Moose Toys teams with family YouTube channel Collins Key for new activity range

Moose Toys is teaming with the family YouTube channel, Collins Key starring the online stars Collins and Devan Key, to launch an activity line that will allow fans to recreate the DIY challenges and projects the pair undertake, at home.

CollinsKey is recognised as the number one YouTube channel for compounds, activities, and creativity. Collins and Devan Key boast more than 21.5 million subscribers and over 5 billion total views. The CollinsKey  collection taps into the pair’s authenticity, energy and passion, and their over the top challenges to bring innovative play to the activity aisle.

The new range will launch this autumn and will feature boxed play-sets in two categories: Fake Food Challenges and pranks and Collectables. The hero item in the first collection will be the Fake Food Challenge Wheel, inspired by the show’s own Mystery Wheel Challenge. Players will take turns spinning the wheel to receive their challenge, and then use their tools to shape and mould their compounds into food items.

“We worked closely with Collins and Devan to translate their vibrant and engaging personalities and approach to family-friendly fun into tangible games for everyone to enjoy,” said Joe Smith, director of global marketing, licensed brands, Moose Toys.

“This is Collins and Devan’s first national partnership in consumer products, and we’re honored to work with like-minded innovators to bring their wildly popular challenges to their biggest fans — and introduce new fans to their world.”

Another theme seen within Collins and Devan Key’s programming is lighthearted and fun pranks. The Ultimate Unboxing Game pits two players against each other, racing to find the key within one of three mystery boxes, with the losing person presented with a gross surprise.

For the Mystery Box Collectible, players are tasked with blindly feeling around inside a box and guessing what’s hidden inside.

“Devan and I had a blast rolling up our sleeves and collaborating with a category leader like Moose Toys,” Collins Key said. “We’ve loved seeing what we’re so passionate about authentically come to life in this new line of products, and we can’t wait for the #KeyperSquad to try all the wild challenges within this collection.”

Earlier this year, Moose Toys announced it was named the global master toy partner for the Collins Key brand. The Collins Key collection is available exclusively at Walmart.com, Walmart stores starting Sept. 1, and online and at retail locations across the US.

Comic effect: How the UK’s love for comic books is keeping The Cartoon Museum Covid-secure

Whether it was at its former home along Little Russell Street in London’s Bloomsbury, or its new Wells Street, Fitzrovia abode, The Cartoon Museum had never previously had an issue with footfall. At the height of its popularity in the former location, the museum was pulling in 38,000 visitors a year. In its new site, it was on track to hit an all-time record.

But that was a time before the coronavirus had hit 2020 like an over-sized mallet over the head. By March this year, it was inevitable that numbers wouldn’t hold, with fewer and fewer making the journey to the UK’s capital. In the same week that the museum’s doors were finally closed at the hands of Covid-19 on March 18th, visitor numbers had hit an all time low of 50 per cent of its average.

Six months later, the museum’s doors remain closed, and the some 18,000 pieces housed within, decorate the walls of empty rooms. The Cartoon Museum has missed its key Easter to summer period – the period during which UK museums make most of their money – and subsequently has lost as much as 75 per cent of its income for this year. But however bleak this picture may seem, the optimism and support surrounding the museum and the community it embodies tells a very different story.

In a firm stance against the plight, The Cartoon Museum has found itself at the centre of a rallying cry from the comic and cartooning communities, with some of the biggest names on the scene throwing their weight behind actions taken to preserve this staple of modern British history. 

It’s without doubt a reflection of the size and passion of the UK’s comic book community that The Cartoon Museum has seen donations come in from its members and visitors, found itself the focus of an exclusive fundraising t-shirt by the UK comic book publisher Rebellion, the subject of a cover price percentage donation from ComicScene Magazine, and at the heart of a fundraising sale of The Bad, Bad Place by Soaring Penguin Press, as well as an art sale of unique pieces by the artist Dan Digby.

Not only all of this, but the museum curator’s husband has even ran a half marathon, all to help raise money for the cultural attraction. Then there’s the matter that it recently managed to secure a grant from the National Lottery Heritage Fund.

It would appear that, even as the UK navigates some of its toughest months in recent history, the nation’s affinity for and history with comic books has held as firm as ever. If ever there’s a story that exemplifies the passion of a homegrown fan base, it’s surely this one.

Licensing.biz catches up with The Cartoon Museum’s Director, Joe Sullivan and its Learning and Outreach Officer, Steve Marchant to tell the story of The Cartoon Museum and Britain’s undying love for the comic book.

