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Ten Questions with Emily Morus-Jones


Emily Morus Jones with puppet friends from Puppetry on the Pop Up Palladium.

Emily Morus-Jones is a Welsh born, London-based puppeteer and puppet maker who has labored with the likes of Sesame Workshop and Handspring Puppet Firm, in addition to excessive profile musical artists like Dua Lipa, Iron Maiden, Rag’N’Bone Man, and Ed Sheeran. When the COVID-19 pandemic started final yr, like so many different artists, her work dried up and she or he determined to return residence to help her household in Northern Wales.

Whereas in lockdown she conceived of Puppetry on the Pop-Up Palladium as a type of digital puppet slam that might assist puppetry artists showcase their work and audiences find out about totally different types of puppetry within the consolation of their very own houses. Thus far the collection has featured a formidable line-up of puppetry artists which have included the likes of Ronnie LeDrew, Handspring Puppet Firm, Drew Colby, and Laura Bacon (Patsy Might of Britain’s Received Expertise fame).

Whereas preparing for the upcoming sixth installment of the collection Emily was variety sufficient to reply ten questions on Puppetry on the Pop-Up Palladium, her profession, the state of puppetry in Wales and the remainder of the UK and extra.

To start, I used to be actually curious to know the way you bought began in puppetry? What initially attracted you to the artwork type?

Emily: Jim Henson was as soon as quoted saying “After I was a child, I by no means noticed a puppet present, I by no means performed with puppets or had any curiosity in them. I actually did that entire factor so as to get on tv as a result of my enthusiasm was tv and movie.” I undoubtedly match into this class. As a child I at all times actually favored puppetry – I used to be a HUGE Sooty and Sweep fan – however as a woman who comes from a small rural group in North Wales I by no means for a second thought it was one thing that I’d truly be capable of do as a job!

I had no concept what I needed to do as a profession and didn’t get a lot assist or encouragement. I simply did all of the issues that I assumed you have been alleged to do, lastly graduating from Politics and Historical past in 2008 straight into the worst monetary crash in a long time. Graduates of my yr had the worst employment prospects for 30 years (particularly politics and historical past grads!).

After a yr of working a number of jobs as a librarian, life mannequin and barmaid to pay the hire, I used to be depressed so I made a decision to heed my internal voice (one thing I now try for as normal protocol) and saved as much as go to Circus College as a method of doing one thing for myself, to assist with my confidence, and simply because it seemed enjoyable.

Circus work taught me that your life is your film so that you may as effectively pursue the issues that talk to you as greatest you may. I labored out a option to transfer to London that was reasonably priced for me, making it potential to pursue extra alternatives to work in TV doing issues like van driving, making props and costumes. This ultimately got here full circle once I met an organization that did loads of circus stuff on a small characteristic movie. They employed me to work on a 9ft monster for the band Iron Maiden, and when you’ve made a monster, you don’t need to return!

I saved on pursuing work in TV and movie in any capability I may and ultimately met Andy Heath (see earlier posts) from Speak to the Hand making a pitch movie for a Kickstarter venture entitled The Truthful Cellphone. He took me on as assist constructing puppets for ABC Bear and on work expertise on the TV collection Yonderland – I owe an enormous quantity to him. Then the chance to use to be an intern on the Sesame Workshop/CBBC manufacturing The Furchester Lodge, and far to my shock (it was the second time I had utilized) I acquired the job! Having by no means puppeteered on display earlier than I used to be abruptly on set with Sesame Avenue performers – it was a baptism of fireside, on steroids, however a extremely unbelievable studying expertise.

Emily Morus-Jones (backside proper) with different puppeteers and Large Fowl on the set of Sesame Workshop’s The Furchester Lodge.

From there on I simply saved on pushing to fulfill new folks and pursue new initiatives – one of many cool issues about puppetry is that there’s at all times extra – extra to study, extra to make, extra methods to do it and that’s, in essence, what attracts me to puppetry. I really like the variation I get to construct attention-grabbing, bespoke issues, I get to carry out characters in a myriad of various methods, I get to sing, to behave, and take into consideration totally different worlds and the beings that exist in them. It’s the closest factor I can get to dwelling respiratory fantasy which I really like, and I get to not be me and categorical some pure, unsolicited weirdness although this vessel that’s the puppet.

