Multi-talented hometown performer Glenn Wallis is returning to Fringe World with a new friend in tow – a foul-mouthed sock puppet named Emmett.

Delving into his experience as a children’s entertainer, Wallis pulls back the curtain to shine a spotlight on what lurks beneath the nursery rhymes and sunny smiles in I Can Have A Dark Side Too.

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We caught up with Glenn for a chat about what to expect from his dark and delightful one-man show.

So you have experience with writing, music, cabaret, comedy, theatre, television and now… ventriloquism! What drives you to be a creative jack of all trades?

I think it’s important to explore all aspects of performance because you never know what you might click with – I personally love getting to hop in and out of different disciplines.

It’s also so rewarding getting to diversify your skill set. I’ve found writing in particular has become such a saving grace for me as I detest the idea of waiting for my agent to ring.

How do all of these talents come together in I Can Have A Dark Side Too?

As this was my first solo show I wrote, I wanted to have a physical presence on stage that I could bounce off, hence the puppet. I was particularly inspired by a Jodie Foster movie called The Beaver, in which Mel Gibson plays a depressed man who speaks to his subconscious through a beaver puppet.

Whilst the movie was critically panned, I found the premise both absurd and profound. I never intended to use ventriloquism but my writing tutor at the time encouraged me to learn it and I found a bunch of resources on YouTube by the American ventriloquist Jeff Dunham.

The show draws upon my experience as a children’s entertainer and also deals with grief. I find comedy is particularly great at disarming an audience to deal with heavier themes.

The show explores a children’s entertainer whose struggling to keep it together in front of the kids – are we speaking from personal experience?

Fortunately not. I used to run children’s parties though and I saw so much comedy that could be mined from the premise. The idea of a character censoring themself whilst they’re barely holding it together was hilarious to me.

With any show you write though, you often run the risk of people wondering whether you’ve actually experienced the events that are depicted. I’d like to state for the record my Working With Children’s Check is current and valid. 

RuPaul often says everybody loves puppets – is this true in your expert opinion?

Yes and no. I performed at Fringe last year in a French cabaret show called Yé-Yé Yeah! I brought a puppet on to sing a song and when I tried handing it off to an audience member she stated she had pupaphobia.

But mostly I think there is something quite endearing about them. I do love that they’re associated with childhood and innocence so when you flip that narrative on its head and have an antisocial puppet – like the one in my show, it is oddly satisfying.

You’ve recently made the move to London and broken on to the theatre scene already – notably in the uniquely British tradition of the pantomime. How has this new experience shaped this new show?

Pantomime is massive in the UK. I grew up on seeing pantomimes at Curtin University so it was fun getting to perform one in London. In a way, pantomime requires you to be a jack of all trades as you have to have comedic timing, improvisation and physical theatre skills.

Alongside this, you have to be able to listen and respond to your audience and think on your feet if something goes left of field (as it often does). I do love the outlandishness of pantomimes and creating massive characters. There is a little audience interaction in my show which should be fun.

For those who haven’t caught you on the stage or screen, what can people expect from a Glenn Wallis show?

Expect music, comedy and non-PG material. This show in particular has a swearing sock puppet called Emmett who voices the protagonist’s inner dialogue.

I love drawing on the absurd and my dark sense of humour so I hope audiences will find themselves shocked at what they’re laughing at. 

I Can Have A Dark Side Too runs at The Jonesway Theatre from 23 – 25 January. For more, head to fringeworld.com.au