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Building American Puppetry on the Jim Henson Foundation BUILDING AMERICAN PUPPETRY ON THE JIM HENSON FOUNDATION DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Kathleen Stoessner, M.A. ***** The Ohio State University 2008 Dissertation Examination Committee: Approved by Dr. Joy Reilly, Adviser Dr. Beth Kattelman Adviser Dr. Alan Woods Graduate Program in Theatre Copyright by Jennifer Kathleen Stoessner 2008 ABSTRACT Historically the United States, with the exception of ritual performances by indigenous Americans, did not have a distinct puppetry tradition, utilizing instead the imported techniques of its immigrant population. In the twentieth century, puppeteers began to explore puppetry’s capabilities, producing challenging and innovative theatrical work in a distinctly American style. Puppetry was given a stage as popular broadcasting content on the newly invented television. In this media environment, Jim Henson pioneered new techniques, becoming the most famous puppeteer in history. His success enabled him to serve his field as a spokesman and sponsor. In 1982, he established the Jim Henson Foundation, a non-profit organization to support puppetry artists. The Jim Henson Foundation is the only organization in the United States devoted to funding puppet theater and its mission reflects Jim Henson’s commitment to the community of artists who make American puppetry the vivid panorama it has become. Without the Foundation, puppetry in the United States would not be experiencing the explosion of creativity and exposure it currently enjoys. To present a picture of puppetry in the United States and Henson’s work, a brief history of puppetry in America as well as an in-depth scrutiny of Jim Henson’s career is provided. The dissertation explains the creation of the Jim Henson Foundation and its grant-making procedures, including case studies and interviews with grant recipients and ii the Foundation’s board of directors as evidence of the contribution that Foundation grants make to contemporary puppet theater. The dissertation explores the creation and productions of the International Festival of Puppet Theater, an event that brought puppet theater to a wider audience in the United States. The Festival performances, coupled with complementary programming, increased puppetry’s visibility, affording performers the opportunity to develop their distinct voices. The Jim Henson Legacy, an organization that makes Henson’s art viewable through screenings and exhibitions, is profiled as it testifies to the continued role of Henson’s work in stimulating American puppetry. The dissertation concludes with an examination of puppetry’s present position as a popular theatrical medium and considers the possibilities for the art during the twenty-first century. iii To Jim Henson, for obvious reasons, and to Jerry Juhl, for other reasons iv ACKNOWLEDGMENTS I would like to thank Dr. Joy Reilly for her support and the enthusiasm with which she met all of my findings. She has been such an instrumental force in my development as a scholar and educator. I also wish to thank Dr. Alan Woods for his insight and the wry humor that he has shared with me since the date of our first acquaintance. I am grateful to Dr. Beth Kattelman for her feedback, interest, and energy as well as for being a fellow puppeteer. My thanks also go to Mandy Fox. My sincerest gratitude goes to my case study respondents Nancy Aldrich, Janet Bradley, Barbara Busackino, Trudi Cohen, and Sean Keohane. Their honesty and commitment to artistry are inspiring. I also want to thank Allelu Kurten and Nancy Staub for their assistance with the background of the Jim Henson Foundation. I cannot thank Belinda Brown, Cheryl Henson, Heather Henson, Marty Robinson, and Richard Termine enough for their frank observations and willingness to share. Additionally, I give my thanks to Steve Abrams, Andrew Periale, and Bart Roccoberton for being amazing resources and thorough critics of puppetry in America. My gratitude also goes to Jennique Horrigan for her generous friendship and Megan Schutt for her supportive ear. I also thank Zeke Foster for being by my side. My biggest thanks goes to my parents, as always and eternally, for loving me no matter what I do. v VITA November 3, 1977………………………..Born - Cleveland, Ohio 2000………………………………………B.A. Theatre and Cinema, Denison University 2005………………………………………M.A. Theatre, The Ohio State University 2003-present…………………………… . Graduate Teaching Associate, Ohio State PUBLICATIONS 1. Stoessner, J. “The Shoebox World of Robert Anton.” Puppetry International Issue 21 (Spring and Summer 2007): 24-6. 2. Stoessner, J. "Identity." Puppetry Journal Vol 56.Issue1 (Fall 2004): 28-29. 