Clueless Morgan is the Muppet that inspired this wonderful column that you are reading! He was only used briefly, mostly as a memorable character in Muppet Treasure Island and in a recurring bit on Muppets Tonight. He was performed by Bill Barretta, who is also the puppeteer for Pepe the King Prawn, Bobo the Bear and Rowlf the Dog.
According to Muppet Wiki, Clueless Morgan’s puppeteer Bill Barretta said that, “part of the reason that Clueless has not been used in any productions since Muppets Tonight is that the puppet has gone missing. If anyone out there has seen him, please ask him to call home. His family misses him.”
The Center for Puppetry Arts in Atlanta has opened a new museum that holds a large collection of Jim Henson puppets. While watching a CNN report of the exhibit, I nearly jumped out of my seat when I got to the 40-second-mark! There he is! They found Clueless!
Click here for the video of the CNN report or watch it directly below!
Will this discovery lead to Clueless’ return to The Muppets? We’ll let you know any updates here on “Muppets Gone Missing”!
Clueless Morgan in Muppets Treasure Island
At the 1:17 mark, Clueless Morgan promotes Muppets Treasure Island
Clueless Morgan and Polly Lobster on Muppets Tonight
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Josh Green lives in Philadelphia, PA with his lovely wife Lauren. Having worked at Dynamite Entertainment and TV Guide, Josh is now a freelance writer for Graphic Policy and the creator of the “Muppets Gone Missing” column, so that he can still dabble in pop culture. While he is not dabbling, Josh lives a simple life, where his main enjoyment is spending as much time possible with his wife, whose very existence gives Josh purpose for everything.
Josh Green: Welcome back to “Muppets Gone Missing”. This column focuses on the hidden treasures of The Muppets, Sesame Street, as well as any projects involving Jim Henson. Examples of this will consist of segments or characters that wound up on the cutting room floor, or were used, but not to their fullest extent. I had the pleasure of interviewing puppeteer, Matthew Furtado!
Josh Green: Can you please tell me about your career and how you got involved with Henson productions? Was it Jim Henson himself who gave you your big break into showbiz?
Matthew Furtado: I was never fortunate enough to meet Mr. Henson but grew up loving his work. I was really into puppetry, magic and acting from a very early age, putting on my own shows, performing with the educational puppet troupe, Kids on the Block throughout middle school and later getting hired to play a character who could only speak through a puppet in a regional production of the play Red Noses. I always dreamed about working with the Muppets.
After I graduated with a BA in Musical Theater from Rhode Island College, I was cast in VEE Corporation’s production of Sesame Street LIVE: Elmo’s Coloring Book, also having the opportunity to be involved with the puppetry for their Dragon Tales tour. I was the live-mic human character in Sesame Street LIVE and we got to perform all over the world, on NBC’s Today Show and at Madison Square Garden where Jane and Cheryl Henson came to see us and gave us the opportunity to visit the Henson Workshop. It was a great experience.
Jug Band Read Through
After 600 shows on the road with VEE, I auditioned in New York for Martin Robinson and the creative team of the world premiere stage production of Jim Henson’s Emmet Otter’s Jug-Band Christmas at Goodspeed Opera House in Connecticut. I had the opportunity to work closely with a terrific group of people including director Christopher Gattelli, composer Paul Williams and veteran Muppet performer Tyler Bunch who, along with Martin, have been so supportive of me as a puppeteer. I was invited back for the following year’s revamped production of the show too. The Emmet Otter experience had so many “pinch-yourself” moments: Jane, Heather and Cheryl popping into rehearsals; Jerry Nelson surprising us with a visit on opening night and holding court afterwards; getting to meet Pam Arciero, Fran Brill, Robert Lopez and Jennifer Barnhart, who later joined the show; co-producer Brian Henson at the cast party saying that his dad was smiling down on us… Everyone was so kind and generous and fun to work with. It was just a dream-job.
