Founder Bio
Nicholas setting up a shot on set
Nicholas created and performed in thousands of hours of unique live concert and creative stage content, starting with small birthday parties in '94, at the age of fourteen (better known as the start of “The Touring Years” ('94-'05)). Each production combined a cast of "Legacy Characters" that were brought to life through the talents of skilled performers, combining those with popular music, dance choreography, lighting and pyrotechnics. During this era, Nicholas pushed the creative boundaries of how theatrical and concert events were typically defined.
At sixteen, he began negotiating the rights to use various international music artist's back catalogues in Nicholas' various theatrical and live event performances. These would be combined with individually handcrafted puppet-likenesses for each of the artists. “Weird Al” Yankovic was first on board. Following that, Nicholas was able to negotiate with the Graceland estate for the creation of two puppet likenesses of Elvis Presley: the Gold Lamé and the ’68 Comeback Special. Due to the fragmented nature of the international licensing rights for Elvis’s music, Nicholas found himself juggling multiple negotiations over the course of a year. Permission was subsequently granted by Elton John, Janet Jackson and others. With the high-quality output coming from within the company, Nicholas' celebrity performances quickly became a fan favorite and long-time staple of each performance.
Nicholas created and performed in thousands of hours of unique live concert and creative stage content, starting with small birthday parties in '94, at the age of fourteen (better known as the start of “The Touring Years” ('94-'05)). Each production combined a cast of "Legacy Characters" that were brought to life through the talents of skilled performers, combining those with popular music, dance choreography, lighting and pyrotechnics. During this era, Nicholas pushed the creative boundaries of how theatrical and concert events were typically defined.
At sixteen, he began negotiating the rights to use various international music artist's back catalogues in Nicholas' various theatrical and live event performances. These would be combined with individually handcrafted puppet-likenesses for each of the artists. “Weird Al” Yankovic was first on board. Following that, Nicholas was able to negotiate with the Graceland estate for the creation of two puppet likenesses of Elvis Presley: the Gold Lamé and the ’68 Comeback Special. Due to the fragmented nature of the international licensing rights for Elvis’s music, Nicholas found himself juggling multiple negotiations over the course of a year. Permission was subsequently granted by Elton John, Janet Jackson and others. With the high-quality output coming from within the company, Nicholas' celebrity performances quickly became a fan favorite and long-time staple of each performance.
Nicholas during rehearsals for Just For Laughs
Nicholas and Duff on set for The Food Network
This was the point Nicholas decided there was a need to continue to broaden the company's reach.
Between 2009 and 2016, Nicholas recruited the company's creative talents to begin work on a top-secret tv experiment. After many years of testing, Nicholas produced and directed a concept pilot to answer the question he had been asking himself since childhood: What if Monty Python’s Flying Circus was created by Jim Henson? Premiering in March of 2016, Some TV! was born. This award winning one-hour special combines the fuzzy facet and gentle anarchy of Jim Henson's Muppets with the stream of consciousness of Monty Python's Flying Circus (plus a dash of the human condition) creating something for adult audiences that dared to be occasionally naughty.
Nicholas has had the pleasure of being trained by The Jim Henson Company, Sesame Workshop, etc., through their invitation only training workshops. Having the skills to make it through to the end allows him to say that both companies have him on their short list of qualified puppeteers for film and television productions.