3. Stoessner, J. "Starlight Matinee-Family Day of Puppetry." Puppetry Journal Vol 55. Issue 2 (Winter 2003): 19. 4. Stoessner, J. & M. Rutkowski. "From Puppet Cafes to Butterflies." Puppetry Journal Vol 53.Issue 4 (Summer 2002): 12-13. FIELDS OF STUDY Major Field: Theatre vi TABLE OF CONTENTS Abstract……………………………………………………………………………………ii Dedication………………………………………………………………………………...iv Acknowledgments…………………………………………………………………………v Vita………………………………………………………………………………………..vi List of Figures…………………………………………………………………………….ix Chapters: Preface……………………………………………………………………………………..1 1. The Blue Print………………………………………………………………….….3 1.1 Internship………………………………………………………….………9 1.2 Investigation……………………………………………………………...12 2. Paving the Way: American Puppetry Before Jim Henson……………………….16 2.1 The Father of Modern American Puppetry………………………………18 2.2 A Following and a Fellowship…………………………………………...22 2.3 Filling the Airwaves with Friendly Faces………………………………..28 3. Making a Ground Plan: Jim Henson’s Career…………………………………...43 3.1 A Career That One Would Plan………………………………………….44 3.2 A Community of Artists………………………………………………….51 3.3 A Commitment to Innovation……………………………………………59 3.4 A Contribution to Puppetry………………………………………………68 3.5 A Continuation…………………………………………………………...83 4. Setting the Cornerstone: Foundation Grants……………………………………..88 4.1 Preliminaries……………………………………………………………..90 4.2 Proposing a Project………………………………………………………93 4.3 Preparing The Rapture Project: Project Grant………………………….109 4.4 Planting The Terrible Polichinelle: Seed Grant………………………...121 vii 4.5 Producing Pinocchio: Children’s Show Grant………………………….132 4.6 Performing at HERE: Presenting Grant………………………………...145 4.7 Prognosticating…………………………………………………………163 5. Opening a Window: The International Festival of Puppet Theater…………….168 5.1 Establishment…………………………………………………………...170 5.2 Expansion……………………………………………………………….184 5.3 Extension………………………………………………………………..193 5.4 Explosion………………………………………………………………..203 5.5 Exhaustion………………………………………………………………211 5.6 Extinction..……………………………………………………………...221 6. Raising the Roof: The Jim Henson Legacy…………………………………….233 6.1 Going Forward………………………………………………………….235 6.2 Giving Back…………………………………………………………….239 6.3 Golden Images on the Silver Screen……………………………………245 6.4 Georgia On Their Minds………………………………………………..250 6.5 Getting Noticed…………………………………………………………261 7. A Survey of the Landscape……………………………………………………..265 7.1 Another Openin’, Another Puppet Show……………………………….266 7.2 All Together Now………………………………………………………271 7.3 After the Foundation..…………………………………………………..277 7.4 American Puppetry in Conclusion……………………………………...279 Glossary………………………………………………………………………………...282 Appendices: A. Timeline for Jim Henson’s Life and Career………………………….…285 B. 2007 Jim Henson Foundation Grant Application…………………….…288 C. Interview Questions for Case Studies…………………………………..290 D. Grant Figures for the Jim Henson Foundation………………………….292 E. International Festival of Puppet Theater Performances………………...294 F. Figures…………………………………………………………………..305 Bibliography………………………………………………………………………..…...327 viii LIST OF FIGURES Figure Page 1. Jerry Juhl’s playwriting workshop, Puppet Fest 2005………………………….306 2. Jane and Jim Henson……………………………………………………………306 3. Proscenium arch, marionettes, and performers in The Rapture Project………..307 4. The company of The Rapture Project…………………………………………..308 5. Susan Sontag and the Devil battle over Wanda in The Rapture Project……….309 6. Polichinelle and Madame Triffouillon from The Terrible Polichinelle………...310 7. Work in progress shot for Pinocchio……………………………………………311 8. Cat, Fox, and Pinocchio in puppet form………………………………………...312 9. Cat, Pinocchio, and Fox in human form………………………………………...313 10. Exterior view of HERE Arts Center……………………………………….……314 11. Close shot of HERE exterior with season listing………………………………..315 12. Marionette of Griff Williams at HERE Arts Center………………………….…316 13. Character from The Fortune Teller………………………………………….…..317 14. “Gluttony” Character from The Fortune Teller…………………………….…...318 15. Giant head of judge with defense attorney, The Ludicrous Trial of Mr. P……..319 16. Promotional poster from the 1992 International Festival of Puppet Theater…...320 17. Promotional poster from the 1994 International Festival of Puppet Theater…...321 18. Promotional poster from the 1996 International Festival of Puppet Theater…...322 19. Promotional poster from the 1998 International Festival of Puppet Theater…...323 20. Promotional Art from the 2000 International Festival of Puppet Theater……....324 21. “Puppet Productions” with Jennifer Stoessner…………………………….…….325 22. “Culture Creature” project featured in The Columbus Dispatch………………326 ix PREFACE When I began to write this dissertation, I was cautious lest it turn into a love letter to Jim Henson. Now that it is complete, I realize that
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