venturo Gregory Paul Williams

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Alphabetical Index Joe Annabi ............................. 14 Los Angeles, CA 505-750-8458 joe.annabi@gmail.com joeannabi.com Director, Performer, Puppet Builder Alexandra Busby .................. 15 Puppets in the Park Los Angeles, CA 310-908-7605 alexandraglow@gmail.com facebook.com/culebrapuppets Performer, Puppet Builder, Writer Sean T. Cawelti ....................... 16 Rogue Artists Ensemble Los Angeles, CA 213-596-9468 scawelti@rogueartists.org rogueartists.org Director, Educator, Puppet Builder Center for Puppetry Arts .........38 puppet.org Atlanta, GA 404-873-3089 info@puppet.org Museums Schunn Cheng ...................... 39 Los Angeles, CA 626-318-1613 schunncheng@gmail.com schunncheng.com Character Design, Concept Art, Storyboard Art Stephen Cohn ......................... 40 Los Angles, CA 818-850-8185 scohnmusic@earthlink.net StephenCohn.com Composer Paige Desjardins ...................41 Natural Learning Kids Los Angeles, CA Naturallearningkids@gmail.com naturallearningkids.com Educational Consultant

Dan Garza ............................. 17 Shorthanded Puppets Los Angeles, CA 210-887-7763 r.daniel.garza@gmail.com dangarzacreative.com Performer, Puppet Builder GigSalad.com ........................ 42 GigSalad.com Springeld, MO Booking Agent Alex U. Grifn ......................... 18 Los Angeles, CA alex.u.grifn@gmail.com alexugrifn.com Cinematographer, Director, Performer, Photographer Robert Guthrie ....................... 19 Puppet Collective Los Angeles, CA 323-529-3548 puppetcollective@gmail.com puppetcollective.com Educator, Performer, Puppet Builder Amy and Nancy Harrington/ The Passionistas Puppets ..... 20 Los Angeles, CA 818-406-9077 818-434-4383 popculturepassionistas@gmail.com popculturepassionistas.com Puppet Builder Chris Heady ........................... 21 Los Angeles, CA 443-285-3049 cheady20@gmail.com chrisheady.com Director, Educator, Performer Alissa Hunnicutt ..................... 22 Los Angeles, CA 718-812-3010 imissy@mac.com alissahunnicutt.com Educator, Performer

Los Angeles Guild of Puppetry

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A-O Erik Kuska ............................. 23 Los Angeles, CA 818-257-4340 erikkuska@gmail.com erikkuska.com Performer MJ Lallo .................................. 43 MJ Productions Los Angeles, CA St. Petersburg, FL mjlallo@creatingvoices.com creatingvoices.com 818-749-5255 Casting - VO, Directors - VO, Educators - VO, Performer - VO ListenLA ................................. 44 American Federation of Musicians Local 47 Burbank, CA listen-la.com Composers and Musicians Union Elizabeth Luce ........................ 24 Luce Puppet Company Los Angeles, CA 818-264-8661 elizabeth@lucepuppetco.com lucepuppetco.com Performer, Puppet Builder Show Creator Annett Mateo ........................ 25 Puppetlandia Los Angeles, CA S206-919-5173 annettmateo@gmail.com puppetlandia.com Performer, Puppet Builder Stevie Anne Nemazee ............ 26 Los Angeles, CA 858-386-2825 nemazeedesign@gmail.com stevieannenemazee.com Performer, Puppet Builder, Writer Leah N. Olbrich ...................... 27 Los Angeles, CA 201-400-3180 LeahNOlbrich@gmail.com LeahNO.com Costume Pieces, Performer, Puppet Builder

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Alphabetical Index Christine Papalexis ............... 28 Papalexis Productions Los Angeles, CA christinepapalexis.com Performer, Puppet Builder Michael Paul .......................... 29 Michael Paul: BTS Inc. Los Angeles, CA 323-206-6514 info@michaelPaulBTS.com michaelpaulbts.com Director, Writer Misty Rosas ............................ 30 Los Angeles, CA Agent: Heidi Hydar Kazarian, Measures, Ruskin and Associates 818-755-7550 HHydar@kmrtalent.com Actor, Costume Performance, Dancer, Performer - Motion Capture

Mark Royston ......................... 32 Los Angeles, CA 909-456-6835 markjroyston@gmail.com markroyston.com Director, Performer, Puppet Builder Trophyman.com .................... 45 20934 Victory Boulevard Woodland Hills, CA 91367 trophyman@trophyman.com trophyman.com 800-370-3564 Awards & Trophies, Engraving, Graphic Design, Plastics Fabrication, Printing - General, Printing - Large Format, Promotional Products, Props Graphic, Signs

Sherrie Rossi....................31 Los Angeles, CA 818-769-7627 sherrierossi@yahoo.com Educator, Performer, Puppet Builder, Writer

Jack Venturo ......................... 33 Venturo Productions Los Angeles, CA 818-851-8294 jackventuro@gmail.com JackVenturo.com Director, Performer, Writer Bill Weber ...............................34 Bill Weber Studios Los Angeles, CA New York, NY 917-679-7583 bill@billweberstudios.com billweberstudios.com Consultant, Designers - Graphics, Designers - Publications, Designers - Product Gregory Paul Williams ........... 35 The Puppet Studio Los Angeles, CA 818-506-7374 steve@thepuppetstudio.com puppetstudio.com Performer, Puppet Builder, Writer

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The Center is a member of Theatre for Young Audiences (TYA/USA/ASSITEJ) and servesHairy as headquarters of UNIMA-USA, the Moroff (Ian Whyte) American branch ofbeing Union Interof Rogue One nationale de la Marionnette, the photographed by an array of special effects cameras. international puppetry organization. Photo © Lucaslm Ltd.

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