Comic and cartoon aficionados Joe and Steve, hello to both of you, and thank you for chatting with us. By way of an introduction, can you talk about the history of the Cartoon Museum – when was it established, why so, and your roles at the museum?

The Cartoon Arts Trust was founded in 1989, as a way to collect and preserve key elements of Britain’s unique and nationally-important cartooning history. In 2006, The Cartoon Museum opened on Little Russell Street in Bloomsbury, London. In July 2019, the museum moved across London to a new, larger premises on Wells Street in Fitzrovia.

As of 2006, the museum has developed a reputation as a key champion of British cartoon and comic art, and a strong track record of innovative ways to democratise access to the arts. We have received 420,000 visitors, and built a nationally important collection of cartoons, comics and caricature, as well as a reference library of 18,000 items.

Over 50,000 children and adults have attended workshops, and we receive 3,000 student visits a year. We work in partnership with community-based organisations, including Laydeez do Comics, Geek Syndicate, Sketch Appeal, and MIND. We also work closely with universities and colleges, including Staffordshire, Dundee, Exeter, Westminster and Syracuse (in the USA).

Joe Sullivan is the Director of the museum, setting the vision for the future, and leading the museum forward to increase visitor numbers, and develop the collection and exhibitions programme., 

Steve Marchant is the museum’s Learning and Outreach Officer, and has been with the museum since 1991. He develops and leads the museums learning programme, teaching drawing skills to children and adults, and opening new pathways into careers and hobbies in the arts. 

How have you guys been impacted by the ‘explosion’ of the pop culture scene in recent years? What has the matter of underground culture going mainstream done for the museum?

The ‘mainstream-ification’ of pop culture has definitely been a benefit to the museum, with increased interest particularly in comics, which gave us some of our highest exhibition attendance figures. This created the opportunity for us to run the Comic Creators project, from 2015 – 2019, funded by the National Lottery Heritage Fund. We collected 402 pages of original British comic art, including ages from the Beano and Dandy alongside pages from legendary comics such as Judge Dredd, Asterix and Watchmen.

We also are beginning to see interesting patterns relating to pop culture – for example, the highest attended UK exhibition last year was Manga at the British Museum, and our Manga half-term workshops have been incredibly popular and over-subscribed. This is a clear response to the current popularity of anime, manga and Japanese video games among children, teenagers and young adults.

So, what kind of collections and exhibits do you house at the Cartoon Museum? And what are some of the most popular?

We have a large and varied collection of cartoon and comic art, but only five to 10 per cent of our collection is on display at any one time, meaning we have a veritable treasure trove stored away. Our cartoon collection traces the history of satirical cartoons, from Heath Robinson and Gillray through to current Cartoonists Martin Rowson and Steve Bell – both of whom are Trustees.

Our comic collection of 402 items contains pages from key British comics such as the Beano and Dandy, as well as famed graphic novels including Dave Gibbon’s work on Watchmen.

In addition, we have a large library and some interesting items and ephemera, including an original Spitting Image puppet and a replica of William Heath Robinson’s infamous ‘pea counting machine’. Our collection is almost entirely original pieces of art, and part of the fascination for me is the look you get into the artists mind-set. On some of our comics you can see how the page has been assembled, with cut-out word balloons positioned over the artwork.

Our current temporary exhibitions, Hail to the Chief: The Best and Worst US Presidents, and Dear Mr. Poole (which you can view online) celebrate a theme around ‘tools of the trade’, and delve into the types of pen nibs different artists use, their relationship with specialist art stores, and what a cartoonist’s work space looks like.

How do you think the way we as a society engages with comic books has evolved across the generations?

If you look back 17,000 years into the past, Stone Age cave art shows us how narrative art has always been an essential communication for humans. It is an older form of communication than writing, and potentially older than formalised language.

Cartoons and comic books are the successor to this form of narrative art. Like anything, there are ebbs, flows and reactions in style, content and readership. Right now, the age of the internet has changed the landscape for comics. Anyone can self-publish widely on the internet, and often do, leading to a huge rise in webcomics and other narrative artforms, such as memes.

How far do comic books and cartoons go to reflect the sensibilities of their generation?

Like many mediums that are consumed en-masse, comics have evolved in response to political and social situations, which often change on a generational basis. For example, in the 1950s and ’60s, ‘girls comics’ presented a specific view of what was expected of girls at the time, with stories about boarding schools and relationships. At the time this led a lot of girls to pick up a ‘boys comic’, like Eagle, and read that instead.

