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The Bob Baker Marionette Theater was about to debut its first new production in 45 years, and it was uncertain whether one of the show’s signature new puppets would even work. A pelican, with an oversized bucket-like beak, was in need of last-minute maintenance.

This gangly bird, designed to hop, skip, soar and sing to Clarence Henry’s mid-’50s rhythm and blues hit “Ain’t Got No Home,” was supposed to surprise the audience, as its elongated bill is actually hiding a frog. Getting the pelican-frog duo to perform in unison was a feat of mechanical artistry for the team, not to mention the choreography needed by the puppeteer.

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And in the minutes before showtime, director Alex Evans was trying to stay calm. In such moments, he would say later, he only need remind himself of an old adage in the puppet arts.

“Puppets,” he says, “break all the time.”

With that, he was ready to embrace the unknown.

“I always say I love the chaos of live theater,” Evans says. “We got to believe in this thing.”

“Choo Choo Revue,” the latest in a long line of song-and-dance productions, is arriving at a momentous time for the Bob Baker Marionette Theater. Just last month the troupe announced its intent to purchase its venue on Highland Park’s York Boulevard for $5 million, doing so as it was gearing up for performances at the Coachella Valley Music and Arts Festival. The latter went viral, a fact Evans attributes to many of the first week shows of “Choo Choo Revue” selling out.

An organist plays while people file into the premiere of “Choo Choo Revue” at the Bob Baker Marionette Theater.

In many ways, “Choo Choo Revue” is a statement piece. Evans, who also serves as co-executive director with Mary Fagot, wants to place the spotlight on the theater’s current crop of artists, fabricators and collaborators. While the show pays tribute in many ways to the theater’s legendary namesake founder, perhaps most notably in its use of his vintage record collection, it’s time, Evans says, for the Bob Baker Marionette Theater’s next generation to shine.

Evans was instrumental in the decision to shift the team away from the previously announced production of “Arabian Nights,” a project once spearheaded by Baker, who died in 2014. Just ahead of the arrival of the 2020 COVID-19 pandemic, the theater had gone so far as to print an “Arabian Nights” program, and had finished sets and puppets ready to go.

“Choo Choo Revue” is the first new Bob Baker Marionette show since 1981’s “Hooray LA!”

During the forced closure, however, the team began to rethink its future. “It was a deep-breath time to do some internal thinking about who we are and what we want to prioritize,” says Evans, who joined the company in 2007 as a volunteer and became a staffer in 2009.

“The first new show in 40 years — us finishing one of Bob’s shows would have been deeply personal and meaningful, but it would have kept the narrative, internally and externally, that this was one person’s vision,” Evans says. “‘Choo Choo’ is the culmination of so many different ideas and people. It was purposefully about opening the floodgates, that Bob Baker could be more than just the person of Bob Baker.”

It wasn’t a sure thing the Bob Baker Marionette Theater would even reach this milestone. For much of the past decade — since about the death of the theater’s patriarch — the narrative surrounding the theater was one of survival.

In 2019, the Bob Baker Marionette Theater needed a lifeline. Forced out of its edge-of-downtown home of more than 55 years, the beloved troupe with its thousands of handcrafted puppets — a saucy black cat in heels, a fish out of water that can’t help but wiggle — ultimately found a new location in a Highland Park theater, where it signed a 10-year lease.

Then came the pandemic, when the theater relied heavily on community fundraising to cover its rent. California, and Hollywood in particular, has a rich puppetry tradition. Bob Baker Marionette Theater likes to refer to itself as the largest ongoing puppet theater in the U.S. The oldest puppet space in the country resides up north in Oakland at amusement park Children’s Fairyland. And in 2020, Bob Baker found it had many fans, asking at one point to raise $365,000 over the course of a year. It did so in four weeks.

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1. L Castro twirls a marionette. 2. The audience gives a round of applause after the premiere of “Choo Choo Revue.” 3. People stand in line for the premiere of “Choo Choo Revue” at the Bob Baker Marionette Theatre. (Carlin Stiehl/For The Times)

Old favorites, including the theater’s famed black cat marionette, make appearances in “Choo Choo Revue.”

But it was the long process of buying its home, namely the belief that it would be in Highland Park to stay, that gave the company the confidence that it could go forward with a new show. The obvious question, of course, is why it took 40 years for a completely fresh Bob Baker experience. Evans gives a long answer, pointing to numerous hurdles, be it the shift in locations, the cost of preserving its historic puppets and collection, as well as just managing priorities.

“It’s not necessarily a financial hurdle,” Evans says, noting “Choo Choo Revue” cost $300,000, with about half of that sum dedicated to the creation of new puppets and scenery.

