PRESS
whatsonstage
‘Jo Lakin's puppets are a wonder, especially the astonishingly beautiful feline narrator Meagre, voiced with the just the right level of supercilious knowingness by Yana Penrose … Ruth Ollman's good-hearted niece and her talkative lap dog (another glorious Lakin puppet) are other vivid creations in a rich gallery that feels at once familiar yet breathtakingly new-minted.’
the guardian
‘…the ghosts are imaginatively conceived, particularly that of the present – a giant puppet (voiced by Edward Harrison) who has embraced new-age philosophies on how to live in “the now”. …Jo Lakin’s puppetry is used to charming effect’
the stage
‘Of all the many versions of Charles Dickens’ classic Christmas fable being staged this winter, this is one of the most inventive … The three ghosts echo elements of Tom Piper’s design for Scrooge’s bed chamber, with Jo Lakin’s puppet Ghost of Christmas Present – a towering tree-like creature with an anachronistic passion for meditation and turmeric lattes – particularly impressive.’
broadway world
‘Tom Piper’s set and Jo Lakin's puppetry are a strong component to the successful outcome of the piece, adding to the performative quality of the show.’
EXPRESS AND STAR
‘…splendid theatrical effects including some very scary super-sized spooks and a very much larger–than-life Wizard.’
WHATsONSTAGE
‘Toto is played by three different dogs and a puppet and is a clear favourite with the audience…’
THE GAY UK
‘The character of Oz was incredible – a massive head with eyes and mouth that moved as Oz spoke, and it made to appear like it was a real giant’s head. This was worth the wait.’
the stage
The Hundred and One Dalmatians: Birmingham Rep’s dazzling feat of canine puppetry
‘No doubt Walker is also buoyed up by the knowledge that her two previous Christmas shows at the Rep … were both critical and commercial successes. Indeed the puppet-maker she worked with to create Aslan the Lion, Jo Lakin, has come back to work on The Hundred and One Dalmatians with Grimes.’
the stage
THE LION, THE WITCH AND THE WARDROBE, REVIEW AT THE BIRMINGHAM REP - “MAGIC”
‘Much of the theatrical magic of this world is created by the wonderful puppetry which imparts lifelike mannerisms to hand-held squirrels and robins. The piece de resistance is an impressive three-person Aslan, whose forbidding stature, undulating movement and realistic head movement evokes the animal might of the National Theatre’s long-running War Horse.’
broadway world
THE LION, THE WITCH & THE WARDROBE, BIRMINGHAM REP THEATRE
‘Ultimately, the stars of the show are the puppets (designed by Mervyn Millar and Jo Lakin). From small woodland creatures, to giants and dwarves, to the enormous Aslan creation; the level of detail is quite extraordinary. Aslan is in three detached pieces and the direction/operation of this puppet is faultless.’
birmingham mail online
SEE HOW ASLAN COMES TO LIFE IN THE LION, THE WITCH AND THE WARDROBE AT THE BIRMINGHAM REP
‘He’s a puppet, but not one like you’ve ever seen before. Ten feet high and 14 foot long, he is a talking lion who even sings and dances.This is Aslan, one of a dozen fantastic puppets created for a new production of The Lion, The Witch and the Wardrobe by Meryvn Millar and Jo Lakin. The beautifully-staged show at Birmingham Rep also boasts a stilt-walking giant that’s even taller than Aslan.’
THE METRO
HOtel elephant blog
jo lakin’s fascinating world of puppets
‘I like puppetry because it incorporates lots of different disciplines, from the problem solving and designing of a prototype, to the engineering and mechanics of how a puppet moves, along with the aesthetics, painting, and finishings. I love the diversity of this kind of work. Puppetry encourages people to think creatively and use their imaginations; it’s entertaining and moving, but it also challenges the creator and the spectator in many ways.’