‘Boys comics’ featured topics such as war, or sport. If you compare that to today, these lines are much more blurred and comics are largely written for and read by a more general audience – Roy of the Rovers, for instance, a football strip previously a bastion of ‘boys comics’ relaunched in 2016, and was quickly followed by a new strip starring his female cousin, Rocky of the Rovers.

What would you highlight as some of the most notable steps of evolution of the comic book? How do you think engagement with the medium today compares to that decades ago?

One of the earliest steps towards modern comic books in the UK was the change from featuring single-panel cartoons and prints in newspapers, to using two or three panels to create cartoon strips. One of the earliest popular characters was Ally Sloper in the late 1800s, who set a type for a lazy ne’er-do-well surrounded by a troupe of colourful characters drawn in grotesque stereotyped ways. He is considered the first ‘recurring character’, which set a precedent for new regular newspaper and magazine strips with readers returning to check in with their favourite characters.

DC Thomson started the Dandy and the Beano in the 1930s, starting a boom in comic anthologies and books. This continued through to the 1970s, where independently drawn and published ‘comix’ started to pop up, often featuring more adult-orientated material. In the 1990s web comics started to gain popularity, and in 2020 we see a mix of all that has gone before – beloved characters in long-running formats (The Beano is still being published) sit alongside deep, thoughtful graphic novel material, all of which is published often in both physical and digital formats.

Can you describe for us, the British affinity with comic books? How does the UK’s engagement differ to the likes of the US, for example?

Comics and comic readers of today are largely viewed in a different light by the mainstream today in Britain than they are in America. In Britain, the over-riding view is (and has been for a few decades) that comics are only for children. This is of course, nonsense, but you do generally see a graduation towards other entertainment mediums as children get older. However, in America comics are viewed as a viable medium for all ages, making the market bigger and healthier. Part of this may come down to the cheap and disposable nature of comics – in the US this led to a wider variety of children and adults having easy access to them before disposing of them or passing them on.

What makes a British comic British? Across the decades, has there been a common thread that holds it together as a particular ‘genre’ within comics?

British comics are often more inherently satirical in nature – 2000 AD in particular filters its action and square-jawed heroes through a lens of social collapse, providing commentary and warning on the importance of working together to make a better society. Perhaps there is a strong link to political and satirical cartooning in this, something which is a very British tradition of narrative art.

Modern comics continue this trend, and are easy to digest, and provide a great entry point into reading and telling stories. Comic books also offer a mid-point between the voyeurism of films and the imagination needed to create images in your head when reading a book. Comic books encourage the reader to create the voices of the characters and the movement between panels themselves, but in return show the reader fantastical images, design and art.

There is a give-and-take element not seen in other media.

We know that you guys have felt the impact of the coronavirus pandemic and the temporary closure of the museum… How has it been, seeing the action that’s been taken by the community to support you guys?

The museum has been very lucky during its closure, as the UK cartooning and comic communities have rallied around us to lend their support – it has been very humbling to be a part of.

We have had donations from our members and visitors, an exclusive fundraising t-shirt by Rebellion, a cover price percentage donation from ComicScene Magazine, a fundraising sale of The Bad, Bad Place by Soaring Penguin Press, an art sale of unique pieces by artist Dan Digby, and our Curator’s husband even ran a half marathon to help raise money! In addition to that, we received a grant from the National Lottery Heritage Fund.

We hope to reopen soon, but things will remain quiet for a while, and 2021 and 2022 will be difficult years for both us and other museums, with school visits not happening for a year, and a huge reduction in overseas tourists. We are safe for now and continue to fundraise, and hope to get back on our feet properly over the next year.

How can those interested help support the museum through this period?

We are expecting 2021 to be very quiet in terms of visitors, so we are still fundraising for our long-term survival. If you would like to donate to our appeal, please visit: https://www.cartoonmuseum.org/

You can also buy an amazing exclusive t-shirt from our friends at 2000AD, with all profits going to the museum: https://shop.2000ad.com/catalogue/XRC032

Emoji scores major footwear, clothing, and accessories partnership with PUMA

The globally revered sports brand, PUMA, has struck up a new partnership with Emoji to launch a new line of footwear, apparel, and accessories all adorned with Emoji icons. The PUMA x Emoji collaboration has been developed to showcase the way in which we all communicate in the modern world.