“I think it was more about priorities,” Evans says. “Like, do we get the staff healthcare first, or do we do a new show first? So we got the staff healthcare. Or do we give the stage better lighting.”

As for how and why the team settled on “Choo Choo Revue” as its first production since 1981’s “Hooray LA!,” Evans says not to overthink it.

“It made me giggle,” he says. “It was a jumping off point to imagination. ‘Choo Choo Revue,’ by name itself, I thought to giggle.”

The show is a fantastical representation of a cross-country train trip, filled with adorable puppet trains.

A meticulously detailed log with windows, for instance, or a car that seems to balance natural, mountainous wonders on its back. They’re colorful playthings, at least until the background scenery starts depicting various locomotive styles. Puppeteers will whisk train cars out into the open, each often housing a fantastical creature — a moose, for instance, who takes a break from knitting to prance around to a rendition of the on-theme traditional blues ditty “Midnight Special.”

Behind it all are tens of thousands of hours of handcrafted proficiency. Each new puppet is a work of art. Take, for instance, a swarm of bats that seemed to glow in the dark (the creatures, created for “Choo Choo Revue,” made their debut during last year’s Halloween season).

The Bob Baker Marionette Theater created more than 100 new puppets for “Choo Choo Revue,” including a pelican hiding a frog in its beak.

Or an intricately detailed cicada band. They’re each playing tiny instruments — one a half-open sardine can, another a stringed matchbook. Their wings deserve a close inspection, as the translucent curved fixtures are inspired by stained glass windows. There are trees that ski, and train whistles with big lips and high heels, modeled after harmony group the Andrews Sisters. Wait till the latter toot off their tops, as each of the 100 new puppets is full of surprises.

“We get a bunch of different artists together, and we all brainstorm,” Evans says of the creation process. “Like, ‘Let’s all think for a second about anthropomorphizing trains.’ We did a series of sketches and showed them to each other. I honestly probably have a thousand different fascinating ideas for train movement.”

On opening night, the crowd claps along to the numbers, cheering with delight at each new piece of whimsy that rolls or soars onto the floor-level stage. And as for the showstopping pelican, the frog erupts out of its beak right on cue, a moment that indeed inspires a round of laughter and childlike awe.

As the imaginary train whisks the puppets around the country, the show manages to build anticipation just by making the crowd wonder what comes next. Say, for instance, a fluffy Sasquatch, or a crooner of a moon in pajamas singing an old-timey lullaby to all the little ones seated cross-legged on the floor.

Puppeteer Ginger Duncan twirls a marionette named Comedy.

Much of “Choo Choo Revue,” like the yawning, serenading moon, is rooted in the music of the past. That was a decision made to ensure the show feels in line with earlier Bob Baker works. Yet Evans says the team is emboldend after Coachella to start tackling more contemporary songs at its Highland Park headquarters. The crowd at the Indio festival, for instance, went wild for the puppets swooning to Ben Platt’s cover of Addison Rae’s hit tune “Diet Pepsi.”

“Honestly, if we had done Coachella last year, it would have pushed ‘Choo Choo’ further,” he says, noting he initially feared pop music could distract. “I didn’t think it could work in a way that wouldn’t throw you out of the show.”

And yet Evans doesn’t want to get ahead of himself. He nearly teared up at the end of the “Choo Choo Revue” premiere, saying the following afternoon that seeing this show come together after multiple years was second only to his 2025 wedding in terms of creating an “overwhelming feeling of pride, love and care.”

“Choo Choo Revue” culminates in a look toward the future. That’s when a sleek, silver, oversized high-speed bullet train arrives on the scene.

It can be read as a metaphor.

While the nonprofit is still seeking donor help — at the premiere, Fagot said the company now has secured $4.7 million toward its $5 million goal of buying the theater and it also hopes to raise an additional $2 million for building upgrades — its future is more secure than it has been at any time over the past decade.

At long last, the Bob Baker Marionette Theater can relax and look toward new horizons.

Evans, for instance, can’t help himself excitedly tease a potential next Bob Baker show. He says twice in the interview that the Olympics are on the troupe’s mind.

“We’ve got two years,” he says. And now the permanent home to house it.

Kevin Warsh, the man nominated to lead the Federal Reserve, the world’s most important financial institution, told the US Senate Banking Committee on Tuesday that he had made no secret agreements with the White House over interest rate policy, defending his professional integrity.

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He said he would act independently if confirmed to succeed Jerome Powell, despite continued public pressure from US President Donald Trump for lower borrowing costs.

The question of that independence was put sharply to him during the hearing, when Republican Senator John Kennedy asked whether he would be Trump’s “human sock puppet”. Warsh replied: “Absolutely not.”

His comments came amid broader concerns on Capitol Hill about the future direction of the central bank, with lawmakers divided over his past record and approach to monetary policy.

