Fagner Gastaldon is the founder and artistic director of PuppetSoup, a puppetry company dedicated to creating visually rich, emotionally resonant puppet theatre for audiences of all ages. Based in Central London, PuppetSoup has become known for its commitment to excellence, accessibility, and innovation—bringing beautifully crafted shows to schools, theatres, and festivals across the UK and beyond.

Fagner’s work with PuppetSoup has been widely recognised, with highlights including the 5-star Land of the Dragon – Gwlad y Ddraig and Fix Freddie!, an NHS collaboration which won the Liz Molyneux Prize for contributions to paediatric medicine.

A puppeteer, director, and puppet maker, Fagner trained at the Royal Central School of Speech and Drama (BA Hons Puppetry) and has worked for over two decades across the UK, Brazil, and internationally. His performances span contemporary puppet theatre, street theatre, opera, and his creations—such as Cat Town (commissioned by Gwent Police) and The Memory Keeper (for RSPB’s 20th anniversary)—showcase his signature blend of narrative depth and visual invention.

Alongside his creative work, Fagner runs PuppetryCourses.com, a specialised training platform for adults. Based in Central London, he teaches from his puppet making studio, offering in-person and online courses in puppet construction, manipulation and performance. These classes attract artists, hobbyists, performers, and professionals from around the world seeking hands-on training in a welcoming and expertly equipped environment.

Fagner has extensive experience teaching at the highest level, having taught courses for the Royal Central School of Speech and Drama, the University of California (CSUSB), and the British Council, among others. His pedagogical approach is rooted in collaboration, craft, and creativity—equipping adult learners with practical skills while encouraging personal artistic development. His puppetry school has trained hundreds of adult students globally.

Fagner’s performance work continues to reach audiences of all ages. Whether devising intricate miniature theatre (Teatro Lambe Lambe), touring theatre shows all around the UK. Fagner brings a rich theatricality and deep respect for puppetry’s transformative power.

Fagner’s career has also included international research, digital puppetry innovation, and high-profile commissions such as the British Council’s Create Puppetry Festival and Digital Puppetry Summer School. He is a contributor to puppetry conferences such as the National Capital Puppetry Guild (USA), where he shares his ongoing research into Brazilian miniature theatre Teatro Lambe lambe.

PuppetSoup- www.puppetsoup.com
Our new courses website - www.puppetrycourses.com
Our new online Puppet Festival - www.createpuppetryfestival.com
Follow on Instagram: @puppetsoup

Robert Fowler is a retired translator and passionate puppetry enthusiast with over four decades of dedication to the field. Splitting his time between Paris and the UK, Robert is frequently found travelling across Europe to attend puppetry events, immersing himself in the rich traditions and performances that continue to shape the art form.

Robert’s particular interests lie in traditional puppetry, especially in Southeast Asia (with a focus on Cambodia), the Slavic countries (notably the Czech Republic), and France. His deep appreciation for puppetry history and culture has led him to write extensively on the subject, including contributing an article on Cambodian puppetry to the UNIMA World Encyclopedia of Puppetry Arts. Additionally, from March 1997 to July 2000, Robert edited the British UNIMA Bulletin, a quarterly publication that became an important part of the puppetry community during his tenure.

A recent highlight in Robert’s ongoing exploration of puppetry took him to the Louvre Museum in Paris, where he attended the fascinating Mamluk exhibition. Among the exhibits were two shadow figures, part of a larger collection discovered in Egypt in the early 20th century. While the dating remains uncertain, shadow puppetry was immensely popular during the Mamluk period (mid-13th to early 16th centuries) and across the broader Islamic world. The exhibition also featured a moving shadow panorama, offering a captivating glimpse into the art form’s historical significance.

Within BrUNIMA, Robert serves as the committee member linked to the Punch and Judy Fellowship (PJF), an organisation dedicated to the preservation, promotion, and appreciation of the Punch and Judy tradition. The Fellowship plays a vital role in supporting performers and ensuring that the legacy of this iconic puppet form endures for future generations.

