Thank you for coming to the show!
Enjoy our digital crowgram.
Enjoy our digital crowgram.
People
Adam Francis Proulx (creator/performer) is a theatre artist and puppeteer whose award-winning solo shows have toured across the globe. As Artistic Director of The Pucking Fuppet Co., his works include BAKER’S DOZEN: 12 Angry Puppets, THE FAMILY CROW: A Murder Mystery, FERRY TALE! (A Fairy Tale), and Emilio’s A Million Chameleons — which recently celebrated an Off-Broadway run and earned him a Dora Award nomination for Outstanding Performance.
Adam is also a sought-after puppetry director and designer having collaborated with the likes of CBC, YPT, Nickelodeon, and Neptune Theatre.
In addition to creating original work, Adam has starred in the first Canadian productions of Avenue Q (as Princeton/Rod) and Disney’s Frozen (as Olaf). He can currently be seen as Fuzz the Hamster on the Canadian Screen Award-winning The Fabulous Show with Fay & Fluffy on Family Jr. He also writes for the series.
In 2025, he was named a Protégé Winner of the Johanna Metcalf Award for the Performing Arts.
AdamFrancisProulx.com
Adam is also a sought-after puppetry director and designer having collaborated with the likes of CBC, YPT, Nickelodeon, and Neptune Theatre.
In addition to creating original work, Adam has starred in the first Canadian productions of Avenue Q (as Princeton/Rod) and Disney’s Frozen (as Olaf). He can currently be seen as Fuzz the Hamster on the Canadian Screen Award-winning The Fabulous Show with Fay & Fluffy on Family Jr. He also writes for the series.
In 2025, he was named a Protégé Winner of the Johanna Metcalf Award for the Performing Arts.
AdamFrancisProulx.com
Byron Laviolette (director) Byron Laviolette is a director with over twenty years experience working in the arts, the agency, the academy and the arcade. He is the resident director with Adam Francis Proulx’s Pucking Fuppet Co, having directed The Family Crow, Ferry Tale, Emilio’s A Million Chameleons as well as the short film How to Hug a Porcupine. He also works with the Dora and Canadian Comedy award-winning female clown duo Morro and Jasp and with Summerworks Festival’s Audience Choice Winner and Drag Tragicomedienne Pearle Harbour.
He was also the Creative Director of The Mission Business, the Digi award-winning experience design agency whose clients included Autodesk, Starbucks, CBC, MetroLinx and NASA. He has designed courseware and on- and off-screen games for a selection of organizations including OntarioLearn, Microsoft and Ubisoft.
Byron holds a PhD in Interactive Theatre and Pervasive Transmedia Fiction from the Theatre and Performance Studies Department at York University and his criticism/art journalism has appeared in Scene Changes, EYE Weekly, AdBusters and IN Toronto magazine. He also directs audio books, including the Headphone Award winning Empire of Wild by Cherie Dimaline and the Audie Nominated The Butcher and the Wren by Alaina Urquhart, host of the hit podcast Morbid.
Most recently, he has taken on the role of Artistic Director of Toronto’s newest live entertainment festival - What The Festival. With WTF, he seeks to present and promote puppetry, bouffon, clown and drag artists to new audiences looking to discover the very best in weird, wild and wonderful theatre. You can learn more about the work WTF is doing at www.wtfestival.ca
He was also the Creative Director of The Mission Business, the Digi award-winning experience design agency whose clients included Autodesk, Starbucks, CBC, MetroLinx and NASA. He has designed courseware and on- and off-screen games for a selection of organizations including OntarioLearn, Microsoft and Ubisoft.
Byron holds a PhD in Interactive Theatre and Pervasive Transmedia Fiction from the Theatre and Performance Studies Department at York University and his criticism/art journalism has appeared in Scene Changes, EYE Weekly, AdBusters and IN Toronto magazine. He also directs audio books, including the Headphone Award winning Empire of Wild by Cherie Dimaline and the Audie Nominated The Butcher and the Wren by Alaina Urquhart, host of the hit podcast Morbid.
