How Cardboard, Folk Art, and Imagination Built a Bug World

Inside Jobsite’s “The Butterfly’s Evil Spell” with Puppet Designer Spencer Meyers

By Avery Anderson

When Spencer Meyers first signed on to design puppets for The Butterfly’s Evil Spell, he figured working in cardboard would be a cinch.

“I thought, ‘cardboard should be easier than foam,’” he said. “That was both true and false at the same time.”

Now running through June 1 at Jobsite Theater, The Butterfly’s Evil Spell is a darkly funny, deeply visual folk fable — and a rare glimpse into the world of insect love, longing, and heartbreak. At the center of the production are Meyers’ hand-built puppets, each one a fully realized bug with personality, backstory, and style.

In this Q&A, Spencer walks us through his design process, artistic influences, and how a cardboard puppet can break your heart — or make you laugh out loud.

The aesthetic: folk art fable with a darker edge

“Each puppet needed to look like it was created and painted by hand,” Meyers said. “There’s something about hand-painted items that has a ‘beautifully flawed’ look, and I wanted that.”

The show’s aesthetic is rooted in folk art traditions, with inspiration pulled from Spanish and Scandinavian styles. Meyers leaned into flaws and textures, creating contrast between grounded, angular beetles and the ethereal, floating butterfly — whose sparkling wings, flowing curves, and light-catching fabric make her feel “like a fallen star.”

Bugs with heart

Meyers didn’t just build puppets — he built characters.

Curio, the romantic lead, is the only green puppet on stage. He has glass eyes, pink heart-shaped patterns, and beetle inspirations ranging from the Picasso beetle to the scarab. “The glass eyes help him emote differently,” Meyers said. “It’s an extra layer of depth to his soul.”

Each puppet reflects its status, emotion, and purpose — from the stately red-ladybug-inspired Doña to the upper-crust beetles adorned with brooches and spikes. And then there’s the fan favorite: a strange little creation known only as the Girl with Fly.

“She was made to do one thing, and that is to make us laugh,” he said. “And she does.”

Building bugs from boxes

Meyers' process starts with sketches, inspiration boards, and measurements. Then comes construction — all by hand.

Most puppets are made from disassembled cardboard boxes, repurposed with papier-mâché, paint, trinkets, magnets, and foam. Every movement, every mouthplate, and every hidden puppeteer armhole is carefully planned.

Some designs called for unusual materials: the elephant beetle’s horn is made from a cleaned plastic water bottle. The Girl with Fly uses magnets and a hidden dowel so she can release and recapture her fly friend mid-scene.

“Each puppet took two to four days to complete,” he said. “Some required extra trial and error — like remaking Curio’s head because the first one looked scary. I posted it on Instagram for all to see what could’ve been.”

Collaboration and performance

Meyers collaborated closely with director David Jenkins, choreographer Alexander Jones, and the full acting ensemble to bring the puppets to life.

“The actors had to become one with their puppets,” he said. “It was great to spend time with each performer and give tips for their character’s movement. I’ve been at every rehearsal since.”

So, what’s it like to see your creations move on stage?

“I no longer see actor and puppet — I’m just watching the puppet,” Meyers said. “That’s it. That’s what you want when you see something like this.”

What’s the magic of puppetry?

“It’s both easy and hard,” Meyers said. “You can make a puppet from a milk jug or a paper bag — but to make it feel alive, to make an audience forget it’s cardboard? That takes care, trial and error, and a whole lot of love.”

And that’s what makes The Butterfly’s Evil Spell feel like more than a quirky dark comedy. It’s a world where bugs feel human, cardboard feels emotional, and puppetry feels like magic.

👉 Read the full interview with Spencer Meyers →