Spotlight on the Artist: Chris Ibarra
You recently played Sven in Duluth Playhouse’s Frozen, making this the second time you’re performing as a puppeteer this season. What has drawn you to puppetry?
Growing up I was a fan of action figures and Muppets, so there’s always been this drive to tell stories with objects. As I studied acting and learned how to find and build character, it extended into cheap felt puppets. When I didn’t have time for theatre I would perform ventriloquism at Open Mic events. Through that, I learned how to express more specific feelings through puppetry. How to make something look bored or distracted, cocky or nervous. Performing in these large puppets is exhilarating because it’s all new forms of expression and movement. I always want to disappear into my characters as much as I can, and puppeteering is a very raw way to accomplish that.
How closely do you work with the actor voicing Audrey II, and how do you build that coordination?
I’ve never split a puppeteering performance with another actor like this, but Gabe provides so much to work with. Our early conversations were very technical (am I listening to Gabe for a cue or is he watching me?), and while it’s been helpful to build consistency, we make sure it’s never at the cost of playing and finding new things. Most of our conversations now start with the phrase “I think I want to try…” and then the fun comes from the surprising ways we bring each other’s ideas to life.
How physically demanding is operating Audrey II, and how do you prepare your body for it?
Bryce Crandall’s designs for these puppets are brilliant, but they are a challenge to operate! Once the puppets wake up, they have no “neutral” position, so there is always a tension and unnatural muscle movement which requires a strange sort of physical endurance. For both Audrey II and Sven, I worked with a physical therapist to develop training plans to keep me safe, strong, and agile, which includes 4-5 days a week in the gym, and 40 minutes of warm ups and cool downs for each performance.
What’s your favorite moment in the show to perform, and why?
Audrey II’s songs always have me grinning. Gabe’s voice really comes to life. He is so lyrical and expressive. It’s made it very fun to find the movements to match his energy. One moment Audrey II is light and fluid, and the next it’s powerful and menacing. And then, even though I can’t see them anymore, I can hear and feel the energy that the rest of this incredible ensemble bring to these moments. These songs are when I can feel the entire collaborative team coming together.
What does being part of Duluth’s creative community mean to you?
Duluth has some of the most talented, dedicated, and driven artists that I’ve ever met, and also some of the smallest egos. There is a passion in this city that is always poured fully into projects like these. Everybody is out here for each other, not for themselves. After living in Duluth for fifteen years I can really see this city’s unique cultural identity and its embrace of the arts. Playing my small part in building that identity makes me feel very proud.
What has been one of your most memorable experiences as a performer?
Besides puppeteering Audrey II? So many! But playing Sven in Disney’s Frozen is something I will never forget. I was fortunate enough to be part of that build team as well, so that deer ended up being a culmination of so many things that I enjoy. Acting, puppeteering, engineering and problem solving; plus, it was consistently the hardest workout of my life. I based Sven entirely on my dog Jack who had died a couple of months before that production. When we would bring Sven into the lobby after each show to meet the audience, I could hear the joy that Jack still brings to the world.