A lifelong learner and cultural traveller, Robert brings a wealth of knowledge, a global perspective, and a thoughtful voice to the BrUNIMA team.

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Puppetry Director | Designer | Educator | Performer | Advocate
📍 Bristol, UK
🌐 Green Ginger | IG: @greengingerpuppets

Chris Pirie is a puppetry director, teacher, designer and performer — and the Artistic Director of the acclaimed European theatre company Green Ginger. Known for his innovative and design-led productions, Chris has directed for major names including Tobacco Factory Theatres, Scamp Productions, and Travelling Light.

His creative reach spans continents, delivering puppetry magic for Coldplay’s World Tour, Cirque Bijou, Arcadia Spectacular, and a host of top opera houses and theatres including Bristol Old Vic, Kneehigh, Theatr Iolo, Royal & Derngate, and international venues from Teatro di Roma to Houston Grand Opera.

Chris’s screen work includes puppetry for Netflix, Aardman Animations, BBC, and Channels 4 and 5 — and he continues to shape the next generation of puppeteers as a dedicated educator. He teaches regularly at Bath Spa University, Curious School of Puppetry, Arts University Bournemouth, and Bristol Old Vic Theatre School, among others.

A proud Fellow of the Higher Education Academy and a STEM Ambassador, Chris is passionate about advocacy and mentorship in puppetry. He co-founded the Bristol Festival of Puppetry and launched Toast in the Machine, a mentorship scheme for emerging puppeteers in the UK and US.

As a Trustee of Puppet Place and Council Member of Puppeteers UK, he continues to champion puppetry as an artform that deserves its rightful place in the cultural spotlight.

Favourite puppet thing?
Mentoring bold new puppet voices through Toast in the Machine and beyond.

Why BrUNIMA?
To help keep UK puppetry globally connected, professionally supported, and brilliantly ambitious.

Throughout her career, Nenagh has been at the forefront of puppetry innovation. Early on, she sought inspiration and met Margareta Niculescu director of the Institut International de la Marionnette in Charleville-Mézières, subsequently training with Philippe Genty and the extraordinary director Tadeusz Kantor. In 1989, Nenagh co-founded doo- cot, a ground-breaking Manchester puppet company with painter Rachael Field that was ahead of its time, reflecting their personal experiences as lesbians in a politically charged environment. Their work, ‘radical both in form and content’, earned them substantial ACE funding and led to British Council tours, cementing their place in UK puppetry history.

Though doo-cot ceased trading in 2007, Nenagh’s work continued to evolve. She received a bursary administered by The Puppet Centre Trust to explore Punch & Judy through a feminist lens, and later earned a coveted AHRC Creative Research Fellowship at the Royal Central School of Speech & Drama, where she further explored the legacy of Joe Beeby’s Punch & Judy puppets. Her concept of ‘Ephemeral Animation’, which critiques the animation of debris by the elements, gained significant academic attention.

In 2014, Nenagh exhibited ‘Dead Puppet’, an exploration of the display of archival puppets and a subtle queer critique of British puppet icons. She was also an RCSSD Affiliated Research Fellow and served twice as sabbatical cover for Cariad Astles at Royal Central School of Speech & Drama.

In 2019, Nenagh diversified her skill set training as an Activities Coordinator within Adult Social Care utilising the arts with residents living with dementia. She was a guest artist contributing to SouthBank’s lockdown project ArtByPost.

Recently Nenagh has become a member of Modern Painters & Decorators an artist group in Loughborough where she is working with her extensive archive and continues to create puppets “for the sheer hell and joy of doing”

She is also part of a collaborative project between UK and Taiwan ‘Interwoven Time’ which focuses on creativity and care curated by East Midlands artist Jacqui Gallon.

A long-standing member of BrUNIMA but a recent committee member, Nenagh is a vital bridge between BrUNIMA and Puppeteers UK (PUK), keeping both organizations up to date with each other’s developments. With decades of lived experience in the puppetry sector, she’s passionate about advocating for the next generation of puppeteers, encouraging them to express their unique visions and ensuring that the work of UK puppetry receives the financial support and recognition it deserves.

