- PRESIDENT’S AWARD
- TRUSTEES’ AWARD
- PUPPETEERS OF AMERICA AWARD
Ivan Owen (American Puppeteer) & Richard Van As (South African Carpenter)
- JIM HENSON AWARD
- GEORGE LATSHAW AWARD
Nancy Sander, M’El Reum, and Kurt Hunter of Playboard Magazine
- MARJORIE BATCHELDER McPHARLIN AWARD
Jon Ludwig is an accomplished performer, director, and theater designer who has worked in Atlanta, New York, and abroad. He is the Center’s Artistic Director and has worked at the organization since its inception. In children’s television, Ludwig wrote, designed, and puppeteered the shadow puppet segments for the Disney Channel/Henson Production show Bear in the Big Blue House. In 2005, along with Mitchell Kriegman and Dean Gordon, Ludwig received an Emmy nomination for Outstanding Director for The Book of Pooh episode “The Great Honey Pot/Paging Piglet.” He holds a B.A. in Theater from Chicago’s Columbia College and is a member of The Directors Guild of America and ASCAP. At the Center, Ludwig has written and directed 33 distinctive shows. His family productions educate and appeal to children and adults. Most recently, he adapted and directed Ruth and the Green Book, based on the award-winning children’s book by Calvin Alexander Ramsey. In 2010, he adapted and directed the immensely popular Rudolph the Red-Nosed Reindeer®, based on the classic television special.
Ludwig is also recognized as an innovator in the field of adult puppet theater. In 1980, he co-founded the Center’s Xperimental Puppetry Theatre, a program which continues to provide funding and support for new puppet works for adults. His production Safe as Milk was featured at two Puppeteers of America festivals and the Henson International Festival of Puppetry between 1992-1994. His adaptation of Mary Shelley’s Frankenstein, commissioned and produced for the 1996 Olympic Arts Festival, was heralded as one of the highlights of the Festival by art critics, including Newsweek magazine. Ludwig has also collaborated with national and international artists as well as numerous theatrical companies.
Ludwig has served as Artist in Residence at the National Puppetry Conference, Eugene O’Neill Theater Center and Emory University. He has taught workshops on puppetry for the Puppeteers of America Festival, the University of Texas Drama Department, University of Maryland, the Literary Managers and Dramaturgs of America National Conference, Georgia Institute of Technology School of Architecture, and NYC’s New Dramatists.
His work was exhibited at Revealing Roots, 1994 and Breaking Boundaries, 1993, at the Lincoln Center Library for the Performing Arts, New York City, a group exhibit of puppets made and designed by artists selected by The Jim Henson Foundation in conjunction with the Henson International Festival of Puppet Theater.
Eight of Ludwig’s productions have received Citations of Excellence from UNIMAUSA, and in 2007 he was one of the first recipients of the Arts Medal from Atlanta’s Charles Loridans Foundation for his contributions to the Atlanta arts community. The Atlanta Journal-Constitution has lauded Ludwig as “the most consistently inventive theater artist working in Atlanta today.”
Fred Putz has written and published articles in the Chicagoland Puppetry Guild Newsletter ‘Puppet Patter.’ His articles on early puppeteers have been most informative and represent a great deal of research and writing of oft-neglected puppeteers’ history. Through these articles we can look back for ideas and inspiration and these essays by Fred give us the materials from which young and old puppeteers alike benefit.
Ivan Owen (American Puppeteer) & Richard Van As (South African Carpenter), for using puppetry mechanics to design plans for an affordable prosthetic hand that can be downloaded by anyone around the world and built with at the aide of a 3-D Printer.
Matthew Garibaldi, director of orthotics and prosthetics in the Department of Orthopedic Surgery at the University of California, says that making sure a prosthetic device fits is essential for it to work well.
And there are limited options for pediatric prosthetics, Garibaldi says, because there aren’t many kids with upper-extremity amputations. That’s one reason a device like Robohand is so appealing, he says. “Its primary function is to decrease manufacturing costs and increase productivity.”
“The timeliness of this technology couldn’t be better,” Garibaldi says.
Makerbot CEO Bre Pettis says “Normally they don’t make prosthetics for kids, because they grow out of them like sneakers, and they can cost $10,000 – but the Robohand costs $5 in plastic. So it changes the whole game.”
You can find out more about this device at www.robohand.com
Lunatic Cunning was originally commissioned and presented by Dixon Place with public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, the City of New York Department of Cultural Affairs and private funds from The Jim Henson Foundation, The Peg Santvoord Foundation and The Jerome Foundation. Now, James and his team brings Lunatic Cunning to 2013 National Puppetry Festival. James Godwin, is a puppeteer and actor whose television credits include The Muppets, The Daily Show, Chapelle’s Show, It’s a Big Big World The Book of Pooh, Between the Lions, and Oobi to name a few. On the New York Theater Scene, James Godwin is best known as the founder of the puppet troupe The Elementals. When not on stage or building puppets, he can be found teaching puppetry to college students and was a Guest Artist at the 2013 National Puppetry Conference at the Eugene O’Neill Theater Center.
Perhaps the best description of Back Stage magazine described Lunactic Cunning as “…magically silly and charmingly magical.”
GEORGE LATSHAW AWARD FOR WRITING – for accomplishments in writing and publishing in the field of puppetry.
Nancy Sander, M’El Reum and Kurt Hunter of PLAYBOARD MAGAZINE have never failed in their commitment to provide news and tips for every issue of Playboard. They gather material and assemble it four times a year (originally six times a year) so that our readers have some idea of the happenings in our Guilds, activities of individual members, and useful tips.
Nancy Sander has written her popular column “EUREKA!!” for over thirty years. It was, originally, a part of the Puppetry Journal then eventuallybecame an addition to Playboard. Nancy provides tips to puppeteers of all skill levels on all phases of puppetry arts.
M’El Reum has been contributing to the Puppeteers of America for many years. She originally wrote a column for the Puppetry Journal titled “Reum-er Has It!” about the goings-on of PofA members then migrated to Playboard later on, writing about Guild happenings for then editor Paul Eide, calling her column “The Guild File.” M’El currently composes “Reum …with a view”.
Kurt Hunter was asked to fill in the Playboard gap left by the passing of “Punch’s Mailbox” editor, Rod Young. He and M’El agreed to switch positions with M’El back at her old job and Kurt taking on “The Guild Connection.” Kurt has been writing for Playboard since 2002.
The real work of Playboard is on the shoulders of these three dedicated individuals who have created dozens of articles of interest for the membership about the membership.
Carol Sterling, NYC. Carol is a past PofA Education consultant for Puppetry in Ed, She has been active in the field of Puppetry in Education for the past 30 years and received a Fulbright award to teach in Uganda at the University of Kampala. Carol was also a guest speaker on Puppetry in Education in Spain last year and has been a strong advocate for PIE for her work at the Brooklyn Arts council.