According to the licensing firm, the new collection has been ‘designed through the lens of instant messaging,’ pairing popular Emoji icons with bright colour combinations top create a range that is ‘young and vibrant.’ It will span footwear, apparel, and accessories for both kids and adults.

“The PUMA x Emoji collection is one of our most favorite brand collaborations. The products turned out so colorful, expressive and beautiful and the entire product line is energetic and truly iconic,” said Marco Huesges, CEO and founder of The Emoji Company.

“We are certain that the line will make everyone happy and that we can, together with PUMA, spread emotions and good vibrations to consumers and fans all around the world.”

Within the range is the RS-2K X Emoji, featuring a hook and loop piece on the heel where detachable peace sign, crying laughter, and fire Emoji icons can be added. The shoe also includes a hidden “What’s Up?” message printed on the vamp. Meanwhile RS-X³ X Emoji includes the same detachable Emoji feature, while the hidden “What’s Up?” message also appears on this shoe in the quarter overlay.

The PUMA X Emoji Tee and PUMA X Emoji Hoodie are both available in black, gray, and yellow, each featuring an array of Emoji icons on both the front and back of the clothing. Rounding out the collection are the PUMA X Emoji Sweatpants in both gray and black, featuring side and back pockets, rib cuffs and Emoji icons on the bottom of the right leg.

The new collection will be dropping on PUMA.com, PUMA stores and select retailers on August 22nd.

Mothercare signs off franchise partnership with UK high street retailer Boots

The baby products specialist brand Mothercare has signed off a franchise deal with the high street retailer Boots that will see the pharmacy chain sell Mothercare products within its branches and online. Mothercare wnet into administration last year and was forced to close all of its UK shops in January this year.

The deal with Boots was first detailed in December 2019, but has suffered repeated delays drawn out by the ongoing coronavirus pandemic. The franchising agreement will now run in the UK and Ireland for an initial period of 10 years. Mothercare has stated that the deal will take effect as of this autumn.

“Boots is at the heart of one of the largest healthcare businesses in the world and Mothercare will dovetail well as the specialist brand for parents and young children in both Boots stores and online,” Mothercare said in an update on its restructuring plan.

Mothercare’s UK business went into administration in November last year and all its 79 UK outlets were subsequently closed. There are still 800 stores in 40 other territories, all operated by franchise partners.

Mothercare said it had signed a new 20-year deal with its biggest franchise partner, the Alshaya Group, which operates Mothercare stores in Russia and 10 Middle Eastern countries.

It said that the restructuring of its UK business had substantially reduced its debts, but estimated that it still had outstanding obligations worth about £10m.

The Emoji Company takes legal action against Emoji King for trademark infringement

The Emoji Company has taken legal action against Emoji King and the use of its trademark that the company believes to ‘similar to the point of infringement’ upon its own trademark registered company name. Emoji is the registered name by The Emoji Company  for a multitude of goods and services.

The company owns the well-established Emoji trademark in more than 100 countries, encompassing goods and services in up to 35 classes.

In court proceedings, it has been stated that the use of Emoji King infringes The Emoji Company’s trademark rights. It has since prohibited several companies – one of which is Emoji King Industrial Co Ltd – from directly or indirectly advertising, offering, and bringing into circulation any products for which The Emoji Company holds registered trademarks.

The trademark Emoji is licensed and used through an international network of renowned agents, licensee, retailers, entertainment and advertisement companies around the world, and the Emoji brand has been globally awarded by the licensing industry.

Official Emoji brand partners include blue chip corporations such as Sony Pictures Animation, Ferrero, Burger King, Nikon, Walmart, Nestle, Zara, Aldi, Pepsico, Ravensburger, The Hershey Company amongst many others.

“Given the success of the globally established and recognized emoji® brand, there are competitors that try to imitate the original,” said Marco Hüsges, CEO and founder of The Emoji Company.

For that reason The Emoji Company continues to take legal action and working with customs globally to defend its well-established brand identity and honest reputation against trademark infringements.

US brand Owens Corning celebrates its 40 year partnership with MGM’s The Pink Panther

The US construction company Owens Corning is celebrating a 40 year relationship with MGM’s iconic The Pink Panther, the recognised mascot for the business having kicked off its partnership back in August 1980. Over the course of four decades, The Pink Panther has starred in countless TV, print, and digital media promotions for the firm.

