Alright – so today we’ve got the honor of introducing you to Lee Bryan. We think you’ll enjoy our conversation, we’ve shared it below.

Lee, thanks for joining us, excited to have you contributing your stories and insights. Can you talk to us about how you learned to do what you do?

I had an amazing group of mentors and teachers along the way. For me, the path to learning puppetry was formed by mentors and teachers who helped to shape
and mold my work. Initially, I did a performance internship at the CENTER FOR PUPPETRY ARTS in Atlanta working along creatives who were doing exactly what I had hoped to learn.
The learning process takes as long as it takes and I believe the key initially was to become educated in everything to do with puppetry and say
yes to every opportunity. So, I took every workshop there was, attended every show I could, and created and sold custom puppets, stages, scenery, and shows. Then I was able to pick and choose to create the path I wanted which ultimately came a career in performance.
One obstacle I immediately recognized was that I did not know how to run a business or have a business mindset. In fact, I find this is a very common area with many artists. So, I started taking business development courses and seeking advice from those in
the business.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers

The History of Me or Pulling My Own Strings
by  Vivian Allyn Alford.

Who would ever have thought I would be making my living as a puppeteer? Growing up as a child in rural North Carolina, I read all the puppetry and magic trick books I could get my hands on and learned how to build many types of puppets and magic prop thereby discovering a flair performance. Soon I’d founded a puppet ministry at my local church and I was on my way, or so I thought.

High school came and went and soon I started taking singing and acting lessons. Moving to Richmond, VA, I began volunteering with Children’s Theatre of Richmond where I learned to manipulate giant marionettes and learned more about prop and set building for puppet theatre. Finally, things were falling in place; I knew this was where my head, heart and hands lay.

But after holding down multiple jobs to support my volunteer puppetry “habit” and despite my best intentions, I ended up in the Army for five years. The signs pointed elsewhere or so it seems but while the military experience did not provide an outlet for puppetry, it taught me invaluable lessons in self-discipline which have come into play running this business. Fortunately, my passion for the art of puppetry was there all along and it just took being in the right place at the right time to bring it out.

Soon, my love for musical theatre re-engaged and I took the stage like I was born to be there. But countless roles later left me cold and I realized I longed for something more. After performing in various theatres in South Georgia, I fell in love with the bright lights of Atlanta. I relocated to the big city and worked at Six Flags Over Georgia for three seasons and a song and dance man. And believe me, five shows a day, five days a week is a lot of singing and dancing.

In between modeling jobs, auditions and waiting on tables, I had the good fortune of trying out for the Center for Puppetry Arts production of “Gulliver’s Travels” which was to use a live actor for Gulliver and puppets as the Lilliputians. Unfortunately, I didn’t make the cut but was offered an internship for their next show, “Just So Stories”. All right! I was in! I was free to learn and perfect my craft under the watchful wing and helpful guidance of the Center’s Artistic Staff. All those puppetry books I’d practically memorized as a child were about to pay off. What a case of being in the right place at the right time. I’ve been fortunate to be associated with the Center for Puppetry Arts since 1992 as an ensemble member and subsequently as guest performer.

The highlights of my career include being in the “Adventures of Elmo in Grouchland.” movie and meeting Sesame Street characters. I was also nominated for an EMMY award for Salsa,Spanish language chidren’s show with Georgia Public Broadcasting.  In addition I have received two grants from the Jim Henson foundation for my shows, “Pinocchio” and “The Suitcase Circus.”

Notable Quotables or Words to Live and Work By

So many people along the way have helped get me where I am today and I hear their words in my ears often as I perform.

Vince Anthony – Center for Puppetry Arts. I learned a lot on and off the road like trade your car in every four years. Thanks to Vince Anthony, director of Center for Puppetry Arts, who advised me to always have a reliable set of wheels, especially if I’m doing a lot of touring. I’ve performed for children from Timbuktu to Kalamazoo.

Thanks to Peter Hart for not only picking me for my first internship at the Center but for teaching me beginning hand puppets and marionettes. I learned from his expression of “Make the action fit the phrase.”

Kurt Dawes, Kennesaw State College drama teacher, said “Never explain, never excuse.” Which means don’t blame anyone or anything for a poor performance and that time spent rehearsing always shows in the final product. Rehearse, rehearse, rehearse!

Nancy Gerber, founder of Steppingstones, told me “Under promise/over deliver.” It’s not something you put into your contract; it’s something you just do. That little something extra from making a child’s birthday extra special to impressing the CEO’s of Chik-Fil-A with a nifty carrying bag for threir custom puppet.

Carol Daniel – Piccadilly Puppets Company – “Do what you do best, then hire the rest.” In the beginning, I had to do it all myself – but now I have the “luxury” of hiring some of the best talent around..especially when it comes to a director. Gregg Wallace has been with me for thirteen years and all thirteen shows as co-writer and director. And you can’t get much better than him.

What I tell myself constantly are the two “C’s” –communicate and contracts. You can’t have enough of each.

All in all these are words I live by and they got me where I am today. If you want to try your hand at puppetry, put your dreams and goals into your heart and transfer it to your hands and practice, practice, practice.

What do you find most rewarding about being a creative?

Most rewarding for me is now I am now able to help mentor others along the way in puppetry. I am now giving younger actors the experience to work as a touring artist taking out my shows.  And of course, I am always happy to offer advice when asked and help out anyway I can.

What do you think is the goal or mission that drives your creative journey?

Initially I was basing performances based on what I thought the market would bear. So, I would create my adaptations of well-known stories. After a long list of familiar fairy tales, I took a chance and started to create original work. With the working knowledge based on the adaptations I’d created (along with a database of happy clients), I was able to form original work that really sells..

Contact Info:

• Website: www.puppetguy.com
• Instagram: @thatpuppetguy
• Facebook: thatpuppetguy
• Youtube: thatpuppetguy

Image Credits
Johanna Kimberl