Goodspeed Musicals’ 9th Annual Gala Honoring: Paul Williams June 12, 2010 Goodspeed Musicals (860)873-8664
After the show closed, Goodspeed announced an awards banquet honoring Paul Williams. I sent an email to the producer pitching the idea of having the four scene-stealing squirrels from Emmet Otter there as part of the event and she invited us to perform a sketch and song in the show, which was hosted by Alan Kalter from Late Night with David Letterman. Now, improvisation with the characters was always encouraged during the development of Emmet Otter. It’s a Henson-tradition and that night, Peter Linz, Anney Ozar, James Silson and I were really in a groove. When I realized from behind our puppet stage that Mr. Kalter’s hair was exactly the same color as the squirrels’ fur, I couldn’t help but have my character, Skippy (originally developed by David Stephens), point it out. I also referred to Mr. Williams’ Oscar-winning “Evergreen” as “the song he wrote with Streisand about the pine tree” which really got a roar from the crowd and remains one of my favorite moments on stage. Part of the magic of working with great puppet characters and great people is that it pulls things out of you that you didn’t know you had, particularly in a live show…things you’d be hesitant to say as yourself or even as a human character.
After that show I was thrilled to be invited by Brian Henson to participate in an initial one-night workshop for Stuffed and Unstrung, Henson Alternative’s Off-Broadway version of their improv show, Puppet Up and later, attend the taping of their episode of The Apprentice to see the veteran performers at work. When your phone rings and someone says, “Hi Matt, I’m calling on behalf of Brian Henson…” your jaw just kind of drops. It’s such a privilege to meet your heroes and then to be asked to join in the fun of working with them.
JG: Can you tell me about any obscure characters that you performed that weren’t used as much as you would have liked?
MF: The characters in Emmet Otter still have a lot of life left in them. It’s a timeless story and the music is terrific. Christmas of 2017 will be the 40th anniversary of the special and it would be great to get it on stage again. Our son was born the day after Christmas and I’d really love for him to see it.
JG:What would you have done with these characters if you had gotten more of a chance to work with them?
MF: I had the opportunity to perform several of the squirrel characters over the course of the two seasons that Emmet Otter ran and there was always the feeling that they could have their own spinoff show. They got big laughs from all ages. It would be interesting to develop those characters further and find out what the rest of their family is like…send them out into the world and see what kind of trouble they could get into.
Also, our director, Christopher Gattelli always talked about adding more puppet characters to the show… more citizens of Waterville, birds in the trees, more acts in the talent show etc. That would be fun. I never got to work with Jim Henson but I felt like I got close to it by working with Christopher. He really embodies that quiet, creative vision and gentle approach that Jim was known for. Jim did things with puppetry that had never been done before and that is what Christopher is doing now with musical theater and dance. It’s exciting to be around someone who is pushing their art form forward; someone who thinks differently.
Matt and Tom Small
JG: What projects are you working on these days with The Muppets?
MF: I’m not working on anything with them at the moment. Last year, I was thrilled to be invited by Matt Vogel and Martin Robinson to a puppeteer workshop at Sesame Workshop. It was a great experience working with them and with Peter Linz and a talented small group of other performers. I learned a lot and have gotten so much encouragement and support from those guys. True to tradition, each group of main characters (Sesame, Henson & Disney’s Muppets) is performed by a really capable and versatile small repertory company; as it should be. They are really doing a great job keeping the legacy of all of those characters alive. They are in good hands. Going forward, when they need extra hands or additional characters, I’d be thrilled to join in.
JG:What else do you do professionally?
MF: I’m fortunate to have never had a non-performing job. Puppeteers are really actors and I’ve gotten to do a lot of voiceover work and on-camera work in commercials (like this improvised spot: https://vimeo.com/74231382), and even had the privilege of hosting and co-producing a series that Newman’s Own Foundation sponsored on Connecticut Public Television called, The Power of Giving, which received two New England Emmy nominations. Running parallel to my interests in puppetry and acting, since I was a kid I’ve performed and seriously studied magic. I have a one-man comedy magic and illusion show that I perform at corporate events, resorts and as a fundraising program for organizations. My favorite project is an annual concert experience combing magic and music that I write, direct and perform in conjunction with a 100-piece orchestra. It is going on its seventh year, with a new program each spring. Being able to work in several branches of show business that I really enjoy has allowed me to achieve my goal of being a full-time performer.
MF: is there anything else you would like to talk about?
