Bringing Characters to Life: A Conversation with Puppetry Director Helen Foan
Ahead of press night, we sat down with Helen to explore her journey into puppetry and the joy, craft and imagination behind the puppets in this year’s show.
A lifelong maker
Helen’s path into puppetry began early. “I started making puppets as a child,” she recalls. “I made my own toys, and later went to drama school to train as a performer. Puppetry was the perfect mix of making and performance… really good fun.” That blend of craft and storytelling has shaped her career ever since, spanning theatre, opera and large-scale international productions.
Dreaming big… and furry
When asked about her dream future project, Helen laughs. “Maybe a classic Disney. Maybe The Aristocats… where every character is a puppet. That would be wild. Fun, but wild!”
Puppetry in The Wizard of Oz
Helen describes puppetry in this production as a way to “highlight moments” and amplify both humour and drama. “We have a flock of crows and they’re the funniest they can be, and then the Witch is the scariest she can be. Puppetry lets us heighten those moments.” This approach extends across the show’s world “We use puppetry to bring out joy and theatricality. It adds a beautiful, neutral, exciting element that helps audiences connect without judgment. You forget you’re watching something made by humans… you just invest in the moment.”
Creating Toto
Toto holds a special place in Helen’s heart. “He’s one of my favourite puppets. We based him on a small terrier and used local tweed, inspired by the landscape and the dogs you’d see around here. He’s fluffy, cute and Dorothy’s best friend. A really fun puppet to make.”
What families will love
Above all, Helen hopes audiences leave remembering the joy. “I hope families remember how fun the puppets were… how scary-but-fun the Witch was… how cute Toto was… and how funny the crows were. It’s a lot of joy.”
Why puppets tell the story differently
Puppets offer something unique, Helen explains. “As humans watching humans, you compare yourself. But with a puppet, you just accept them. They’re pure joy or pure mischief or pure menace… whatever they’re meant to be. And families respond to that immediately.”
Following the fun
One of Helen’s favourite parts of creating puppetry for a Christmas show is embracing silliness. “In the R&D process, we had cardboard crows with huge googly eyes. Sarah, our director, and Yoav, our designer, were very keen to lean into the daftness. That’s what makes working on a Christmas show brilliant.”
A favourite puppet at home
Helen keeps a small collection of puppets at home, but one stands out. “A little bear I made out of a hand towel during lockdown. I folded it, stitched it, and inserted chopsticks as rods. He’s blue, he’s called Bear, and he’s really charming. And it shows how accessible puppetry can be.”
About Helen Foan
Helen Foan is a puppetry designer, director and puppeteer and co-artistic director of Foan & Fortune puppetry company. She trained in Contemporary Theatre at East 15 and has worked extensively in devised, visual and movement-led theatre. Her credits span major international venues, including the RSC, Regents Park Open Air Theatre, the Paris Opera House and the London Coliseum.