The Pink Panther also adorns the vehicles and hundreds of select contractors, distributors, and builders working with the company’s roofing and insulation business. The partnership first got off the ground to promote sales of Pink Fiberglas insulation on August 15, 1980.

“The relationship between Owens Corning and The Pink Panther is nothing short of remarkable,” said Suzanne Harnett, Owens Corning’s vice president of corporate affairs. “For 40 years, The Pink Panther has been a smart and stylish ambassador for our company speaking persuasively to our brand promise despite never uttering a word.”

Robert Marick, MGM’s executive vice president, global consumer products and experiences, said: “Marking 40 years of The Pink Panther as spokesperson for Owens Corning is a true moment to celebrate. It’s rare that you see a promotional relationship like this continue for decades.

“It speaks to both the timelessness and universal appeal of The Pink Panther, as well as Owens Corning’s ability to make him an integral part of their marketing and platforms.”

The company’s enduring relationship with The Pink Panther began the same year that saw the introduction of CNN, Pac-Man, and Post-it Notes, and it has since coincided with the terms of seven US presidents.

The concept for pairing The Pink Panther with Owens Corning was first suggested by Roger Butler, an executive at the New York-based advertising agency Ogilvy & Mather.

The association was made given the colour of the company’s insulation, which has brandished its distinctive pink hue for more than 60 years. The color was added in 1956 when the company was testing a new form of the product. After demonstrating decades of widespread use of the colour PINK®, Owens Corning became the first company to receive a trademark for a color, on May 12, 1987.

Zippy, Furchester Hotel, Gremlins and more to star in Pop-Up Palladium supporting puppeteers across the arts industry

The iconic Zippy, characters from The Furchester Hotel, Gremlins, and the talent behind the puppets of Netflix’s Dark Crystal Age of Resistance, The Seed of Chucky, and the Muppet films will be coming together for a new virtual puppet theatre launched to support puppeteers across the arts industry in the time of the Covid-19 pandemic.

Acts taking part in the Pop-Up Palladium’s first two shows on Friday, September 4th and Friday, September 18th have now been detailed, as the campaign prepares to launch across Zoom with the aim of ‘whisking audiences away from the doom and gloom’ with a mystery tour of nostalgia.

Pop-Up Palladium will be hosted by the Welsh puppeteer, Emily Morus-Jones, and each show will feature an eclectic selection of types of puppetry, showcasing individual performances, followed by exclusive interviews. It will look to offer a behind the scenes look into the full spectrum of puppetry in theatre, TV, and film.

Included in the first mix of shows are accomplished puppeteers including Shadowography with Drew Colby, The Puppet Barge with Stan Middleton, Artistic Director of Curious School of Puppetry Sarah Wright, The Lips by Puppets with Guts, Toybox with Kamarai Romeo, BGT’s Patsy May, Mademoiselle Lychee with Aya Nakamura and BAFTA and Emmy winning Director Julian Kemp.

Further acts for future shows are yet to be announced.

The Pop-up Palladium host and puppeteer Emily Morus-Jones, said:My hope is that this event will go some way to keeping struggling performers afloat, give them a bit of hope and inspiration for the future, and help audiences to discover what a wonderful, broad church the world of puppetry really is.”

With theatres having been left out in the cold by lockdown easing, and TV productions being slower to start up, it has been a notably difficult time for puppeteers who usually work in close proximity. The Pop-Up Palladium was conceived as a way to help the industry across the whole spectrum of puppetry showcase their work and learn about the different approaches to this rich and varied art form.

Funds raised will be split between the puppeteers performing, utilising the online platform to support artists through these challenging times while Theatres and TV productions are just getting back on their feet.

The Pop-Up Palladium has been funded by The Arts Council Wales in addition to being sponsored by The Curious School Of Puppetry and Talk To The Hand Puppets.

 The line up is as follows:

Friday 4th September, 7.50pm for 8pm start:

HOST – Emily Morus-Jones

A Welsh Puppeteer and Puppet Maker for film, TV, and live events. Emily trained as a TV puppeteer on the Sesame Workshop and BBC production The Furchester Hotel in addition to completing training at The Curious School Of Puppetry.

Emily has performed with puppets on shows for ITV and CBBC, short films, and commercials in addition to working with high profile clients in the music industry that include Ed Sheeran, Calvin Harris & Dua Lipa, The Brit Awards, Rag’nBone Man and Jam Baxter.

Additionally she has built puppets for The Handspring Puppet Company, KneeHigh Theatre, Nick Barnes Puppets, John Lewis and the band Iron Maiden.