Q: You’ve labored on these nice initiatives like The Furchester Lodge, and for/with main artists and administrators like Michel Gondry, Rag ‘N’ Bone Man, and Dua Lipa in a comparatively brief time frame. Are you able to inform me extra about the way you broke into tv and video work?

Emily: Effectively I feel I’ve pursued movie and TV for a really very long time, and am very keen about storytelling on display. I simply acquired fortunate in that I found this actually cool aspect to the movie business that I’ve been in a position to chase. I knew I needed to work in TV after ending my diploma as we made a scholar TV present that I actually loved, I simply didn’t know HOW to get into the business as there wasn’t something just like the schemes and initiatives for younger folks (within the U.Okay.) that there at the moment are, and positively not the web job websites that we have now now.

After I graduated in 2008 the movie business was way more London centric. You had to have the ability to afford to maneuver to London and work totally free to get the expertise you want for somebody to take an opportunity on hiring you which of them I couldn’t afford to do till I found methods across the extortionate rents to have the ability to stay there (London is famously one of many world’s most costly cities to stay in). London was additionally a really intimidating place to me, who had come from a small group within the countryside of North Wales and I nonetheless discover being there actually disturbing.

I feel breaking into TV puppetry was a mix of extraordinarily onerous work the place I used to be keen to do something to get my hours up on-set, doing no matter I may – I spent a substantial amount of time driving vans for commercials as an illustration. I additionally did programs at The Little Angel Theatre which helped me start to grasp about puppetry. I nonetheless do coaching programs every time I can to try to enhance and study extra. I simply completed finding out at The Curious College Of Puppetry earlier than the pandemic hit which was an unbelievable expertise. That mixed with luck in that I taken on some nice youngsters TV reveals as a runner/artwork division, then my van driving boss wrote a script that had puppets in it, which is what acquired me assembly puppeteers like Andy Heath and met some actually great mates and colleagues alongside the way in which.

Emily’s work will be seen the music video for Calvin Harris and Dua Lipa’s hit One Kiss.

Q: What’s the puppetry group like in Wales?

Emily: Effectively on the entire I’d say there’s a fairly robust scene for such a small, dispersed nation – Wales has the U.Okay.’s oldest and solely objective constructed puppet theatre referred to as The Harlequin Theatre in Colwyn Bay, which is ran by Chris Somerville. In South Wales there’s the award profitable PuppetSoup who’re at the moment working with at residence and internationally to advertise and educate a selected Brazilian model of puppetry referred to as Teatro Lambe Lambe. There’s additionally Hijinx Theatre, they work with disabled performers and are at the moment engaged on discovering out how display content material will be made in an authentically inclusive method for studying disabled and autistic actors, and what new processes may be wanted to create inclusive storytelling, which is basically cool.

One of many nice issues about this venture is that I’ve acquired to find out about all these firms that I didn’t learn about earlier than corresponding to Vagabondi Theatre, Small World Theatre, Magic Gentle Productions and Puppet Theatre Wales who’re all doing their factor as effectively and I hope to work with all of them sooner or later.

Q: Artists all around the world are struggling proper now, however what’s it like for puppeteers within the U.Okay.? Has there been a lot help for artists and the humanities throughout the pandemic?

Emily: Pop-Up Palladium acquired funding from the Welsh Arts Council with out which it wouldn’t have been potential, so I really feel very lucky that the Welsh authorities determined to again my venture. I feel the Welsh authorities on the entire has been fairly good about supporting freelancers with further grants however I additionally can not ignore the truth that my expertise has been leaning extra in direction of the exception reasonably than the rule and there are a lot of artists who haven’t labored for months and months.

There are additionally many individuals who didn’t qualify for the U.Okay. authorities help schemes in place since you needed to have been self employed for no less than 3 years and incomes above a certain quantity. (Folks) are slipping by means of the online in the end as a result of Boris Johnson’s administration has a really fundamental/no understanding of what it’s prefer to work as an artist on this nation and apparently don’t worth the humanities business even though we contribute £10.8 billion a yr to the U.Okay. economic system.