BL: If anyone has any other questions, I can be reached at ProPuppeteer@gmail.com or www.MatthewFurtado.com Thanks for inviting me to be part of your Muppets Gone Missing series!
Josh Green lives in Philadelphia, PA with his lovely wife Lauren. Having worked at Dynamite Entertainment and TV Guide, Josh is now a freelance writer for Graphic Policy and the creator of the “Muppets Gone Missing” column, so that he can still dabble in pop culture. While he is not dabbling, Josh lives a simple life, where his main enjoyment is spending as much time possible with his wife, whose very existence gives Josh purpose for everything.
Josh Green: Welcome back to “Muppets Gone Missing”. This column focuses on the hidden treasures of The Muppets, Sesame Street, as well as any projects involving Jim Henson. Examples of this will consist of segments or characters that wound up on the cutting room floor, or were used, but not to their fullest extent. It has been a true honor getting to know and interview the wonderful Jan Nelson, the wife of the late-great puppeteer, Jerry Nelson!
Jerry Nelson was an American puppeteer, best known for his work with The Muppets. Renowned for his wide range of characters and singing abilities, he performed Muppet characters on Sesame Street, The Muppet Show, Fraggle Rock, and various Muppet movies and specials.
Josh Green: Thank you so much for giving me your time to talk about Jerry, Jan. Can you tell me the story about how you and Jerry met? Was he already involved with puppeteering with Jim Henson and The Muppets?
Jan Nelson: Yes he was. Jerry and I met in 1982. He had just come back from England where he did The Muppet Show for 5 years. He had worked with Jim Henson even before Sesame Street in the late ‘60s.
We met at the apartment of mutual friends in my building in Hoboken, NJ. He had come over to go out with my friends, and I asked if I could go along. That was kind of our first date. I didn’t hear from him for over a week after that, but when he finally called he asked me to go on vacation with him for a couple of weeks in Key West and Coconut Grove. That was our second date. We had a wonderful time and I fell in love with him. I don’t know if he fell in love with me as early as that but he later told me that it didn’t drive him crazy to be with me day and night. Evidently that was some kind of a first for him.
Right after our second date he started doing Fraggle Rock in Toronto.
Jerry and Jan’s wedding on the beach. 1984 Truro (Cape Cod) MA
JG: And how closely were you involved with The Muppets?
JN: I loved the whole Muppet family and it is and was a family. I have never met a funnier and more wonderful group of people. I loved the parties and loved being on the set. Jerry and I got married in 1984 when he was 2 years into Fraggle Rock. I spent the next two years in Toronto, hanging around the set. Some people assumed that I worked there. Those were great times. Jerry’s characters were all major characters; Gobo Fraggle, Pa Gorg and Marjorie the Trash Heap.
I never missed a Monday morning read-through. There was a lot of improvisation and playing around. It was extremely funny. Sometimes the puppeteers would come up with something that would get written in. Everyone worked together so well. It was magic!
Jerry and I took lots of great vacations when he wasn’t working. We spent a lot of time in the Caribbean islands and summers in Truro on Cape Cod.
Jerry was so creative. Besides music he also did all kinds of art … like the above seashore art, carved driftwood and found shells put together – Cape Cod
Jerry was so creative. Besides music he also did all kinds of art … like the above seashore art, carved driftwood and found shells put together – Cape Cod
JG: Jerry is responsible for performing many iconic characters on The Muppets and Sesame Street, most notably The Count. But I’m sure that there are characters written for him that didn’t last for whatever reason. Did Jerry ever recount any of these characters to you, wishing he’d had have the opportunity to do more with them? And by the same accounts, were there any truly bizarre characters that Jerry didn’t have an affinity to perform that was also performed infrequently?
JN: Jerry had a lot of “one off” characters but that was understood from the beginning. I know that his character, H. Ross Parrot became acclaimed and was interviewed on a network TV show. However, outside people wanted to take the conversation towards politics (this was when H. Ross Perot was running for president) and Jerry (H. Ross Parrot) was sticking to the alphabet. Jerry didn’t like being pushed and certainly didn’t want to talk politics. H. Ross Parrot was Jerry’s imitation of H. Ross Perot and it was a funny character.
