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The Krofft Brothers at Hemisfair ’68

May 19, 2023
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Color photograph of puppeteer demonstrating a large, blue and green spider puppet with pink nails for a feminine audience member

With 2023 being the fifty-fifth year since Hemisfair ’68, it is more than overdue to look into the involvement of two of the most famous puppeteers in modern history. When Hemisfair ’68 opened in San Antonio on April 6th, two puppet productions by Sid and Marty Krofft were included: Kaleidoscope in the Coca-Cola Pavilion and Les Poupées de Paris at the Lido Theatre. The all-ages Kaleidoscope was commissioned by Ralph Garrard, Vice President of Coca-Cola USA, exclusively for Hemisfair. The adults-only Les Poupées de Paris originally opened in the early 1960s and had already been a World’s Fair attraction at Seattle and New York in 1962 and 1964, respectively. R. Jay Casell Productions funded Les Poupées de Paris coming to Hemisfair ’68.

Kaleidoscope

Black and white photograph of six White men standing together in a line
Black and white photograph of Sid Krofft in a black and grey pinstripe suit, clasping his hands and sticking his tongue out of the side of his mouth

Coca-Cola signed on as a major Hemisfair ’68 exhibitor in May 1966 and paid $122,500 for the construction of a 17,500-square-foot Coca-Cola Company Pavilion. Local architect Philip Carrington was secured to design the pavilion. Carrington’s design consisted of:

A flat, drum shaped central structure containing the seating area of the theater, with a dominant slope-roofed structure to one side of the drum over the stage, and low sloping masses projecting from the remainder of the circumference, reflecting the ancillary spaces.

Phillip Carrington, Coca Cola Company Pavilion architect, letter to Eileen Doyle, July 28, 1967, San Antonio Fair, Inc., Records, MS 31, University of Texas at San Antonio Libraries Special Collections.
Black and White Photograph of Coca-Cola Coca-Cola Pavilion Model at Hemisfair '68 with text at the bottom reading "COKE AT HEMISFAIR '68"
Color photograph of the exterior of the Coca-Cola Pavilion at Hemisfair '68 with a sign next to the Enjoy Coca-Cola logo reading "KALEIDOSCOPE" by Sid and Marty Krofft
Black and white photograph of the audience line for the 9 a.m. performance of the Sid and Marty Krofft puppet show "Kaleidoscope"

The original concept for the Coca-Cola Pavilion was a cowboy exhibit. By May 1967, Garrard had the idea for “a family-type puppet show” (May 17, 1968 correspondence from James M. Gaines to John Daniels, San Antonio Fair, Inc., Records, MS 31, University of Texas at San Antonio Libraries Special Collections). Puppeteer brothers Sid and Marty Krofft stepped up to the challenge and created the original all-ages show Kaleidoscope for the 500-seat theater.

The show was designed to keep with Hemisfair ’68’s theme of “The Confluence of Civilizations in the Americas”. Its costuming, presentation, and music emphasized a variety of American cultures and history, including:

  • Aztec, Toltec, and Maya costumes and dances
  • Mexican bullfighters
  • Simon Bolivar
  • Davy Crockett

The plot of Kaleidoscope was that at the beginning of time a hero was transformed into a dragon by a witch. He must stay this way until he is kissed by someone. Thousands of years later, he meets a famous girl who accompanies him on his search to find the witch. Ultimately, the hero is returned to his true form.

Black and white photograph of Sid and Marty Krofft in a puppet workshop surrounded by four large puppet heads
Black and white photograph of Sid Krofft being held by a twenty-two foot Davy Crockett puppet from the Krofft brothers' Kaleidoscope show at Hemisfair '68
Black and white photograph of Marty and Sid Krofft with a Mexican bullfighter puppet from their Kaleidoscope show from Hemisfair '68

Kaleidoscope was a 25-minute show with a cast of more than 120 puppets. Puppets were made from plaster molds of a wood dough. Once dry, forms were painted and then sent to hair and makeup and wardrobe. Hair and makeup included the addition of plastic teeth, false eyelashes, and styled wigs. Some of the puppets stood up to twenty-two feet tall.