Most Memorable BrUNIMA Moment: Nenagh has long been inspired by UNIMA’s ethos of international solidarity and dialogue, personally encountering their courageous commitment to keep dialogue alive between East and West during the cold war years. These ideals born from the ashes of two World Wars, are still deeply relevant today.

Why Get Involved with BrUNIMA? As Nenagh says, “You have to be in it to win it!” The next generation of puppeteers must take on the challenges, harness the benefits, and continue the work of advocating for puppetry’s sustainability in the UK. BrUNIMA offers a supportive, open community for puppeteers to connect, collaborate, and make their voices heard.

Tip of the Trade:
Nenagh’s key advice: “Know your worth, be generous, and open doors for others. If you have ‘nothing’ you have ‘nothing’ to lose but paradoxically have everything to gain. Use that as your rocket fuel and really go for it!”

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A Lifelong Passion for Puppetry

With a career spanning over three decades, Sean has done it all – from performing with renowned international companies to designing and consulting on major productions. His journey began with a fascination for the power of objects to tell stories, leading him to work with legendary figures like Barry Smith, Peter Schumann, and Philippe Genty.

He’s been everywhere – from the Olympic Opening Ceremony in 2012 (where he served as Puppet Captain) to working on Before the Dawn, Kate Bush’s legendary 2014 concert series. And he still finds time to create, perform, and research, ensuring that puppetry remains at the cutting edge of contemporary performance

Championing Puppetry at BrUNIMA

As Co-Chair of BrUNIMA, Sean is at the heart of the UK’s puppetry community, working to connect artists, scholars, and enthusiasts. He helps shape initiatives that support puppetry practitioners and promote the art form both nationally and internationally. Whether through networking events, research collaborations, or festival programming, he’s dedicated to keeping puppetry accessible, innovative, and thriving.

Under his co-leadership, BrUNIMA continues to explore how puppetry and object theatre intersect with other disciplines – from healthcare to digital animation. Sean’s belief in the transformative power of puppetry drives his mission to push boundaries, foster new talent, and celebrate the diversity of approaches within the field.

From the Classroom to the Stage

At NTU, Sean is known for his hands-on, playful approach to teaching. He leads modules on puppetry, object theatre, carnival, and opera, sharing his extensive experience with students from undergraduate to MA levels. He also co-supervises a PhD in object theatre and design research, ensuring that academic inquiry into puppetry continues to grow.

His research has influenced how puppetry is taught and performed, questioning traditional techniques and exploring fresh approaches. He’s passionate about making sure object theatre is recognised as its own discipline, distinct from traditional puppetry, and has led major research projects to deepen understanding in the field.

What’s Next?

Sean’s work with BrUNIMA and NTU ensures that puppetry remains an exciting, evolving art form. Whether he’s training future puppeteers, consulting on ground-breaking productions, or advocating for puppetry in new spaces, one thing’s for sure – he’s always pushing the boundaries of what’s possible with objects, performance, and storytelling.

Meet Tim Butler Garrett: Editor-in-Chief of Puppet Notebook

Tim Butler Garrett’s career in puppetry started in the mid-90s, with a workshop at the BAC run by the Puppet Centre. His passion ignited, he trained with Ronnie Le Drew and Caroline Astell-Burt at the London School of Puppetry.

After a brief sojourn studying Philosophy, he did the MA Advanced Theatre Practice Course at the Central School of Speech and Drama, and was exposed to a whole new world of theatre-making, learning about Physical and Visual Theatre and rediscovering his love of puppet work. His tutor on the course was Penny Francis, and she became a guiding light for him. One of many highlights of the course was a visit with Penny to the Henson Creature Shop, when it still had a base in Camden Town.