I don’t think there was any character too bizarre for Jerry. I loved to hear about how he used a “bad” (his word) imitation of some actor to get the puppet’s voice. For example Marjorie the Trash Heap was a bad imitation of a Russian actress from old films. He said that Count Von Count was based on a rough interpretation of the old “Dracula” movies except Count Von Count has a compulsion to count. He has to do it.
The Muppets did a Christmas Special for Kraft called The Christmas Toy. Jerry played Balthazar, an old teddy bear that was the oldest toy in the nursery. He used a rough imitation of Colonel Sanders who used to say “Buy one get one free” in a KFC ad of the time.
At the beginning of the shoot the puppeteers would assemble on the set in place. In the quiet minute before they started, I would hear Jerry softly say “buy one – get one free” to get his voice.
JG: I’m also curious if Jerry himself had ideas for certain characters that he wanted to do that never got off the ground beyond a conceptual level? And by the same account, were there any truly bizarre characters that Jerry didn’t have an affinity to perform that was also performed infrequently?
JN: I don’t think so. As far as truly bizarre characters, I think that Jerry never had a character that he didn’t want to do. I can’t imagine anything being too bizarre for Jerry. He did a terrific job with every character he had.
JG: Who decided which puppeteer would do a character?
DAVE GOELZ has been one of the lead Muppet performers for over 40 years, performing Gonzo, Beauregard, Dr. Bunsen Honeydew, Zoot, Boober Fraggle, Uncle Traveling Matt, as well as succeeding the role of Waldorf from Jim Henson.
JN: I think that the writers sometimes had in mind who they wanted to perform the characters. I emailed Dave Goelz this question and here is his response:
“For a long time I accused Jerry Juhl of creating the Fraggle characters for specific performers, and he denied it. Then many years later, he finally admitted that he, Jim, Jocelyn and Michael had indeed done just that. They did ask us to play around with all the characters in the fifth floor rehearsal room at 201 East 67th street just before heading to Toronto, which we all did. But we all ended up doing the characters that had been created for us. That said, I think the writers sometimes had a performer in mind when writing, but Jim always had the final say.”
JG: It would be remiss of me to not ask you about…you. Can you please tell me about yourself, your life experiences, and your passions? I know for certain that you are an accomplished painter, having drawn the cover to Jerry’s solo album, “Truro Daydreams”.
Jan Nelson’s cover painting on Jerry Nelson’s album, Truro Daydreams.
JN: Thanks! I studied fine art in school but was a graphic designer all of my adult life. When I left my last full-time freelance job, I went to the Art Students League in NYC to study painting. I still go during the school year. I paint in oils. Still life and model during the winter and plein air landscape during the summer in Cape Cod.
I designed and used my own paintings in the fold-out jacket for “Truro Daydreams.” I chose the photos that are in it, and made sure that I was in one. Also the kid that’s with Jerry in one of them is our grandson Tolin. I only wish that I had made my name bigger in the credits.
I consider myself a lucky person. I have a wonderful family, my daughter Lovisa and grandson, Tolin. I raised Lovisa as a single parent but had a good full-time freelance gig at an Advertising Agency that was easy-going about hours as long as I made the deadlines. I also raised her in Greenwich Village, which was a real neighborhood in those days and safe enough so she could play on the street from an early age. I had a couple of close friends who were also single mothers and our children grew up together. We took turns looking after each other’s kids, which enabled us all to have lives.
The greatest luck of all was meeting Jerry.
JG: Which characters do you think represent Jerry best?
JN: All the Muppet characters reflect an aspect of the puppeteers’ personality. Jerry had a great deal of the Boy Scout in him – like Gobo Fraggle. He was also the hippest of the hip, like Floyd the Bass Player.
JG: What was outstanding about Jerry Nelson, the man?
JN: He was so good at comforting people in their time of need. He said what was in his heart about the person. After so many of the people he loved had died, Christine his daughter, Jim Henson, Richard Hunt, Jon Stone, Matt Caldwell (a close friend), he wrote an angry song called “Eye of the Storm”. Then Jerry Juhl died (head writer for the Muppets) and Jerry sang it at his memorial celebration. I was uncertain about this because it was supposed to be a celebration, but everyone was moved by it.