SHADOWOGRAPHY with Drew Colby

Drew Colby has worked with puppets in the UK and Southern Africa for over 30 years. His first professional work started at the Playhouse Puppet Company at Durban, South Africa. Work spanned traditional double bridge, long string marionette shows, open stage tabletop puppetry, and performances with mixed styles of puppetry, acting, mask work, and dance.

He later returned to work in the UK at the Little Angel Theatre, notably alongside Steve Tiplady, which led him to start exploring ‘instant puppetry’ where there are no purpose built puppets – only objects brought to life. This in turn led him to shadow work where the theatre is created out of the absence of light, the puppeteers ability, and the audience’s imagination – ‘the ultimate instant puppetry’.

Drew has travelled across the globe performing shadows in addition to creating shadow sequences for Danny Boyle, Nintendo, B&Q, Lodotra, Suso, the RSPB, BBC, Channel 4, V&A Museum, and The Royal Opera House.                                    

THE PUPPET BARGE – Stan Middleton

The Puppet Theatre Barge has been putting on a programme of unique and magical shows on a converted Thames barge for over 30 years.

Stan Middleton is a third-generation puppeteer who has been performing professionally since the age of nine. Stan specialises in marionettes and runs The Puppet Theatre Barge, a fifty-seat puppet theatre inside a converted barge based in London. The Puppet Theatre Barge was started by Stan’s grandparents who originally trained at the Little Angel Theatre with John and Lyndie Wright.

Stan is a regular puppetry tutor at Central School of Speech and Drama and The Curious School of Puppetry. Other performance credits include ‘The Oddissy’ Paper Cinema and Battersea Arts Centre, ‘Venus and Adonis’ RSC and Little Angel Theatre, ‘Jabberwocky’ Little Angel Theatre. ‘Angelo’, Little Angel Theatre.

 ZIPPY & RONNIE LE DREW

Zippy is one of the UK Children’s TV heavy weights and most iconic childhood characters. No virtual puppet theatre would be complete without him!

Ronnie Le Drew is one of the UK’s most respected puppeteers, and recipient of the prestigious Harlequin Award, the Oscar of the puppetry world. He has operated many of the most iconic children’s puppets of the twentieth century – Sweep, Muffin the Mule, Bill and Ben, Brains from Thunderbirds – as well as working on classic puppet films such as Labyrinth, Little Shop of Horrors and The Muppet Christmas Carol. Muppet Treasure Island, and the new Netflix series Dark Crystal Age of Resistance. He continues to work regularly as a puppeteer in TV, theatre and advertising and also teaches at the Curious School Of Puppetry, London School of Puppetry, and at The Little Angel Theatre in London.

SARAH WRIGHT

Sarah is a master Puppeteer and Puppet Director who served as an additional Muppet performer on 1996’s Muppet Treasure Island and puppeteered Vogons and other aliens in the 2005 Creature Shop-effects film The Hitchhiker’s Guide to the Galaxy.

Sarah is a veteran London theatre Puppeteer, founder of the Curious School of Puppetry, and Director of her own company Invisible Thread. Her stage credits include work with the Royal Shakespeare Company on The Tempest and directing Sleeping Beauty, The Adventures of Curious Ganz, and Hansel and Gretel. She puppeteered on the TV series Sooty (as occasional character Scampi) and the film Seed of Chucky (operating all three lead doll characters).

Sarah will be talking to us about her life growing up in the Little Angel Theatre and prolific career as a Puppeteer, Director, and Headmistress.

Friday 18th September, ‘doors’ open 7.50pm for 8pm start

 THE LIPS BY PUPPETS WITH GUTS

A dazzling & surreal big puppet outdoor sing along, The LIPS are a chorus of delightfully deviant divas whose mouths have escaped from their bodies! The LIPS reanimate our favourite songs, celebrate our shared love of popular music and uphold our freedom to speak out, through a pop-puppetry performance that is seductive yet subversive. The LIPS are highly expressive, they change colour at nighttime and are best performed after sunset as a musical finale show stopper for festivals or events.

Puppets with Guts is a daring big puppet theatre company. Puppets with Guts are devisers of dazzling big puppet theatre experiences that inspire and delight. We animate and inhabit outdoor and unusual spaces through spectacular creative adventures that surprise and captivate our audiences. We create spectacular shows for outdoor events and festivals and provide professional services in puppetry, creative consultation and design and making for theatre, corporate events, film and television.