After the MA, he worked for various puppet companies, as a puppet maker, performer and dramaturg, taking work to fringe venues in London, the Visions Festival in Brighton, and the Edinburgh Fringe. He formed his own comedy, film and puppet company with fellow Central alumnus Michael Flexer, called Insult to Injury. Gradually adding company members, they created a show a month for five years; their hit rate was quite low, but after five years they had enough material for one really really good show, which The Times hailed as “the acclaimed multimedia sketch show”. They promptly disbanded, and Tim started a PhD in The Puppet, the Cinematic and Contemporary Visual Theatre at UCA/University of Brighton, with Penny Francis as a supervisor.

Tim taught Philosophy, raised his two daughters and finished his PhD. In 2012 he took the reins of Puppet Notebook from Eleanor Margolies, who had started the journal in 2004. Tim has worked as a visiting lecturer at Wimbledon College of Art, as a Creative Workshop leader at the University for the Creative Arts in Farnham, and is finishing his training as a Psychotherapist.

He still makes puppets, though far less frequently, and sculpts in wood, clay and milliput. He has presented papers at puppet, cinema and theatre conferences in Connecticut, Prague, Venice, Aberystwyth and Washington D.C., amongst others. He writes about film, theatre and puppetry, and his work has been published by Manchester University Press, Bloomsbury and Routledge.

What do you want to see in the next Puppet Notebook?

Tim wants to hear from you! What topics, themes, or ideas would you like to see explored in the next issue of Puppet Notebook.? Whether it's historical insights, contemporary practices, behind-the-scenes features, or interviews with puppet artists, let him know your thoughts and help shape the next edition.

Zannie Fraser is a theatre practitioner and shadow puppeteer. She trained in performance with Philippe Gaulier and movement for performance with Monika Pagneux in Paris and has also studied with John Wright, Christopher Leith, Stephen Mottram and Fabrizio Montecchi from Gioco Vita.

She has worked as a performer and collaborator with many theatre and puppet companies including Trestle Theatre, Theatre sans Frontieres, Theatre Rites, Indefinite Articles, Little Angel Theatre and Norwich Puppet Theatre.

As Ripstop Theatre she designed, made and performed 11 theatre shows for children, family and adult audiences touring to theatres, festivals, rural touring venues and schools in the UK and abroad. In 2003 Ripstop Theatre was the first British company to perform at the International Shadow Theatre Festival in Germany and in 2012 they took a production to the Edinburgh Festival supported by the Arts Council through Escalator East to Edinburgh.

Now as Luminous Tales, Zannie continues to create inspiring shadow theatre shows for family audiences collaborating with other artists and musicians as well as creating small scale intimate shadow storytelling pieces that can be performed in small venues, libraries, festivals and front rooms.

She also teaches puppetry and performance with children in schools, with drama students at universities and on adult education courses.

Follow on Instagram: https://www.instagram.com/luminoustales/
Visit the website: https://www.luminoustales.com/

🌟 Welcome to BrUNIMA! Let us introduce Cariad Astles, a passionate puppeteer, educator, and advocate for puppetry worldwide.

🎭 Background & Professional Journey
I trained in theatre at Exeter University, which laid the foundation for my journey into puppetry. Over the years, I've worked with numerous companies, exploring the magic of puppets in various performances. Now, I’m honored to be a puppetry tutor at the Royal Central School of Speech and Drama and Exeter University, alongside continuing my freelance puppetry work.

🌍 International Impact
I am also Vice President of UNIMA International and President of its Research Commission, bringing the art of puppetry to the global stage. As one of the two Chairs of British UNIMA, I’m dedicated to fostering connections and growth in the puppetry community.

❤️ The Heart of BrUNIMA
The best part of the BrUNIMA team is the love for puppets and international puppetry that we all share! Some of my most memorable BrUNIMA moments include:

• Hosting an online Lambe Lambe workshop during the pandemic for our members.

• Connecting British puppeteers with international festivals looking for performances.

• Welcoming Belgian puppeteers to the UK many years ago.

🤝 Getting Involved
More volunteers = more activity! Join us and help make the world of international puppetry even more connected.