He was very wise and had a Zen attitude towards life. He was a gentle man yet watched some of the most violent shows on TV.
He was always writing “be happy” songs but he could be really pessimistic sometimes. He did consider himself very lucky in life so I told him that he should write a book, “The Power of Negative Thinking.”
We had fights of course, but they always ended in laughter. One of us would make the other laugh and then we would both laugh and it was over.
He cared about his fans. He never felt famous. We both had the capacity to walk into a bar and make friends with everyone there in ten minutes. His personality was larger than life. He walked into a room and had everyone enchanted right away, with his stories and music. He was very much loved.
He said in Muppets he was always the “straight man.” He said he married me because I was HIS straight man (the person who sets up the joke.)
JG: It has been just around three years since your husband’s passing. Knowing him best, what do you think he’d want to ultimately be remembered for?
JN: He wrote his own memorial speech. I’ll quote from it: “I am above all else a Professional, so I like to be on time (or maybe even a little early) and prepared.”
My own feeling is that he would want to be remembered for everything that he was, including being a professional. For being hip and funny, for caring about people, for being stubborn and hard-working while still being “the laziest man on earth” (my words) and proud of it.
I’d like to mention that along with the memorial speech, he chose two songs to be performed. One was “Tides” – everyone’s favorite, and one was “In My Life” by the Beatles. At the time I was not thinking straight. I remember being puzzled by the choice. Yes, he liked the Beatles but he had written so many good songs himself. It was only a year later that I realized that that song was for me. I still tear up, thinking of that.
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Josh Green lives in Philadelphia, PA with his lovely wife Lauren. Having worked at Dynamite Entertainment and TV Guide, Josh is now a freelance writer for Graphic Policy and the creator of the “Muppets Gone Missing” column, so that he can still dabble in pop culture. While he is not dabbling, Josh lives a simple life, where his main enjoyment is spending as much time possible with his wife, whose very existence gives Josh purpose for everything.
The world of Jim Henson comes to Humble Bundle in a new comics bundle. BOOM! Studios has re-teamed with Humble to offer comics published by its imprint, Archaia, based on some of Henson’s most famous creations including Fraggle Rock, Labyrinth, The Dark Crystal, and the Eisner award-winning graphic novel Tale of Sand, adapted from one of Henson’s unproduced screenplays.
Noteworthy creators who have contributed include Joshua Dysart, Kate Leth, Nate Cosby, Chris Eliopoulos, Marjorie Liu, Ron Marz, Jeff Parker, Ramón Pérez, former Henson conceptual designer Brian Froud, and many more.
Customers can name their price for Jim Henson’s The Dark Crystal: The Novelization, Jim Henson’s The Dark Crystal: Creation Myths Vol. 1 & 2,Fraggle Rock Classics Vol. 1 & 2,Fraggle Rock Vol. 1 & 2, and Fraggle Rock: Journey To The Everspring #1-4.
Those who pay more than the average price will also receive Jim Henson’s The Musical Monsters of Turkey Hollow, Jim Henson’s The Storyteller Vol. 1,Jim Henson’s The Storyteller: Witches #1-4,Jim Henson’s The Storyteller: The Novelization, and Jim Henson’s Labyrinth: The Novelization.
Customers who pay $2 or more above the average price will receive all of the above plus Jim Henson’s Tale of Sand.
As with all Humble Bundles, customers can choose how their purchase dollars are allocated, between the publisher and charity. The Humble Jim Henson Comics Bundle presented by BOOM! Studios supports The Center for Puppetry Arts, which uses the art form of puppetry as a means to provide educational experiences that encourage creativity, support school-day learning, and provide accessible, hands-on opportunities to participate in arts activities.
The Humble Jim Henson Comics Bundle presented by BOOM! Studios runs for one week only from now until Wednesday, June 17, 2015 at 11 a.m. Pacific time.