Black and white photograph of Kaleidoscope puppet show including six extra large puppets as well as six small cowgirl puppets
Color photograph of Kaleidoscope puppet show including six extra large puppets as well as six small cowgirl puppets
Color photograph of a feminine Jazz singer puppet performing in front of nine dancing banjo puppets. There is a travel trunk in the middle of the stage and a river boat named the Robert E. Lee is entering from stage right.
Color photograph of anthropomorphic flowers and mushrooms in garden with a rainbow overhead. The monster star of Keleidoscope can be seen in the background.
Color photograph of seven cowgirl puppets in gold dresses, boots, and hats descending from the ceiling and four señorita puppets in large ruffled, floor-length dresses dancing on stage

This massive production was performed twelve times a day for 184 days. After each show, puppeteers would “pull back the curtain” for the crowd. The audience was then invited backstage to see how the stage effects and puppets were operated.

Black and white photograph of a Kaleidoscope puppeteer standing in front of stage with the "beast" mascot puppet from the show standing on stage behind him.
Color photograph of puppeteer demonstrating a large, blue and green spider puppet with pink nails for a feminine audience member

Though Kaleidoscope was limited to its 6-month run at Hemisfair ’68, at least one part of this production has lived on via a later Krofft effort. The breakout star of Kaleidoscope was the dragon mascot puppet. After this production, the Kroffts pitched a TV show based on the character to Larry White at NBC. For a name Sid and Marty ultimately landed on Pufnstuf, which was inspired by the Peter, Paul, and Mary song “Puff the Magic Dragon”. They then added H.R., which is the initials for “royal highness” reversed. Less than a year after Kaleidoscope closed, H.R. Pufnstuf premiered on September 6, 1969 on NBC.

Color illustration of moments from Sid and Marty Krofft's Kaleidoscope puppet show, including: the dragon main character, a cow dressed as a ballerina jumping over the moon, a ringmaster woman, a bulldog, and more characters
Color illustration of Kaleidoscope cast including a witch, two young maidens, a beast, and a bulldog with a large spider overhead
Black and white photograph of a Kaleidoscope puppeteer standing in front of stage with "beast" mascot puppet from the show standing on stage behind him.
Kaleidoscope puppeteer standing in front of stage with the "beast" mascot puppet from the show, and three twenty-two foot tall Western-dressed puppets standing on stage behind him.
Black and white photograph of puppeteer Mart Krofft with the "beast" mascot puppet from the Krofft brothers' "Kaleidoscope" show at Hemisfair '68 in San Antonio, Texas.

Les Poupées de Paris

Color postcard of the Lido Theater at Hemisfair '68. The multi-color striped building featured a pink ticket booth in front and marquee reading “SID & MARTY KROFFT’S Les Poupees de Paris”
Color Advertisement for Sid and Marty Krofft's Les Poupées de Paris with an illustration of a burlesque performer in the middle. At the bottom is text that reads: "ON STAGE--A SPICY FRENCH REVUE So sophisticated and delightfully risque, it is recommended for ADULTS ONLY. The LES POUPEES spectacular features stars performing in the style of the great Lido and Folies Bergère. 'THE SMASH HIT OF THE SEATTLE WORLD'S FAIR' -- Time Magazine."

“If the girls in this spicy French revue were real, they’d surely be arrested.”

Hemisfair ’68 included a Sid & Marty Krofft puppet show that press releases described as “Punch and Judy in the Nude”, Newsweek said it’s “like seeing Santa’s toy bag animated by the brothers Minsky”, and Jack Paar dubbed the puppets “naughty pine”. The 600-seat Lido Theatre, across from the Lone Star Pavilion and two doors down from the Mormon Pavilion, showed Les Poupées de Paris, an adults-only musical revue with a $250,000 production budget featuring 250 puppets and a musical score by Broadway musical team Sammy Cahn and James Van Heusen. $75,000 was spent just on the costumes. The performance space was named for Lido de Paris, the Venetian luxury-styled cabaret, which sadly closed its doors last year after 76 years in business. In the early days of his career, Sid Krofft had performed puppet shows at the original Lido.