Most recently, he has taken on the role of Artistic Director of Toronto’s newest live entertainment festival - What The Festival. With WTF, he seeks to present and promote puppetry, bouffon, clown and drag artists to new audiences looking to discover the very best in weird, wild and wonderful theatre. You can learn more about the work WTF is doing at www.wtfestival.ca
Alexander Baerg (original music) is a singer, actor, musician, audio engineer, and multi-instrumentalist. Past productions include: Godspell (first national tour), Country Sunshine, Fiddler On The Loose, Heart And Soul Of Broadway, Everything Elvis, Folks Like Us, Rockabilly Swingtime, Good Ol’ Country Gospel, Rocky Mountain High, The Power Of Song, East Coast Kitchen Party, You’ve Got a Friend, Murder For Two, Summer of 69, Hogan’s Hoedown (Victoria Playhouse in Petrolia), Dream a Little Dream (The Grand Theatre in London, Ontario), Twist and Shout, Million Dollar Quartet, Ring Of Fire (Chemainus Theatre Festival), Stan Rogers: A Matter Of Heart (The Guild in Charlottetown).
Alex dedicates this and all of this work that he’s privileged enough to do, to his wife Alessia, his daughter Poppy, and his son Jack.
Alex dedicates this and all of this work that he’s privileged enough to do, to his wife Alessia, his daughter Poppy, and his son Jack.
Jessica Smith - Costume Design
Kurt Firla - Graphic Design
Dahlia Katz - Production Photography
Special Thanks To:
The Puppetsmithery, Australia
Ontario Arts Council
Puppetmongers Theatre
Marquee Theatrical Productions, Newmarket
Buddies in Bad Times Theatre
Celeste Percy-Beauregard
Sarah Richardson
Puppet Stuff Canada
All those who contributed to the CROWdfunding Campaign
Sue Barber, who introduced Adam to the art of the murder mystery.
Brien Proulx, who talks to the crows in his backyard
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We acknowledge the original caretakers and storytellers of the land on which we are situated. This work was created on the traditional land of the Wendat, the Haudenosaunee, and the Anishanabek First Nations, including the Mississaugas of the Credit.
Kurt Firla - Graphic Design
Dahlia Katz - Production Photography
Special Thanks To:
The Puppetsmithery, Australia
Ontario Arts Council
Puppetmongers Theatre
Marquee Theatrical Productions, Newmarket
Buddies in Bad Times Theatre
Celeste Percy-Beauregard
Sarah Richardson
Puppet Stuff Canada
All those who contributed to the CROWdfunding Campaign
Sue Barber, who introduced Adam to the art of the murder mystery.
Brien Proulx, who talks to the crows in his backyard
---
We acknowledge the original caretakers and storytellers of the land on which we are situated. This work was created on the traditional land of the Wendat, the Haudenosaunee, and the Anishanabek First Nations, including the Mississaugas of the Credit.
Notes
Byron: This one was tricky.
Adam decided he wanted to make a comedic murder mystery. Fair enough. But it's a delicate balancing act. On the one hand, they have to be funny of course. But they also need to be tense, driven and dark. And sure, I hear you saying, it's doable. There have been a lot of those lately (Kenneth Branagh chewing the scenery in the recent Agatha Christie's movies for example), but they’re hard. One step too deep into either world and its game over.
And, in these stories, comedic or otherwise, there are usually a host of characters to meet, allowing for multiple accusations, misdirections, and theories. That’s the fun of them. But there’s only one puppet in this show. And only one actor. Thankfully, Adam is great, and manages to breathe life into an entire family who have just suffered the loss of one of their own. And he’s pretty good with the puppet too.
Ok, so there you have it, right? Well, the show also has to tour… and be set up and torn down in something like 10 minutes each… so staging has to be… simple. We decided to lean on lights, (and in a lot of ways sound) to create the various locations and atmospheres that are required. I think what we came up with does that. At least I hope it does.
I’m happy with what we made - a tale of mystery and murder filled to the brim with puns and preposterous accents. There are moments of real connection here, surprisingly so, and an ending that I didn’t see coming when I first read the script. That’s all I will say about that.
So sit back, and enjoy your hour with one of the best puppeteers I’ve ever seen. Trust me, he has a real ‘crommand’ over his craft.
Adam decided he wanted to make a comedic murder mystery. Fair enough. But it's a delicate balancing act. On the one hand, they have to be funny of course. But they also need to be tense, driven and dark. And sure, I hear you saying, it's doable. There have been a lot of those lately (Kenneth Branagh chewing the scenery in the recent Agatha Christie's movies for example), but they’re hard. One step too deep into either world and its game over.