Fairy tales can sometimes be a challenging source to draw upon. While many famous story tales have an obvious moral or theme, some of the more obscure fairy tales have a theme or moral which is either hard to comprehend or outright inappropriate by modern standards. This was in part what caused the first issue in this miniseries to be a bit of a misfire, as the choice of fairy tale was not a good match for an engaging story. Part of that is because of the nature of this miniseries, as it identifies itself as focusing on fairy tales that deal with witches, and so in addition to finding new fairy tales to highlight that it also has a thematic challenge of finding the right material. For the second entry into this series, the writer has gone a bit further afield and turned to Japanese fairy tales, though with an evidently better result.
Japanese fairy tales are a bit of a mystery to me. My only exposure to them is from a collection of them that my wife downloaded to her e-reader. As opposed to the more familiar European stories, these stories have a different presentation, and their resolution often results in more questions than answers. That is the case here with the snow witch, a story about a wood gatherer in the mountains of Japan who meets the snow witch, and she changes his life in an unforeseen way. While anything like morality is very ambiguous in this story, it is still well interpreted to this medium, and the writer (who is also the artist) does a good job at making the characters approachable and immediately likeable. Though they only share a few panels, the romance between the wood-cutter and wife is evident, and it made the scenes between them touching.
As this series stands, there is still almost nothing here to tie this into Jim Henson, only using the franchise name as a boost to sell some extra issues about fairy tales. The first issue didn’t do the man much justice, but the second issue at least captures the quality if not the content that he would be known for. This second issue does redeem the series though, and with this more successful adaptation it makes me wonder what the series might hold for its remaining two issues.
Story and Art: Kyla Vanderklugt Story: 8.5 Art: 8.25 Overall: 8 Recommendation: Buy
BOOM! studios and Archaia provided Graphic Policy with a FREE copy for review.
JIM HENSON’S TALE OF SAND: THE ILLUSTRATED SCREENPLAY HC
Retail Price: $24.99 Authors: Jim Henson and Jerry Juhl Artist: Ramón K. Pérez Cover Artist: Ramón K. Pérez
If you love the imagination of Jim Henson, are an aspiring artist, or just a fan of the creative process, the final draft of this unproduced screenplay is a must-have. Plus, nine all new black-and-white pages illustrated by Ramón K Pérez that were cut, 19 original inked pages, 16 pages of layouts, and never-before-seen drawings, hand-written notes, and artifacts created from the Jim Henson Archives.
Adapted by Archaia into an award-winning graphic novel, this is the final 1974 draft of TALE OF SAND with Jim Henson and Jerry Juhl’s handwritten edits, as well as layouts and inked pages from the adaptation in gorgeous black-and-white, and never-before-seen sequences that were cut during the production of the graphic novel, newly illustrated by Ramón K. Pérez.
The Archaia team are process junkies and love sharing this incredible and unfiltered look behind the curtain at how Ramón K. Pérez took Jim Henson and Jerry Juhl’s original screenplay and turned it into one of the most critically acclaimed graphic novels of the last decade.
Today we are celebrating the birthday of Jim Henson, one of the most beloved and creative people in our time. Whether you grew up watching The Storyteller and Fraggle Rock, or only recently discovered your love of The Muppets, Jim Henson’s creations have always been able to capture the hearts of young and old alike.
Archaia, an imprint of BOOM! Studios, has had the honor of working closely with The Jim Henson Company on titles such as Fraggle Rock and the novelizations of The Dark Crystal, Labyrinth, and The Storyteller. In honor of Jim Henson’s birthday, we’re giving everyone an early preview of Jim Henson’s The Musical Monsters of Turkey Hollow releasing next week, October 1st.
Story by: Jim Henson and Jerry Juhl
Writer: Roger Langridge
Artist: Roger Langridge
Before delving into this new BOOM! Studios miniseries, it is maybe worth recapping the background of the Storyteller. This idea started as a television series in the 1980s, and it examined a number of lesser known fairy tales. In true Jim Henson style, the storytelling was a mixture or puppet and live actors, with the storyteller and his dog being the only common characters throughout. It had high production values, including the usual amazing puppetry, but it was only produced for one season. Jim Henson holds a special place in the hearts and minds of children of the 70s and 80s. In an era which was before the advent of CGI, his vision, talent and artistry made helped make movies like Dark Crystal, Labyrinth and even The Empire Strikes Back into what they were.