🎨 Tips of the Trade
Puppets live in their own worlds, with their own logic and way of being. Understanding that difference from the human world is key to bringing them to life.

🔑 Key Resource
I personally love the 4D Model Shop in London – it's an invaluable resource for puppetry materials and inspiration.

Stay connected and join us on our journey to celebrate the magic of puppetry!
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His impressive academic background includes an MA in Directing and a PhD in puppetry from the Royal Central School of Speech and Drama in London. As both an artist and a researcher, Paul’s contributions to the field of puppetry are widely recognised. His work has been showcased internationally, with performances across the UK, France, Poland, Denmark, Greece, Singapore, and Belgium. Some of his notable productions include Kwaidan, Urashima Taro, Postalia, Deathwatch by Jean Genet, Old Clown, and The Story of the Panda Bears by Matei Visniec, which featured at the Edinburgh Fringe Festival, Voila Festival, and the Romanian Institute.

Beyond the stage, Paul has made significant academic contributions, publishing research in Puppetry International, Puppet Notebook, and The Routledge Companion to Puppetry and Material Performance, among others. His insights into puppetry’s interaction with live performance continue to influence the discourse within the field.

As BrUNIMA’s treasurer, Paul applies his meticulous attention to detail and strategic thinking to support our mission of promoting and developing puppetry in the UK and beyond. We are delighted to have him on board, bringing not only financial stewardship but also a deep understanding of the artistic and academic dimensions of puppetry.

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General Inquiries

For general questions or more information about BrUNIMA, please feel free to email us at News@unima.org.uk. We’re happy to help with any queries you may have.

Social Media

Stay connected with us and join the conversation on our social media platforms managed by Andy Evens:

• Instagram: @BrUNIMA

• Facebook: BrUNIMA Facebook Page

• Bluesky: @BrUNIMA

Membership Inquiries

For anything related to your membership, please visit the Membership page or contact Zannie Fraser membership@unima.org.uk.

Share Your Events or Projects

We love hearing from the community! If you'd like to share an event or project with us, please visit our Click here to Submit Events or Projects Page

Meet the Team

BrUNIMA is powered by volunteers. Here are the people who make it all happen:

• Chair: Cariad Astles

• Co-chair: Sean Myatt

• Treasurer/PayPal Admin: Paul Piris

• Secretary, Social Media, E-Newsletter and Website: Holly Tomkins (@hollylikespuppets) News@unima.org.uk

• Memberships: Zannie Fraser membership@unima.org.uk

• Puppet Notebook Editor: Tim Butler Garratt – More info and to submit an article

• Accessibility: Clare at Broken Puppet Theatre

• Representatives in UK Puppetry Organisations: Nenagh Watson (PUK), Paul Piris (PCT), Andy Evans (Guild), Robert Fowler (PJF), Chris Pirie (Puppet Place)

• International UNIMA Councillors: Cariad Astles and Meg Amsden

Please Note

• Response Time: As we are volunteer-run, responses may take up to a week. We appreciate your understanding.

• If you're unsure who to contact, please reach out to us via News@unima.org.uk, and we will direct your inquiry to the right person.
  
  Meet the Team

  
  
  

A Career Rooted in Creativity & Inclusion

Clare’s journey in the arts has been dedicated to applied creative practices, with a focus on using puppetry as a powerful tool for storytelling based on lived experiences, chronic illness awareness raising and promoting inclusive practice training for professional artists. She founded Broken Puppet in 2012, and in 2022 launched TIPA - The Inclusive Puppetry Alliance, a platform dedicated to making puppetry more accessible and impactful in creative health evidence building and sharing best practice.

What’s Clare’s Role at BrUNIMA?

As a new member of the BrUNIMA team, Clare hopes to share her expertise and support inclusivity and cross sector collaboration within the organisation. She’s particularly excited about Puppetry in Creative Health research and advocating for the world of Applied Puppetry, ensuring that puppetry remains a space for all.

The Best Part of Being in BrUNIMA?

