This FAQs section answers all of those questions everybody wants to know – From our payment methods to how puppetry works. And everything in between!
All details and prices are stated under the drop-down menus of each show/package option (Parties, Childcare, Public Events, etc.)
We accept PayPal, Direct Deposit/Online Bank Transfer and Cash. Sorry, we do not accept cheques of any kind.
Payment & Cancellation Fees
a. A non-refundable deposit (down payment) of 50% of your chosen show/package cost will be required to be paid at the time of booking. This secures your booking. A performance cannot be booked until this fee has been received. This payment can be made online as a direct deposit to our bank account or PayPal account prior to the event.
b. The remainder of the payment can be paid anytime before the event by online transfer or credit card or is otherwise required on the day of the performance as a cash payment to the performer. Larrikin Puppets apologises but we do not accept credit cards or cheques (neither bank cheques or personal cheques) on the day of the event from clients.
c. Cancellation Fees – Once a client has booked in a time for a performance, then that time is set aside for their event exclusively. This means that Larrikin Puppets will turn away other work wanting the same date and time. Clients do need to be aware that the 50% deposit taken at the time of booking is non-refundable if the party is cancelled at any time after it is booked in with Larrikin Puppets. A party is deemed to be booked in once the 50% deposit has been received by Larrikin Puppets.
d. If the booking is cancelled by us (due to sickness or emergency, etc.), you will receive a full refund of the 50% deposit.
Up to fifty at children’s parties. There are rarely more than ten or fifteen at most parties. It’s a fixed price for an unlimited number of attendees at schools, public events, wedding receptions and corporate functions.
The recommended ages for each of the shows are listed in the different package/show options in the drop down menus. Most frequently requested is For Kids, Childcare/Kindy and Fetes/Festivals. For the kids’ shows, ages 3-5 get the biggest thrills and enjoyment out of the puppets. But we do cater the shows to any age and all kinds of events, carefully scripting and rehearsing specific material. We’ve successfully performed puppet shows at an 8th birthday party, a 21st, a 40th, a 60th, several seniors clubs (and a nursing home), and many 1st birthday parties where the audience consists mostly of babies and 1-2 year olds (plus their parents).
Beauty is in the eye of the beholder. And similarly, fears differ between individuals. Most children are not afraid of Troggg, Frizzby and their furry friends, reminiscent of characters seen on Sesame Street and The Muppet Show. The photos and videos displayed throughout this site reveal how friendly and amusing our characters are.
No. Especially not at the children’s shows. Even the 18+ shows tend to avoid using vulgar language while still being able to entertain at a mature adult level. Light-hearted references to current news and pop culture may appear during all shows, for the amusement of parents at children’s parties. But certainly, children will not be subjected to any swearing.
I can’t. I’m not a ventriloquist. That’s a different kind of puppeteer. I’m the sort of puppeteer who mostly performs hidden behind a set, a puppet stage, or dressed in black.
Quote: “I guess the only real difference (between ventriloquism and puppetry) is that the puppeteer is hidden during performance and a ventriloquist is a part of the show”.
– Ryan Templeman (http://portraitsofayoungmanasanartist.blogspot.com.au/)
Brett is initially self taught since the age of three, but has received formal training in the USA at the ‘Beyond The Sock‘ advanced intensive puppetry workshop at the University of North Texas under Marty Robinson (The Jim Henson Company, Sesame Street; performer of Telly Monster and Mr. Snuffleupagus) and Noel MacNeal (Sesame Street, Bear in the Big Blue House; performer of Bear), with puppet construction training from Pasha Romanowski (Project Puppet, The Moe Show). Marty Robinson has been a Henson puppeteer since 1981, and has trained most of the puppeteers of The Muppets and Sesame Street since the early 1990s. He also trains puppeteers for international co-productions of Sesame Street. Brett has also trained and rehearsed on a casual and informal basis at ‘The Puppet Kitchen’ in Manhattan, New York under Michael Schupbach (Sesame Street, The Jim Henson Company).
No, I do not build my own puppets. But I do design some on paper, and have them made by professional puppet builders. However, I did make one chicken puppet in 2016, under the supervision of puppet builder Pasha Romanowski at the ‘Beyond the Sock’ puppetry workshop’s construction component at the University of North Texas, USA. My strong point is in the performance of puppets, rather than the construction. Here’s a list of some of our puppet characters and who built them:
While Troggg (blue monster) was my own design, I had him professionally built in the USA by Mike Lisa at “Creature Clones”.
Frizzby (orange monster) wes purchased from “Silly Puppets” in the USA, but altered by myself to personalise him a bit. I trimmed the fur, made my own tongue out of felt, and dressed him in baby clothes. Frizzby has a few outfits.
Frazzamatazz (green monster with wild purple hair) was made by Jarrod Boutcher at “Jarrod Boutcher Puppets” here in Queensland, Australia.
Unfortunately we do not have permission to use copyrighted/trademarked characters like Elmo, or any of the other characters from Sesame Street or The Muppets. We are inspired by the work of Jim Henson and his team, and that is the style of puppetry we enjoy performing. But we create and perform our own original characters.
