Yes, it’s true. Even in this day and age there are people like her. And just when you thought the world was safe.

bio

Robin Walsh discovered puppets on her first day of college, and has never looked back. She has built, designed and performed everything from dance silks and sock puppets for the Oscars to Hollywood movie monsters. Her work has been seen around the world, from here in L.A. to New York City, Germany and China. She’s worked in film, (Team America: World Police, Men In Black), television (SpongeBob, Family Guy) and stage. She’s a recipient of a Jim Henson Foundation Workshop Grant, and performed her work at last year’s Henson’s Puppets for Puppetry benefit as well as at the O’Neill Theatre Center. She also designed, directed and performed two original puppet ballets with the Stanford University Orchestra, Stravinsky’s Firebird and Prokofiev’s Romeo and Juliet, as well as Rebel’s The Elements for the Baroque Chamber Orchestra of Colorado. Her many studies with world renowned puppeteer Albrecht Roser have opened up a whole new way of looking at and working with puppets, and is happy to join his constant search for Puppet Zen. She’ worked with her hero, Ray Harryhausen, on his last film and got to decapitate the real Rudolph puppet from the Rankin/Bass classic. She is currently Head of Puppets at Screen Novelties, a stop motion studio.

Puppetry - Art that moves....

Puppetry is an ancient art that has a deep-seated appeal to audiences of all ages. Following in the footsteps of master puppeteer Albrecht Roser, Robin Walsh seeks to take puppetry beyond the realm of children’s entertainment and return it to the multi-faceted, modern audiences of today.  For her, the greatest joy is experiencing that moment when bits of cloth, wood and string truly come to life for an audience. She is glad to have a chance to share that magical moment whenever she can.