“I’m really inspired by the influx of creative energy within the growing BrUNIMA team. My favourite thing so far is being part of this vibrant and welcoming international community, connecting with other artists across cultures and continents.”

A Memorable BrUNIMA Moment

One of Clare’s highlights has been the Saturday Lecture series. As a disabled artist who is often housebound, she values the ability to connect with puppeteers worldwide, engage in meaningful discussions, and learn from talented artists across different specialties—all without barriers.

Why Should YOU Get Involved?

“BrUNIMA is going from strength to strength, and there’s so much more we could achieve together! I especially encourage artists who, like me, may face challenges in participating in puppetry communities in person. BrUNIMA offers a way to stay connected, grow your practice, and be part of something bigger.”

Clare’s Top Tip for Puppeteers

“Join the #SkillUpAndShare challenge or the TIPA Research Collective via @brokenpuppetco! Keep pushing the limits of your creative practice, and take time to enjoy and celebrate all art forms connected to puppetry!”

📱 Follow Clare and Broken Puppet Collaborative Arts!
Stay inspired and follow Clare’s work at:
Instagram: @brokenpuppetco

Broken Puppet Website

A Career Rooted in Puppetry, Dance, and Environmental Theatre
Meg’s journey started with a strong foundation in dance, theatre, and puppetry in education, leading her to found Nutmeg Puppet Co in 1979. Over the years, Nutmeg Puppet Co produced original work and toured throughout East Anglia. For 20 years, Meg worked as a puppet company-in-residence for the Broads Authority (Broads National Park), using her talents for local and international projects that specialized in environmental theatre. Although the touring ended in 2020 and the company closed, Meg’s passion remains unwavering—she still runs workshops and produces animated/puppet films when the opportunity arises.

What’s Meg’s Role at BrUNIMA?
Meg has been a pillar of BrUNIMA for many years, serving as a long-term committee member and as Chair from 2000-2013. She brings a wealth of experience and wisdom to the team, and her dedication to BrUNIMA is an inspiration to all of us.

What’s the Best Part of Being Part of the BrUNIMA Team?
“The international focus of BrUNIMA is truly unique. It’s exciting to be part of an organisation that has the ability to evolve and reinvent itself in changing times.”

A Memorable BrUNIMA Moment
One moment that stands out for Meg was the launch of Puppet Notebook and the website. It marked a key milestone in the evolution of the organisation and set the stage for so much more to come!

Why Should YOU Get Involved with BrUNIMA?
“BrUNIMA is an incredible way to learn what’s happening in the wider world of puppetry. If you’re curious about global trends and want to connect with other passionate puppeteers, this is the community for you.”

Meg’s Pro Tip
“Keep networking and sharing your skills and knowledge—it’s one of the best ways to grow as an artist and to stay connected with the ever-evolving world of puppetry.”

Follow Meg on Social Media!
Stay in the loop with Meg’s projects and insights by following her on social media:
📱 Instagram: megams72

Get ready to meet one of the creative minds behind BrUNIMA—Andy Evans, the driving force behind Kazbah Theatre and a dedicated member of our team. Andy’s passion for puppetry and storytelling is infectious, and we’re thrilled to have him on board. Let’s dive into his journey and what he brings to the BrUNIMA family!

From Playwriting to Puppetry: A Creative Evolution

Andy’s journey into the world of puppetry may have come a little later than most, but it’s been nothing short of inspiring. As a published playwright, he found his calling in creating family-friendly entertainment with a deep connection to puppetry when he founded Kazbah Theatre in 2023. It’s been an exciting ride ever since, and Andy couldn’t be happier with the direction it’s taking him.

What’s Andy’s Role at BrUNIMA?
Andy serves as a bridge between BrUNIMA and the British Puppet and Model Theatre Guild, where he’s an active Council member. His role is crucial in keeping the connections strong and the ideas flowing.

What’s the Best Part of Being on the BrUNIMA Team?
“The sheer amount of collective wisdom and experience that’s shared across the team is something truly special. Every day, I’m inspired by the collaboration and growth we experience together.”