The puppeteer arrives to set up the stage, sound equipment and puppets ready for the show. The puppet show itself is 30 minutes of songs, games, sketches and comical interaction with the audience. This is followed by an additional meet and greet lasting up to 15 minutes, where the kids have an opportunity to have their photo taken with Troggg, our main star. Then the puppeteer packs up the stage and equipment.
Further details of what to expect are provided within the specific drop-down menu items about each show/package.
We remind customers that the puppets are not babysitters, and that the performer cannot see if a child is approaching the stage, the puppets or other equipment. We ask that young audiences are supervised by at least one adult at all times for the duration of the performance, and during the set up and pack up. We can all work together to prevent accidents, injuries or damage to any property or equipment.
As for the show itself, the adults have just as much fun and laugher as the kids.
Yes. Blue Card holder ID: 1161011/2
Yes. Larrikin Puppets has Public Liability Insurance through Duck For Cover Entertainers Group, Inc.
Our ABN is 96884134902.
Please see our Terms and Conditions page.
Used for birthday parties, child care centres, schools, festivals, etc., the portable puppet stage usually takes around 40 minutes to set up (along with the props, scripting, puppets and sound equipment). It has an overall height of 1.8 metres, and an overall length of 2.4 metres. The puppet stage is only a front-on facade. About a metre and a half to two metres of space is required behind it to lay out the puppets, props, and the puppeteer for performing. Here are some examples of how the stage looks at various indoor and outdoor events:
It’s a portable puppet stage with an overall height of 1.8 metres, and an overall length of 2.5 metres. The puppet stage is only a front-on facade (as opposed to a box or a tent). We require about a metre and a half to two metres behind it to lay out the puppets, props, and performers.
It takes 40-45 minutes to set up the puppet stage, props, puppets and sound equipment. At some events where we are scheduled as a main stage act, we set the puppet stage up in the background behind the band/dance crew/martial arts demonstration being performed on the front part of the stage. We’re also able to set the puppet stage up backstage or behind the main stage, and then get a few hands to help us lift it up onto the main area just before our act is about to commence. It isn’t very heavy to carry, but does require more than one person to lift when it’s all set up. Then we can quickly lay out the puppets and get mic’d up for the performance.
For smaller events at house parties, libraries and childcare centres, we use our own small amp. We require 1 powerpoint. We plug in an iPod containing music and sound effects (which we start and stop throughout the performance), and headset mics that we wear. We are usually happy just to use this equipment. However, events with a much bigger stage and larger audience usually provide us with the means to plug two headset mics and the iPod into their mixing desk so that our show can be projected via their main P.A. This is because our amp is too small and low in volume to project loud enough to festival crowds. We still need to be able to control the iPod from behind the puppet stage throughout the show, though. Some events place a D.I. box (direct input) close to us to plug the iPod into. Other events have very long cables stretching from the mixing desk to the puppet stage. Most festival events provide us with headset mics. We require one headset mic if Brett is performing solo. We require two headset mics if Elissa is performing with Brett.
We supply music for our act, coming through an iPod/iPhone 4, which we start and stop throughout the performance.
We do not require a sound check unless we’re to be amplified through the event’s main P.A. system. If it’s just through our own small amp, we can do our own sound check.
Whilst performing, we cannot see if a child is approaching the stage, the puppets or other equipment. We ask that young audiences are supervised by at least one adult at all times for the duration of the performance, and during the set up and pack up. A bit of crowd control is good, as the kids can get a bit rowdy and excited. We also ask that paints, scissors, crayons, pens and pencils aren’t being used by the kids close to where the puppet stage is. Kids sometimes like to throw lolly wrappers, cupcakes, toys, stones or icecream at the puppet show. Please supervise to prevent any damage to equipment or injury to performers.
Public Liability Insurance:
Our public liability insurance is through Duck For Cover Entertainers’ Group, Inc. The only company in Australia willing cover this style of act.
We require only one car park for this act.
D.I. stands for Direct Input or Direct Injection. For the music and sound effects used in our puppet show, we use an iPod device that we start and stop regularly throughout the show from behind the puppet stage. At large festival events, school fetes and school halls, a DI Box is what the sound engineer lets us plug our iPod device into, so our music/sound effects can be transmitted over the event’s main P.A. speaker.
The small speaker we use for puppet shows at small birthday parties and childcare centres does not project loud enough at large outdoor festivals and in large halls and theatres.
A DI Box converts unbalanced signals to balanced signals. Unbalanced connections (such as iPods, iPhones, keyboards and synthesisers) transmit a signal via a single connection, with a ground. These are susceptible to background noise and interference, particularly when run over long distances. Many larger festivals have their sound engineer and mixing desk set up all the way at the back, behind the audience. The DI Box has super dooper long cables that stretch all the way back this far. It also has an input slot for us to plug our iPod into.
In summary: The DI Box sits up on stage behind our puppet theatre with us. Our iPod is plugged in, and we operate our music and sound effects ourselves – on and off throughout the performance. Our puppet dialogue and vocals are live and interactive (we wear headset microphones too, also connected to the mixing desk), so it is impossible to arrange a pre-recorded CD or USB with prompts and hand signals to the sound engineer – particularly if he’s far away – and also because we’re hidden behind a puppet theatre.
