The Squeaking Tribe

The Succubus, Lilith – Large Marionette


The Succubus, Lilith – The most famous seductress of all time, Lilith is known as the mother of all Succubi.
Originally called “lilitu”, she first appeared in Sumerian culture as a goddess of fertility and witchcraft. Later, the Assyrians and Babylonians associated her with dark demons while the Greeks gave Lilith (called “lamia”) an extensive backstory. To them she was a beautiful woman whom Hera transformed into a monster, after her beauty attracted Zeus’s roving eye. In her new monstrous form, Lamia roamed the world, seducing men and eating babies.

Judeo-Christian mythology also put their own spin on Lilith’s legend. They described her as Adam’s first wife, created at the same time as him. Unlike Eve, Lilith was no meek partner. She refused to honor Adam as her leader. Instead, she went off exploring on her own and discovered the Red Sea, where hordes of demons lived. The rebellious woman found that she liked the demons more than Adam, so she mated with them and began “bearing lilim at the rate of more than one hundred per day.” These “lilim” went out into the world as demons, some of them as sexy and independent as their mother, and these became the Succubi.

While all this no doubt makes her seem a somewhat formidable influence to re-create in puppet form, I can’t help but admire the independant nature of Lilith as a feminine force and see her as a powerful archtype worthy of the stories attributed to her. In this way, she is simply perfect as a demon temptress for any medieval play.

Large-scale Artworks

Fully articulated marionettes and interactive Art!

When I first began making marionette puppets back in 1996 (22 years young), I was living with a potter and a drum-maker in the foothills of Adelaide, South Australia. With access to a whole range of clays, I found myself one day sculpting a hollow head and face. “If I added clay hands and feet,” I thought to myself, “I’d have the basic counter balances for a puppet!” Which prompted two simple questions: a) Of what little marionettes I’d seen, why did so many of them look so cheap and crappy, and b) Why did none of them work!?

My challenge clearly was to make a good looking puppet that would actually perform. As the Internet was yet to become a household fixture and Google not yet a technocrat’s pipedream, I resorted to local libraries whose resources on the subject was terribly lacking. Luckily, the process for making a marionette was a time consuming one with many separate factors; hand sculpting with clay which needed days (sometimes weeks) to dry before firing, sewing and soft-sculpture creation of the ‘skeleton’, costuming and assembling of the basic character, construction of an appropriate crosspiece before stringing and detailing the final finished piece. In all, a process that required a 3-6 weeks work, an opportunity of course which allowed a LOT of extra time for dreaming up new puppet characters to make!

Every marionette I made, I was learning and discovering new ways to make them quicker and more effective and with every idea that ensued, I was having more and more ideas of other puppets I could make. The avalanche of ideas which consumed me in that first year alone could keep me busy crafting for a decade at least; having kept that passion alive for over twenty-five years, I easily have enough ideas to fill multiple lifetimes!

From these humble beginnings, I have since developed a whole range of different interactive effigies which borrow from the traditional methods of Puppetmaking while at the same time improve on ideas of articulation to create marionettes which everyone can use and indeed, with a little practice, manipulate like a professional. Sharing this with others and inspiring a new generation of artists and puppeteers to reignite the tradition is probably the greatest joy in this life I have made and now share with my wife, Sara.


Doll-form/ full marionette height approximately 65/120cm or 25/47in.


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