TOYBOX – KAMARI ROMEO                          

A 22-minute visual spoken word album with music & puppetry, looking at experiences of British childhood. Produced and created by Kamari Romeo. Written and performed by Kamari Romeo, Sirena Reynolds, Tobi, Tiahnna, Maya TOYBOX is about taking experiences, playing with them and putting them back together with a better understanding.

This project, made in April 2018 over a period of 9 months endeavours to bring honest conversations into sharp focus via a series of short, filmed poems, performed to original music in collaboration with 5 care leavers aged between 20-27. These original workshighlight how childhood experiences and traumas may affect us, shaping the people we become.                            

PATSY MAY – LAURA BACON

Patsy May is a talented singer and all round diva who reached the semi finals of Britain’s Got Talent. Before her audition she was seen flirting with other male contestants claiming she was almost chosen to play Elizabeth in Pride and Prejudice. She’s sassy, funny and brings a whole load of attitude into all her endeavours.

Patsy May is performed by Laura Bacon a gifted singer, writer, and puppeteer.

Previously described as the Banksy of puppetry, Laura performs several other characters of her own creation both on screen and in live shows. In addition to writing her own characters she has previously worked on the 2018 Solo: A Star Wars Story, The Truffles, and The Dark Crystal: Age of Resistance.

MADEMOISELLE LYCHEE – AYA NAKAMURA

Probably the smallest burlesque dancer in the world. Watch as she embarks with the audience into a sensual and glamorous world of corset, feather, velvet and satin silk leaving you either horrified or laughing at the end of your unforgettable experience.

Aya is a Japanese theatre-maker, puppeteer, and puppet maker who is based in London. She has created many shows for the Rouge28 Theatre, who’s primary interest lies in puppetry for adult audiences.

                                                           

 

 

 

 

 

JULIAN KEMP

Julian’s career began at the age of thirteen as a founder member of the Central Junior Television Workshop, which led to a number of acting roles in children’s television series such as Murphy’s Mob, Dramarama, Your Mother Wouldn’t Like It and Palace Hill. He trained at RADA before becoming a director on the children’s factual programme Wise Up for Channel 4. He directed three series, winning 2 BAFTAS, 2 International Emmys, an RTS, and a Peabody award.

Julian is a seasoned pro at directing TV puppetry having directed The Fimbles, The Roly Mo Show, Roger and The Rotten Trolls, Diddy TV, The Diddy Movies, and the BBC/Sesame Workshop Production of The Furchester Hotel.

Julian will be talking to us about the trials and tribulations of Directing puppetry for TV and film he has encountered across of the course of his career.

                                                           

Mattel Television to launch new musical Barbie movie to Netflix, Barbie Princess Adventures

Mattel Television has partnered with the animation studio Mainframe to launch a new animated musical adventure to Netflix this year in the shape of Barbie Princess Adventure. The new feature animation will launch with its own soundtrack which will be made available across all streaming platforms on August 28th.

The new adventure feature follows Barbie and her friends as they are chosen by their school to travel the country of Floravia to meet Princess Amelia, who, nervous about becoming queen, is looking for an escape and devises plans to trade places with Barbie. When a rival prince finds out what has taken place, Barbie and her friends must team up to stop him, and rescue the princess in time for her coronation.

“Barbie is an iconic character who provides endless storytelling opportunities. She inspires the limitless potential in all kids, and this brand purpose resonates deeply with children and parents alike. Barbie Princess Adventure builds on that purpose with a focus on empowerment, self-discovery and finding your voice in the age of social media,” said Adam Bonnett, executive producer, Marvel Television.

“Barbie Princess Adventure captures a range of musical genres which enables the audience to connect with the story in a variety of ways. Original music will continue to be an integral part of Mattel Television content moving forward – for Barbie as well as other brands.”

Barbie Princess Adventure features songs by Matthew Tishler and Andrew Underberg, with score and additional songs by The Math Club. The musical numbers are animated to the choreography of Paul Becker.

The digital soundtrack includes “Try It On,” “Somewhere New,” “(Not) A Picture Perfect Girl,” “Life in Color,” “King of the Kingdom” and “This Is My Moment.”

The Rolling Stones to open world-first flagship store on London’s Carnaby Street

Rock ‘n’ roll legends, the Rolling Stones are to open a world-first flagship store on London’s Carnaby Street, featuring exclusive new fashion and merchandise under the RS No. 9 Carnaby brand from this September. The new store has been created in partnership with Bravado, Universal Music Group’s merchandise and brand management company.