Color photograph of building model with "THE LIDO" on the side of an awning. Paper people are standing scattered around the building.
Color photograph of the colorful exterior of the Lido Theatre at Hemisfair '68. The marquee reads

Other influences on the show included Folies Bergère and Radio City Music Hall. Stars who lent their voices to their puppet doppelgangers included Pearl Bailey, Mae West, Milton Berle, Bing Crosby, Gene Kelly, Liberace, Jayne Mansfield, Phil Silvers, Frank Sinatra, and Dean Martin. In addition to the voice cast, “puppet personalities” of Jackie Gleason, Maurice Chevalier, Brigitte Bardot, Marty Krofft’s own wife Christa Speck, and many other stars were featured in the revue.

Color photograph of Pearl Bailey puppet and two shorter masculine puppets from Sid and Marty Krofft's Les Poupées de Paris puppet show at Hemisfair '68
Black and white photograph of the Brigitte Bardot puppet from Sid and Marty Krofft's Les Poupées de Paris
Color photograph of Liberace, Jayne Mansfied, and "Pelvis Essley" puppets from Sid and Marty Krofft's Les Poupées de Paris puppet show at Hemisfair '68

Les Poupées de Paris opened with the puppet versions of Frank Sinatra, Dean Martin, and Bing Crosby serenading Brigitte Bardot in her bathtub. Then the scene switched to Gene Kelly and Pearl Bailey in Paris. Then to Mae West, Liberace, and Milton Berle. Stage effects included:

  • a twenty foot waterfall
  • a skating rink
  • a fifteen foot swimming pool
  • sixteen units of dancing fountains with fireworks
  • a full symphony orchestra of puppets

The workings of the extravagant stage effects in the show were of great interest themselves. Like Kaleidoscope, each show ended with the audience being invited backstage to see not only how many of the puppets were manipulated, but how special tricks like smoking, swimming, and can-can dancing were created. The audience learned how such wizardry as the waterfall, ice skating rink, haunted castle, swimming pool, and fountains with fireworks were all controlled backstage. They were also invited to peek into the puppet workshop where new puppets were constantly being designed (Press release by R. Jay Casell Executive Producer Hemisfair Station, San Antonio Fair, Inc., Records, MS 31, University of Texas at San Antonio Libraries Special Collections).

Color photograph of seven clown puppets playing around and on a cannon
Color photograph of six puppets dressed like Parisian fashionistas
Color photograph of five tanned fairy puppets in green feathered outfits, one ice skating, the rest flying in the air
Color photograph of horror puppets including vampires, Dr. Frankenstein and his monster, bats, and skeletons all from Sid and Marty Krofft's Les Poupées de Paris puppet show at Hemisfair '68

By late July 1968, the “adults only” signs were removed on the attraction and children were welcomed into the Les Poupées de Paris audience at half price admission. Immediately, kids began to take up ten percent or more of audiences. R. Jay Casell’s reasoning for this move was that attitudes had changed over the last decade since the Kroffts had initially premiered this show and the pint sized patrons were more interested in the puppets and production than the lyrics or dialogue (Lloyd Larrabee, “Les Poupees de Paris Removes ‘Adults Only’ Restriction”, San Antonio Light, July 30, 1968, 17).

The Krofft brothers employed 112 puppeteers for their Hemisfair shows, not to mention the staff for their puppet workshop as well as the ushers and ticket booth representatives. The artistry displayed in these two Krofft stagings is impressive and would make for incredible productions today. The results are a testament to the ambition and creativity of the Krofft Productions team, especially the proto-Pufnstuf from Kaleidoscope.

Source Collections

General Photograph Collection, MS 362, University of Texas at San Antonio Libraries Special Collections.

HemisFair ’68 Memorabilia Collection, MS 127, University of Texas at San Antonio Libraries Special Collections. https://txarchives.org/utsa/finding_aids/00406.xml

San Antonio Express-News Photograph Collection, MS 360, University of Texas at San Antonio Libraries Special Collections. https://txarchives.org/utsa/finding_aids/00306.xml

San Antonio Fair, Inc., Records, MS 31, University of Texas at San Antonio Libraries Special Collections. https://txarchives.org/utsa/finding_aids/00335.xml

Zintgraff Studio Photograph Collection, MS 355, University of Texas at San Antonio Libraries Special Collections. https://txarchives.org/utsa/finding_aids/00297.xml

from → Manuscript Collections, Photograph Collections, San Antonio History, Uncategorized
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