The cables from the DI Box are long enough to stretch all the way to the mixing desk so that we can operate our own music/sound effects. The DI Box helps to eliminate interference and background noise, and broadcasts our music and sound effects in stereo sound through the event’s own P.A. speakers, along with the headset microphones we wear whilst performing our live puppet vocals.
For the technologically minded, Wikipedia describes everything one could wish to know about DI Boxes. Those who work as sound engineers but still haven’t used or been taught about how to use a DI Box may find this very informative: https://en.wikipedia.org/wiki/DI_unit
And here’s a video of someone showing us how a DI Box works: https://www.youtube.com/watch?v=lCXHsLf2urI
One could be forgiven for thinking that Cookie Monster or Grover has come to visit various events around Queensland lately. From charity events like Daffodil Day and The Brisbane Zombie Walk, to childcare centres, parties, the Supanova Pop Culture Expo, festivals like Woodford Folk Festival, Ipswich Festival, Redcliffe Sails Festival, and comedy shows in theatres – particularly his own “Thank Troggg You’re Here” production! Troggg’s even been to the USA and met Steve Whitmire (puppeteer of Kermit the Frog) and Marty Robinson (puppeteer of Telly Monster and Mr. Snuffleupagus). He also performed at the Puppetry Arts Festival of Brooklyn.
So who is this big blue monster getting around? Well, his name is “Troggg” – Rhymes with ‘log’ or ‘fog’, and is spelt with three Gs (the middle G is silent).
A creation of Brett Hansen, founder of and principal puppeteer at Brisbane-based entertainment company, “Larrikin Puppets”, Troggg is the main star of a cast of fuzzy puppet friends who have been bringing joy to people of all ages around Queensland at events big and small.
Troggg has not only appeared on stage (performing puppet shows and MC duties) at various events and parties, but also as a wandering, roving character, meeting with children and adults, and posing for photos with them. You may have seen Troggg pop up in your Facebook, Twitter or Instagram feed now and again, smiling in “selfies” with your friends.
He’s even appeared a few times on community TV station 31 Digital (formerly Briz 31), had a role in a short film (Heart of a Thousand Souls), he’s hosted an episode of a major kids’ television show (Juiced TV), made a cameo in “The Hobble and Snitch Show” (a puppet web series) and appeared on the front cover of MX Newspaper!
The character was designed by Brett Hansen, but constructed in the USA by a professional puppet builder named Mike Lisa from Creature Clones, who has previously worked on Sesame Street and other Muppet productions. So, while most Larrikin Puppets characters are inspired by the look and feel of Jim Henson’s Muppet creations, Troggg is about as close to a genuine Muppet as we’re likely to see here in little old Brisbane, Australia.
We like to bring the same kind of puppet joy and magic to Queensland residents and festival goers that folks in New York and Los Angeles take for granted.
Troggg is fast becoming a local celebrity, much like Australian puppet megastar Agro was in the 1980s and 1990s. “Agro is actually a hero of mine!”, says Troggg. “I’ve even met him a couple of times!”.
For more on Troggg’s time in the USA (New York City, Los Angeles and Texas), please check out our USA videos!
Regular updates on Troggg can be found online at:
★ Larrikin Puppets Facebook page – https://www.facebook.com/LarrikinPuppets
★ Larrikin Puppets Instagram page – https://www.instagram.com/larrikinpuppets/
★ Larrikin Puppets Twitter page – https://twitter.com/larrikinpuppets?lang=en
Yes. Larrikin Puppets won the 2015 BizCover NEIS Change Award at the Small Business Development Conference in Melbourne.
Larrikin Puppets was a finalist in the Best Party Entertainment category at the 2017 What’s On 4 Kids Awards in Brisbane.
Avenue Q is an American Broadway stage musical conceived by Robert Lopez and Jeff Marx. It is an adults only parody of Sesame Street, and won the 2004 Tony Award for Best Musical (beating Wicked). Our own Brett Hansen was “Puppetry Consultant” in Brisbane (providing puppetry training to all puppeteer cast members) and performed as part of the 2012 Brisbane Arts Theatre cast. Brett co-puppeteered the characters Trekkie Monster and Nicky, and also performed two dancing rats.
Brett provided puppetry training again for completely new Brisbane casts in 2014 at the Brisbane Arts Theatre, and in 2017 at Sunnybank Theatre Group Inc.
Brett was not involved in the 2015 Brisbane Arts Theatre production, or the various Phoenix Ensemble productions in Beenleigh.
In both 2014 and 2016, Brett and Elissa attended the off-Broadway production of Avenue Q at New World Stages in New York City where it all began. In 2016, they were taken on a backstage tour where they were able to explore the set and the puppets.
Trailer for the 2012 Brisbane production:
I’m a student from QUT currently doing a Production Management assignment on budgeting for the production, “Cluck: The Web Series”. Our assignment is to see how much it costs to hire a puppeteer to operate the main puppet character for 4 days of shoot.
I’d say $20 an hour, for 8 hours a day. $20 x 8 hours = $160.
$160 x 4 days = $640.