I feel the truth that excessive profile actors and the Movie and TV Charity have needed to begin up funds to help freelancers in theatre, movie and TV tells you every part it is advisable to know – that mentioned, no less than they’ve been in a position to supply some further help.

The working lifetime of a puppeteer…Emily about to board Flight 666 on Iron Maiden’s well-known Ed Drive One jet whereas engaged on the band’s Guide of Souls world tour earlier in her profession.

Q: Right here in Canada, even in regular instances, making a dwelling in puppetry will be very difficult as a result of though we’re a really massive nation geographically, our inhabitants is comparatively small and really unfold out. It’s troublesome for artists to tour or achieve entry to a big viewers.

I’ve at all times been a bit envious of puppetry artists within the U.Okay. as a result of you may have a strong community of festivals, theatres, organizations concerned in puppetry, and entry to a a lot bigger market. What do you suppose the skilled prospects will likely be like for puppeteers there as soon as the pandemic is over?

Emily: Within the 80s and 90s (there was) an extremely wholesome community of small venues making it straightforward for artists to tour their work. Sadly they’ve been on the decline since 2000 and (the previous) 10 years of austerity hit a substantial amount of these venues actually onerous. I feel the most important casualty of the pandemic has been our small venues and theatres, and that’s going to have a big impact on artists throughout the board of UK Arts affecting every part from the music business to theatre and comedy. I agree that we’re very lucky in having the ability to tour comparatively simply as our nation is relatively small to others, but it surely doesn’t actually work if all of the small venues that you’d ordinarily carry out in are bankrupted out of existence.

That mentioned, I feel there’s hope in that I feel on-line occasions are right here to remain in some type and that leaves alternatives for worldwide performers to affix through which is tremendous thrilling. I additionally suppose that puppetry specifically lends itself effectively to outside arts and efficiency, so that is trigger for hope within the quick future.

Emily’s Puppetry on the Pop-Up Palladium options well-known puppet characters, well-known puppeteers and up-and-coming expertise.

Q: Puppetry on the Pop-Up Palladium started final yr after the COVID-19 pandemic hit. What was your inspiration for it?

Emily: My pondering behind the Palladium was that if I needed to discover ways to construct a puppet of some variety, or if I needed to discover ways to carry out a selected sort of puppetry then there’s an abundance of alternatives – which is nice! I feel there must be recognition and kudos given to the generations of puppeteers who’ve labored actually onerous to make that so.

My motive for pursuing the Palladium was that it’s not straightforward to get stage time with a puppet, notably when if you wish to be performing to an grownup viewers. So I needed to create an occasion, utilizing this new on-line medium that was abruptly all that was accessible to anybody, to see if I may create a platform for folks to showcase their work and discover the viewers that was into it and attempt to open up this wonderful artwork type to a brand new viewers.

I additionally needed to create a possibility for myself to work alone puppetry efficiency and study new abilities in internet hosting the occasion as a result of – because the outdated saying goes – puppeteering is like wanking, at its most fulfilling when accomplished within the firm of others and doubtless at its least stimulating when it’s accomplished by yourself in entrance of a mirror!

Q: You’ve had a extremely spectacular mixture of comparatively well-known puppet characters and puppeteers in previous editions, together with some youthful and up-and-coming artists. What’s your philosophy when curating the present?

Emily: Effectively I knew that making an attempt to promote an occasion that was a totally new format (on-line on zoom) to a brand new viewers (adults/older youngsters that have been inquisitive about puppetry-based leisure) was going to be actually robust – there’s simply too many new issues there to ask folks to take a punt on, particularly when you think about that previous to doing this I had by no means produced an occasion on of any variety earlier than in my life!

I needed to attain out to extra established artists to see if they’d take part in order that there can be one thing that was a recognized amount to potential viewers members. Having mentioned that although, within the context of a pandemic, it felt incorrect to solely be giving alternatives to the individuals who have been already effectively established and thus necessary to incorporate up-and-coming artists as effectively. This truly labored rather well, as a result of the artists which have had lengthy and profitable careers in puppetry need to see extra puppetry promoted to new audiences. They need to see up-and-coming puppeteers make successful of it and so have been solely too keen to supply their help and take part which was a extremely heartening a part of the entire expertise.

