Meet Nat Speight, Puppetry Captain of Dinosaur World Live at Children’s Theatre Company
Q: What originally drew you to puppetry, and what’s kept you in the field?
A: I think I’ve just always loved the idea of making something from nothing. What’s kept me doing it is that it’s such a unique challenge. You’re an actor, but your performance has to travel through this external thing to reach the audience.
Q: What does the role of Puppetry Captain involve beyond performing onstage?
A: It’s a lot of ‘keeping the vision alive’ once the director isn’t there every day. I’m basically the eyes for the puppeteers and puppetry in the show – checking that the dinosaurs still look as real as they did at the beginning and making sure the movements haven’t gotten sloppy.
Q: What physical or vocal techniques are essential for convincing puppetry that audiences may not consciously notice?
A: Breath is such a key part of what we do as Puppeteers. If the puppet isn’t ‘breathing,’ it’s just an object. We also do a lot of vocal work that matches the physical effort of the dinosaur, so if I’m lifting a heavy tail, the sound I make, even if it’s just a grunt, helps the audience believe that the weight is real.
Q: How do you pace energy and endurance across a full performance?
A: It’s all about working smarter, not harder. You have to find those rest moments where the dinosaur is just observing or being still so you can catch your breath. If you go 100% at the start, you’ll be exhausted by the end of the show. It’s basically like being a marathon runner; you have to know exactly when to push and when to conserve your strength.
Q: How do live audiences affect puppetry differently than other performance forms?
A: Puppetry is so interactive. If a kid screams or laughs, the dinosaur has to react to that, you can’t just ignore it or you ruin the magic. The audience is basically the final Puppeteer because their belief is what brings the show to life. You really feel that energy shift in the room, and it totally changes how we pace the movements from show to show.
Q: Why do you think puppetry continues to resonate across cultures and generations?
A: I think it’s because it taps into that primal, ‘playing with dolls’ instinct we all have. There’s something universal about seeing an object come to life, it bypasses your brain and goes straight to your heart. It doesn’t matter how old you are or where you’re from, when you see a puppet come to life your imagination just takes over.
Q: Dinosaur World Live features life-sized creatures – what’s different about puppeteering something that big compared to smaller-scale puppets?
A: The scale changes everything. With a smaller puppet, it’s all in the fingers and wrist, but with these guys, it’s a full-body workout. You’re using your legs, your core, and often working with other puppeteers just to make one step look natural.
Q: Dinosaur World Live might be many children’s first theater experience – how does that shape the way you approach the performance?
A: It’s a huge responsibility, honestly! You want that first experience to be magical, not terrifying, though a little ‘scary-cool’ is good. We try to make the dinosaurs feel approachable and real so the kids feel like they’re part of the adventure. If we do our job right, they’ll hopefully want to keep coming back to the theatre for the rest of their lives.
Q: What do you hope children take away from seeing dinosaurs “alive” on stage?
A: I hope they walk away with a massive sense of wonder. I want them to feel like the world is bigger and more exciting than they thought. If they go home and start looking up facts about the Triceratops or, even better, start making their own puppets, then I’d say we nailed it.
Q: For performers interested in puppetry, what skills should they start developing early? What advice would you give to young people inspired by this show?
A: Start by watching how animals move, go to a park or a zoo and just observe. And honestly, get into a dance or yoga class! Puppetry is so physical, so the better you know your own body, the better you can control the puppet. My biggest advice, just grab anything around the house and try to make it look like it’s breathing. If you can make a pillow look sad, you’re a puppeteer.