This series seems interested in capturing the current popularity in fairy tales, and to be fair it does so in a novel way. It is evident that the writer/illustrator has put forth a lot of effort to make sure that this is a beautiful piece of work, even as it highlights a lesser known tale titled the Magic Swan Goose and the Lord of the Forest. The only major problem which comes up here is the association with Henson. A Henson fan picking up this book without looking first inside will likely be a little disappointed in the end product. The Henson name here is one attached to the series which BOOM! has the rights to produce. Aside from one splash page near the beginning of the issue, nothing at all has anything to do with Henson.
As a standalone this issue is a bit more literal, in the sense that nothing out of the ordinary is being done with fairy tales here. This is not Fables or Zenescope where fairy tales form the basis for modern characters but rather just a relatively straight telling of an obscure fairy tale. The end presentation is fine, and even beautiful in places, but with the more traditional aspect of fairy tales being presented here, it is likely that children would be better recipients of this story than adults, especially so that it is lighter on text as well.
Story and Art: S.M. Vidaurri Story: 5.0 Art: 7.0 Overall: 6.0 Recommendation: Pass
BOOM! Studios/Archaia provided Graphic Policy with a FREE copy for review
In July, Archaia, and imprint of BOOM! Studios, has two releases for fans on Jim Henson’s Tale of Sand. Jim Henson’s Tale of Sand: The Illustrated Screenplay, will include the full screenplay that the publisher used to adapt the graphic novel. It features handwritten annotations by Jim Henson and Jerry Juhl, and several new pieces of art by Ramón Pérez, including a new cover.
In addition, Archaia is offering a slipcased box set that includes the Tale of Sand graphic novel and this new Illustrated Screenplay. Ramón created a new cover for this as well. Below are the solicits for the two releases including an exclusive early look at the covers!
JIM HENSON’S TALE OF SAND: THE ILLUSTRATED SCREENPLAY HC
Retail Price: $24.99 Authors: Jim Henson and Jerry Juhl Artist: Ramón K. Pérez Cover Artist: Ramón K. Pérez
If you love the imagination of Jim Henson, are an aspiring artist, or just a fan of the creative process, the final draft of this unproduced screenplay is a must-have. Plus, nine all new black-and-white pages illustrated by Ramón K Pérez that were cut, 19 original inked pages, 16 pages of layouts, and never-before-seen drawings, hand-written notes, and artifacts created from the Jim Henson Archives.
Adapted by Archaia into an award-winning graphic novel, this is the final 1974 draft of TALE OF SAND with Jim Henson and Jerry Juhl’s handwritten edits, as well as layouts and inked pages from the adaptation in gorgeous black-and-white, and never-before-seen sequences that were cut during the production of the graphic novel, newly illustrated by Ramón K. Pérez.
The Archaia team are process junkies and love sharing this incredible and unfiltered look behind the curtain at how Ramón K. Pérez took Jim Henson and Jerry Juhl’s original screenplay and turned it into one of the most critically acclaimed graphic novels of the last decade.
JIM HENSON’S TALE OF SAND BOX
Retail Price: $49.99 Authors: Jim Henson, Jerry Juhl Artist: Ramón K Pérez Cover Artist: Ramón K Pérez
This is the definitive way to experience the groundbreaking JIM HENSON’S TALE OF SAND graphic novel. Featuring an all-new, wrap-around illustration by Ramón K. Pérez, this beautiful slipcase box includes the Eisner and Harvey Award-winning graphic novel adaptation of the lost Jim Henson screenplay and the new JIM HENSON’S TALE OF SAND: THE ILLUSTRATED SCREENPLAY hardcover.
Writer(s): A.C.H. Smith, Jim Henson
Artist(s): Brian Froud
Finally back in print and for the first time in hardcover, the novelization of LABYRINTH written by A.C.H. Smith and personally overseen by Jim Henson, is the first in a series of novels from the Jim Henson Archives.
This beautiful hardcover features unpublished goblin illustrations by legendary illustrator and concept artist Brian Froud and an exclusive peek into Jim Henson’s creative process with 50 never-before-seen pages from his personal journal, detailing the initial conception of his ideas for LABYRINTH.