I’m unsure that I’ve a selected philosophy when curating the present apart from making an attempt as greatest I can to place artists collectively that I feel can be ‘match’ for the majority of it after which throwing in a bit further that’s utterly out of that consolation zone to supply one thing utterly totally different and see what folks make of it.

Cardiff Animation Festival
Along with puppetry, the Pop-Up Palladium has additionally featured work from the Wales’ Cardiff Animation Competition.

Q: You’ve been collaborating on Puppetry on the Pop-Up Palladium with the Cardiff Animation Competition. How did that connection occur?

Emily: I completely couldn’t have accomplished any of this with out the assistance of Ellys Donovan and Lauren Orme who run Cardiff Animation Competition. There’s simply no method I may have accomplished it with out them. I’ve by no means collaborated with animators earlier than so I’ve no foundation for comparability, but it surely by no means would’ve occurred to me that collaboration between these two mediums would’ve probably been an issue – possibly it has one thing to do with each occasions being ran by ladies and that prevalent female vitality being actually conducive to collaborations?

Over the pandemic, animators appear to have accomplished rather well as a result of they’re in a position to maintain working in isolation and I particularly bear in mind chatting to Lauren in the beginning of lockdown and her saying to me that Cardiff Animation Competition had been in search of teams that have been struggling to work with so it made good sense that a type of teams ought to be puppeteers who’ve seen their work dissipate due to the necessity for social distancing and the closure of theatre/display industries.

Q: Right here in North America, many individuals are likely to view puppetry and animation as utterly distinct artwork kinds. I’ve observed that within the U.Okay. and the remainder of Europe puppetry and animation appear to extra fortunately coexist alongside one another, whereas typically there’s outright hostility from artists when they’re put collectively in festivals on this aspect of the ocean.

What are your ideas in regards to the relationship between puppetry and animation? 

Emily: Puppetry and animation are undoubtedly two separate, however complimentary artwork kinds. It’s very uncommon over right here for folks to work in puppetry AND animation however I do know that folks in each fields are impressed by folks within the different – for instance; puppeteers will be impressed by the physicality and slapstick timing of cartoons and animators have used the puppetry of Jim Henson to higher perceive lip sync.

As with every potential divisions amongst teams, there’s extra that unites us than divides us. Each mediums are inquisitive about visible, versus verbal, storytelling; each mediums attraction to adults and kids alike; each mediums are glorious at utilising slapstick and bodily comedy and each mediums try to create attention-grabbing new worlds and characters.

I’m a fierce believer in collaboration over competitors and personally see no motive why these two factions ought to compete – they each have their energy and so all of it comes right down to a matter of aesthetic selection which is, to a point, dictated by issues like time, finances, and story arks however I feel more and more in movie productions Administrators are selecting to utilise a mixture of each mediums which in my view produces nice outcomes. Each teams can study lots from each other so why waste a lot vitality on being hostile to 1 one other? What do you actually achieve from doing that?

Q: Are there any artists that you just’d prefer to have on Pop-Up Palladium that you just haven’t but?

Emily: I feel it might be nice to have a chat with Kevin Conflict about his work – I feel his contribution to puppetry is large, his groundbreaking work with Sesame Avenue is unbelievable and I actually hope he begins to look in direction of directing sooner or later. I feel it might be actually attention-grabbing to have a dialog about illustration in puppetry with him as I feel it’s necessary to encourage additional variety in puppetry (notably TV puppetry) and animation for that matter the place each ladies and folks of color are under-represented. It’s altering, but it surely’s going to require a concerted effort to catch up. I’d additionally prefer to have a chat to the blokes behind Royal De Luxe in France and The Creature Expertise Firm in Australia as a result of their work is totally bonkers and I’d love to search out out extra about the way it happened.

On the entire I’m at all times looking out for people who find themselves creating thrilling, modern work so hit me up!


Chapter Six of Puppetry on the Pop-Up Palladium takes place on-line Friday, February 4th, 2021 at 8:00 p.m. GMT (3 p.m. EST / 6 p.m. PST) and incorporates a stellar line-up that features Mavis Maves, Nod on the Fox, Folded Feather, Hugh Purves and the one and solely Louise Gold.

For tickets and extra info go to PopUpPalladium.com.

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