By Alex Rendon
By Monica McGivern
By Michele Eve Sandberg
By Alex Rendon
By Monica McGivern
By Ian Witlen
By Christina Mendenhall
By Michele Eve Sandberg
Last November 2, while driving home from work on Andrews Avenue, passing motorists might have wondered, Why in hell are 225 skeletons walking down the street? Halloween was two days ago.
But it was Day of the Dead, or Dia de los Muertos, a national holiday in Mexico, when celebrants honor those who have passed away by visiting graves or building altars and decorating them with flowers, skulls, and the departed's favorite items. The holiday is a juxtaposition of gravitas and humor, as the souls of the dead are lured back for a visit not only with prayer but also with tequila, candy, storytelling, and parades. Skeleton depictions called Catrina figures (named so after a famous print circa 1910), which are more cute than scary, have come to be the dominant imagery associated with the holiday.
All of that is mightily appealing to artists and hipsters, and it has made Day of the Dead a fun holiday to import. When Jim Hammond came off the road after six years of touring with The Lion King as its puppetmaster, he settled in Fort Lauderdale, where he founded the Puppet Network and, not long afterward, got to work on making Day of the Dead a signature event.
NW 5th St.
Fort Lauderdale, FL 33301
Category: Performing Arts Venues
Region: Fort Lauderdale
Hammond, who sports the goateed, bespectacled look of a drummer in a '90s indie band, began his puppetry journey as a tween, creating backyard puppet shows for kids in his hometown of Hoosick Falls, New York. He knew even then that puppetry could bring communities together, a motivation that continues to drive him.
At 17, Hammond was hired by the Great Escape, an amusement park in upstate New York, as a puppeteer, where he handled up to 21 shows a day. It helped pay for his college education — he studied performance and production design at SUNY Fredonia — and because he made a decent living there, his experience made him realize that puppets could lead to a viable career. After college, he worked for a German puppet theater in New York, went to graduate school for puppet design at the University of Connecticut, and moved to South Florida, where he opened a puppet studio in Hialeah in the late '90s.
His big break came in 2003, when he became puppetmaster for the Broadway tour of The Lion King. He brought the animal menagerie to life until 2008.
"I loved the touring, but being on the road for six years was definitely a challenge, because I had a lovely wife at home, who also works in the arts down here. It was time for us to come off the road and explore something in South Florida again. I mothballed [the Hialeah studio], sold off most of the stuff, and I had an investor who contacted me in the beginning of 2009 and said, 'What do you think about starting a company?' We looked at the numbers and came to an agreement, opening up Puppet Network in the summer of 2009."
Nowadays, the company writes and designs customized productions for clients, makes sets and props for stage and screen, and hosts classes and workshops. It produces kids' shows such as Alice in Wonderland as well as more edgy projects like the Delray Beach Fringe Festival (coming September 2013) and an R-rated "Puppet Rampage."
As executive director, Hammond must execute boring tasks such as keep the books, file receipts, and pay taxes. But he does so surrounded by the creations he and his team have built — skeleton puppets to his left, motley birdlike creatures staring down at him from the ceiling, two smiling, animated recliners in bright pink and green perched behind his desk.
"You'll see giant frogs in here at the beginning of next year, and then we'll have Czechoslovakian rod puppets we're building in the spring," he says.
Inside Hammond's small office in Fort Lauderdale's FAT Village warehouse district — it's the one with the painted skull on the door — an extensive library suggests the Puppet Network's myriad influences, from books on parrots, mythology, and African masks to Al Hirschfeld collections and Harvey Pekar graphic novels. To their right hang photos of previous productions and press clippings from every South Florida publication of note, including this one.
Walk past the slightly creepy image of headless farmer puppets dangling from a clothes rack like lynching victims — they're actually characters from the Puppet Network's revisionist take on Snow White, with farmers instead of dwarves — and you'll see a small industrial workstation, where saws, pliers, lint rollers, drills, spatulas, and dozens of screwdrivers await the wood, foam, cloth, papier-mâché, and leather that Hammond and his team will transform into characters.
Hammond also rents out two huge studios in the FAT district, one of them big enough to build sets and large-scale puppets. This is where the magic is made for some of Hammond's best clients, from Florida Grand Opera and Miami's PlayGround Theatre to the Arsht and Broward performing arts centers.
Currently, his team of freelancers and volunteers is focused on one event and one event only: the South Florida Day of the Dead Celebration, a multidisciplinary cultural extravaganza that will overwhelm the FAT district November 2. Circus acts, musical groups, and dance companies will perform on an indoor stage, and in one corner of a room, a 1960s Cadillac and a live model, both painted with Day of the Dead designs, will be sketched by artists as part of Dr. Sketchy's Anti-Art School. At the other side of the building, 16 local crafters will preside over the Craft Crypt, offering tile, fiber, and glass works, paintings, jewelry, clothes, and other items, all with Day of the Dead themes.