A Memorable BrUNIMA Moment
If you weren’t at the recent event with festival directors from all over the world… you missed out! It was a powerful and thought-provoking session that highlighted the global reach and depth of the puppetry community. Andy was thrilled to be part of it!

Why Should YOU Get Involved with BrUNIMA?
If you’re passionate about puppetry and want to connect with an incredible global community of puppeteers and performers, BrUNIMA is for you. Whether you’re a seasoned professional or just getting started, there’s a place for you in this vibrant, creative network.

Andy’s Pro Tip
“When something goes wrong with the puppet during a performance, remember—it’s not the puppeteer’s problem to solve. Let the puppet handle it!”

Follow Andy and Kazbah Theatre on Social Media!
Stay up-to-date with Andy’s puppetry journey and Kazbah Theatre by following on social media:
📱 Instagram: @andyevans891
📱 Instagram: @kazbah_puppet_studio

Holly is BrUNIMA’s Secretary and the person behind much of our digital communications, from newsletters, Social Media to the newly refreshed website. Since joining the team, she’s helped grow our reach significantly, with newsletter readership tripling and Instagram followers rising from 300 to over 1,500 in just three months. (Thank you for reading and sharing!)

But behind the numbers is a maker with a deep love for the art.

With a background in theatre, puppetry, and creative communications, Holly’s career spans stage, screen (a few idents) and workshop. After studying Fine Art at Arts University Bournemouth, she trained in Animatronics and Special Effects Make-up at MUD in Los Angeles and completed a degree in Modelmaking for Design and Media at the Arts University Bournemouth. Alongside these, she gained hands-on experience across departments at Bournemouth International Centre, including ticketing, front of house, sales and stage door, made and performed walkaround puppets at Bournemouth Arts by the Sea Festival.

Below you can view a trailer for The Tempest at Salisbury International Arts Festival. One of many marketing projects Holly worked on.

She went on to lead creative campaigns for UK arts organisations including Salisbury Playhouse, Salisbury Arts Centre and Salisbury International Arts Festival. As part of the team that merged all three to become Wiltshire Creative, Holly brought together her skills in design, storytelling and audience engagement, a career highlight and testament to her collaborative ethos.

Creative Work

A few photos of Holly’s work on and off stage show the range of her involvement, from marketing and props for Living Spit’s Frankenstein, and the puppets made for various panto’s and productions at Salisbury Playhouse, to performances such as Longer Wetter Faster Better live art exhibition, London, and The Nose. Whether performing, designing or promoting, her passion for the art is clear.

Now based in France, Holly continues to create storytelling projects through puppetry while supporting BrUNIMA’s mission to raise the profile of the artform. Holly also runs hollylikespuppets.co.uk, a personal platform for puppetry workshop reviews, learning resources and eventually a space to share her own creative work. While not linked to her professional marketing work, she’s always happy to connect. If you’re looking for advice or support, feel free to get in touch: hollylikespuppets@gmail.com

Below you can view a trailer of a panto holly made puppets for at Salisbury Playhouse, for Dick Whittington and his cat.

Why Get Involved with BrUNIMA?

Puppetry is a unique and powerful artform, and it’s more important than ever that our community comes together to support and advocate for its future. BrUNIMA offers a welcoming, supportive space for puppetry professionals and enthusiasts to connect, collaborate and share ideas.

Holly values community and collaboration, and welcomes fellow creatives to get in touch, whether for puppet-making advice, help with communications or simply to connect. The more we support each other, the stronger the community becomes.

TOP TIP: Don’t hesitate to reach out to others in the industry, even if you feel unsure. The puppetry community is incredibly generous, and there are always opportunities to collaborate, learn and grow.

📩 Contact Holly: hollylikespuppets@gmail.com
🔗 Website: hollylikespuppets.co.uk
📸 Instagram: @hollylikespuppets

Holly Likes... Puppets

If you're into puppetry, model-making, and all things creative – or if you're just getting started – this blog is for you.