Situated at number 9, Carnaby Street in London’s Soho, the store will launch under the RS No. 9 Carnaby banner and will feature all the hallmarks of the iconic band.

The collections will include exclusive and contemporary collaboration pieces for fans of all ages, including men’s, women’s and children’s fashion and accessories. A special glassware has been developed with Baccarat, engraved with the Rolling Stones tongue. The store will also feature chairs and scarves from The Soloist, and raincoats and hats from the Swedish raincoat brand, Stutterheim.

The Rolling Stones said: “Soho has always encapsulated Rock ’n’ Roll so Carnaby Street was the perfect spot for our own store. We are confident this exciting project that our friends at Bravado have created will be an unrivaled experience for everyone to come to London and enjoy.”

The store will also introduce ‘Stones Red,’ the official colour from Pantone which is established from the first use of the band’s iconic logo. A collection celebrating the Rolling Stones official Pantone colour will also launch with the store.

The band’s continuing album and single releases will be at the heart of the shop’s pulse and Bowers & Wilkins speakers will play tracks from the rock ‘n’ roll band, including the upcoming release of the remastered Goats Head Soup album and Scarlet single.

Jointly curated by the Rolling Stones and Bravado, the shop fit follows the brand colours of red and black and the glass floor features lyrics, while the fitting rooms are adorned with iconic album artwork.

Mat Vlasic, CEO, Bravado said: “With this innovative partnership, the Rolling Stones add yet another cultural touch point to their rich legacy. RS No. 9 Carnaby is the result of years of planning and decades of building one of the world’s most recognized brands.

“It creates a destination where fans can connect and immerse themselves in the music, style and spirit of one of the world’s most iconic and beloved bands.”

For those in the know, the store’s window features a world first soundwave installation – taken from the opening to the 1966 hit track ‘Paint It Black’.

Simon & Schuster Children’s Publishing named master publishing partner for Fred Rogers’ new pre-school series Donkey Hodie

Fred Rogers Productions, the entertainment company behind Daniel Tiger’s Neighborhood, Odd Squad, and Peg + Cat, has tapped Simon & Schuster Children’s Publishing as its master publishing partner for Donkey Hodie, its multi-platform puppet series for pre-schoolers.

The new series will launch early next year on PBS Kids, it will be supplemented with a wide range of books from Simon & Schuster, all inspired by the new show and the work of Fred Rogers to begin rolling out at retail in the first quarter of 2022.

“We’re very excited to build on our successful relationship with Simon & Schuster Children’s Publishing for our newest brand, Donkey Hodie,” said Paul Siefken, president and CEO, Fred Rogers Productions. “Donkey Hodie shows children that they can accomplish great things with a can-do attitude, perseverance, and a little help from their friends.”

Valerie Garfield, VP, publisher, novelty and licensed publishing, Simon & Schuster Children’s Publishing, added: “We’re delighted to develop books for this stunning new series and build on its timely messages about creative problem-solving and goal-setting for pre-schoolers beyond the screen.

“We’re thrilled to expand our relationship with Fred Rogers Productions with another standout brand that will inspire kids and families to learn and play together.”

Simon & Schuster Children’s Publishing’s broad assortment of titles for Donkey Hodie will encompass storybooks; Ready-to-Read beginning readers; board books; novelty titles, including pop-up and lift-the-flap titles; early chapter books; and e-book formats. As master publishing partner for Daniel Tiger’s Neighborhood, the company has produced more than 10 million books in print across a range of formats for that license.

Donkey Hodie is an imaginative puppet series that follows the adventures of Donkey Hodie, a sweet, yellow donkey with a magenta mohawk, and her pals – Purple Panda, Duck Duck, and Bob Dog – who live in the land of Someplace Else. Donkey Hodie is the granddaughter of the original Donkey Hodie character (now known as Grampy Hodie) from Mister Rogers’ Neighborhood, who appeared in 59 episodes of the beloved classic children’s series.

The new Donkey Hodie series, produced by Fred Rogers Productions and Spiffy Pictures (Nature Cat), is designed to empower children ages three to five to dream big and overcome obstacles in their own lives, to work hard and persevere in the face of failure, to be resourceful and discover they can solve problems on their own—and to laugh themselves silly along the way.

The series is currently in production on 40 half-hour episodes and will feature new music along with re-imagined versions of Fred Rogers’ original songs to reinforce and underscore each story’s positive message.