And, in these stories, comedic or otherwise, there are usually a host of characters to meet, allowing for multiple accusations, misdirections, and theories. That’s the fun of them. But there’s only one puppet in this show. And only one actor. Thankfully, Adam is great, and manages to breathe life into an entire family who have just suffered the loss of one of their own. And he’s pretty good with the puppet too.
Ok, so there you have it, right? Well, the show also has to tour… and be set up and torn down in something like 10 minutes each… so staging has to be… simple. We decided to lean on lights, (and in a lot of ways sound) to create the various locations and atmospheres that are required. I think what we came up with does that. At least I hope it does.
I’m happy with what we made - a tale of mystery and murder filled to the brim with puns and preposterous accents. There are moments of real connection here, surprisingly so, and an ending that I didn’t see coming when I first read the script. That’s all I will say about that.
So sit back, and enjoy your hour with one of the best puppeteers I’ve ever seen. Trust me, he has a real ‘crommand’ over his craft.
Adam: I wrote this show in a cafe in Orlando in January of 2018. I didn't read it again for about nine months, by which time I had forgotten everything I had written. When I read it again, I thought it was actually pretty good. But would anybody come to see it? A weird solo-puppet-solo show that is basically an hour-long exploration of a built-in pun?
Well, when I was finally able to produce it after two years of a global pandemic, the answer was a resounding yes. The goofy weirdness was apparently just what we needed and it turns out it had legs – it's toured North America, won awards, played to sold out houses, landed in the National Puppetry Journal, and somehow feels just at home in a Lutheran Church in Ohio as it does in a majestic music hall. I feel very fortunate to have had this show during this time.
Heady art stuff: when I work with puppets, I’m always trying to make sure I know the answer to the question “why puppets?” What can puppets do that I couldn’t just do by myself. And I’m always trying to think of different ways of using puppets in theatre. In this style of show, I think the trope would be to have the puppeteer be the narrator and the characters within the story be puppets. This show is an attempt to subvert that. Here, the puppet is the storyteller, and it is the puppeteer who plays all the other characters…. essentially, the human becomes the puppet.
Even a tiny show like this takes an extraordinary amount of resources and people to accomplish – more people than I could thank here. But... I am eternally grateful for the help of Jhess Knight and The Puppetsmithery for helping me to develop the crow puppet. For Alex Baerg for understanding my musical wishes (more car chase than Murder She Wrote!). For Jessica Smith for adding stretchy and breathable fabric to my costume and saving my life. And as always, for Byron Laviolette for helping tether me to the ground, and find the gold in them thar hills. One of my favourite things about what I do, is I get to hire my wildly talented friends to make magic. Because there truly is no business.............. like crow business.
Enjoy the show!!!
Well, when I was finally able to produce it after two years of a global pandemic, the answer was a resounding yes. The goofy weirdness was apparently just what we needed and it turns out it had legs – it's toured North America, won awards, played to sold out houses, landed in the National Puppetry Journal, and somehow feels just at home in a Lutheran Church in Ohio as it does in a majestic music hall. I feel very fortunate to have had this show during this time.
Heady art stuff: when I work with puppets, I’m always trying to make sure I know the answer to the question “why puppets?” What can puppets do that I couldn’t just do by myself. And I’m always trying to think of different ways of using puppets in theatre. In this style of show, I think the trope would be to have the puppeteer be the narrator and the characters within the story be puppets. This show is an attempt to subvert that. Here, the puppet is the storyteller, and it is the puppeteer who plays all the other characters…. essentially, the human becomes the puppet.
Even a tiny show like this takes an extraordinary amount of resources and people to accomplish – more people than I could thank here. But... I am eternally grateful for the help of Jhess Knight and The Puppetsmithery for helping me to develop the crow puppet. For Alex Baerg for understanding my musical wishes (more car chase than Murder She Wrote!). For Jessica Smith for adding stretchy and breathable fabric to my costume and saving my life. And as always, for Byron Laviolette for helping tether me to the ground, and find the gold in them thar hills. One of my favourite things about what I do, is I get to hire my wildly talented friends to make magic. Because there truly is no business.............. like crow business.
Enjoy the show!!!
Production Crowtographs
Photos by Dahlia Katz.
We are so grateful for our supporters:
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And all those who contributed to the CROWdfunding campaign.