Building Audrey II: A Dream, a Challenge, and a Whole Lot of Chaos

Audrey II - Phase 4

As a props maker, it was a dream come true for me to build Audrey II. I’ve always admired that big, wild, man-eating plant, but the idea of actually building her felt completely out of reach. About a year ago, I took a puppetry course to learn how to build puppets properly. I wanted to understand how to give them life, how to make them move and breathe. That class opened a door I didn’t even realize I was waiting to walk through.

When the opportunity came to build Audrey II, I hesitated. I thought, “There’s no way I can pull this off.” I doubted myself, questioned every step, and honestly, I was terrified. But I asked for help, did my research, and decided to go all in. What started as a scary challenge became one of the proudest moments of my career.

There were four main phases to the project, and I built all of them. Yes, all four versions of Audrey II, from the baby sprout to the full-sized monster. I jumped from phase to phase in complete madness. Whenever I got stuck on a problem I couldn’t solve, I stopped and switched to another phase until either I got stuck again or the solution for the first one magically came to me. It was chaotic, unplanned, and somehow, it worked.

The Four Phases of Creation

Phase 1: The Research and Panic Phase

This phase began with obsession. I watched every Little Shop of Horrors performance I could find online (Broadway, community theater, school productions, you name it). Each version had its own interpretation of Audrey II: some looked funny and cartoonish, others dark and realistic. I took screenshots, filled sketchbooks with notes, and made lists of possible materials.

At first, I was frozen by all the choices. Should she be made of EVA foam, upholstery foam, or fabric? How would the mouth open? How would I paint her to look alive but still keep that fantasy quality? My brain couldn’t stop spinning. I remember sitting surrounded by drawings and feeling completely overwhelmed.

Then I reminded myself: every big project starts with a mess. The research helped me understand what I didn’t want as much as what I did. I wanted my Audrey II to have personality, to be expressive, bold, and a little bit charming in her own terrifying way. That goal kept me grounded through the panic.

Phase 2: The Building Mayhem Phase

The real chaos began here. My house became an explosion of foam, paint, and glue. The floor was covered in scraps, the dining table turned into a cutting station, and even my dog refused to come near the workspace. There were days when I couldn’t find my scissors under the mountain of green fabric. (I hate myself for that! Why can't you be a little bit more organized, Patricia? Come on!)

I started with the smallest plant, the little hand puppet version. Once that was done, I moved to the medium-sized one that sits on a table, then the larger one with a performer inside. Each phase had its own structure and mechanism. I learned how to carve foam so it looked organic, how to layer fabrics to give texture, and how to paint highlights that made the lips and vines pop under stage lights.

Phase 3: The Trial and Error Phase

This phase tested my patience and creativity more than anything else. Making a puppet isn’t just about how it looks, it’s about how it moves. I needed Audrey II’s mouth to open smoothly, to snap shut with character, and to move in sync with the puppeteer.

I tried several hinge systems and kept failing. Some were too stiff, some too loose. The balance between weight and motion was tricky, and I didn’t have fancy equipment. I relied on problem-solving, YouTube tutorials, a lot of trial and error, and help from friends and other crafty colleagues. (Thank you Jason!!)

There were nights when I thought about giving up. I’d stare at a half-built puppet and think, “I’m in over my head.” But then I’d take a break, work on another phase, or just sleep on it. And somehow, the next day, a solution would appear. Sometimes I’d dream of it (literally wake up with the idea that solved the issue). Those were small miracles that kept me going.

When I finally got the mechanisms working, I almost cried. Seeing Audrey II’s mouth open and close for the first time was magic. It wasn’t perfect, but it moved. She was alive, and that was enough to remind me why I love this work.

Phase 4: The Magic Moment Phase

This was the phase where everything came together. The paint, the textures, the vines, the teeth, the lips, it all transformed into a living character. Under the lights, she looked vibrant and mischievous, just like I had imagined!

I stood there staring at her, covered in glue, tired, and emotionally drained, but smiling like a kid. All the fear, frustration, and mess suddenly felt worth it. Audrey II wasn’t just a prop; she was a symbol of what happens when you don’t give up, even when you’re sure you can’t do it.

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I started building props when I was 45. At that time, I thought I was too old to start a new career, but I so was wrong!. I’m living my dreams as if I were 25 again, curious, brave, and full of passion. This project reminded me that it’s never too late to learn something new or to take a risk that scares you.

Now I can’t wait for the next adventure: building Olaf for Frozen and learning more about puppetry mechanisms. Audrey II taught me that even when you doubt yourself, even when your home turns into chaos and your loved ones roll their eyes at your foam-covered hands, you can still create something extraordinary.

Because sometimes, the scariest challenges lead to the most beautiful things.

What do you think, should Olaf be next, or do you have another dream puppet I should tackle? Share your thoughts or your own creative journey in the comments below!