Warsh insisted that the President had never asked him to commit to any specific interest rate path and said he would not have agreed to such a request.

The hearing highlighted the significant pressure facing the Federal Reserve as it maintains its independence while addressing inflation, which remains at 3.3%.

Just hours before the session began, US President Donald Trump stated in a CNBC interview that he would be disappointed if Warsh did not immediately implement rate cuts.

This current friction suggests that the White House may struggle to secure the necessary votes to confirm Warsh before Powell’s term as Fed Chair expires on 15 May.

Democratic opposition and Republican dissent

Democratic senators were particularly vocal in their scepticism, accusing Warsh of shifting his economic stance to suit the political climate.

US Senator Elizabeth Warren labelled the nominee a “sock puppet”, suggesting his installation would facilitate an “illegal takeover” of the institution.

Critics also pointed to his historical record, alleging that he favoured higher rates during Democratic administrations but has become more dovish under Republican leadership.

US Senator Ruben Gallego cited reporting from the Wall Street Journal (WSJ), which claimed the President had previously urged Warsh to reduce borrowing costs. Warsh responded by stating that such reports were based on inaccurate sources and reiterated that the independence of the Fed is “essential” for economic stability.

Despite Trump’s backing, the nomination also faces a critical roadblock within the Republican Party.

US Senator Thom Tillis, a Republican from North Carolina, reiterated his refusal to support Warsh as long as a Department of Justice investigation into Jerome Powell continues.

The probe, led by Assistant US Attorney Jeannine Pirro, is examining whether Powell committed perjury during testimony last year regarding the budget of a Federal Reserve building renovation project.

Tillis and other Republican colleagues have expressed their support for Powell, arguing that the investigation is meritless. According to Tillis, he will not vote for a successor until the “investigation is dropped,” a stance that effectively freezes the nomination in a closely divided committee.

Federal prosecutors have reportedly continued their efforts to access Fed records as recently as last week, even after a judge previously found no evidence to support the charges.

Legal and ethical hurdles

The proceedings also delved into Warsh’s personal financial interests and the logistical challenges of a potential leadership transition.

US Senator Elizabeth Warren raised questions about the nominee’s investments in private entities, including SpaceX and Polymarket, noting that the specific size of these holdings had not been fully disclosed to the public.

Warsh defended his position by stating that the Office of Government Ethics has already approved his plan to divest all assets within 90 days of his confirmation.

Compounding the uncertainty is the unique situation involving Jerome Powell.

Unlike most departing Chairs, Powell has indicated he intends to remain on the Federal Reserve’s governing board until his separate term ends in 2028, or until the perjury investigation is concluded.

This could create an awkward power dynamic where the former Chair sits alongside his successor, a scenario not seen in Washington since the late 1940s.

While US President Donald Trump has threatened to remove Powell from the board entirely, legal experts suggest such a move would be difficult, particularly given recent US Supreme Court precedents relating to the protection of Fed governors from political dismissal.

Kevin Warsh, United States President Donald Trump’s pick to lead the Federal Reserve, has addressed concerns about his independence pending his appointment to the bank amid fears that Trump could sway his decisions on monetary policy.

On Tuesday, Warsh — who served on the central bank’s Board of Governors from 2006 to 2011 — faced waves of criticism during a confirmation hearing of the Senate Banking Committee where Democrats voiced concerns about the Fed’s independence should he be appointed to lead the organisation.

Senator Elizabeth Warren of Massachusetts, the ranking Democrat on the committee, questioned Warsh’s independence, alleging that he would be a “sock puppet” for Trump, concerns he pushed back against and addressed in his opening testimony.

“I do not believe the operational independence of monetary policy is particularly threatened when elected officials — presidents, senators, or members of the House — state their views on interest rates,” Warsh said.

“Monetary policy independence is essential. Monetary policymakers must act in the nation’s interest . . . their decisions the product of analytic rigour, meaningful deliberation, and unclouded decision-making.”

Warsh, 56, also called for “regime change” at the US central bank, including a new approach for controlling inflation and a communications overhaul that may discourage his colleagues from saying too much about the direction of monetary policy.

Warsh blamed the central bank for an inflation surge after it slashed interest rates to nearly zero in the wake of the COVID-19 pandemic, a move that continues to hurt US households.

Concerned by the implications of artificial intelligence for jobs – expected to increase productivity – and prices, he said he would move quickly to see if new data tools could provide better insight on inflation, and would also discourage policymakers from saying too much about where interest rates might be heading.

“What the Fed needs are reforms to its frameworks and reforms to its communications,” the former Fed governor said. “Too many Fed officials opine about where interest rates should be … That is quite unhelpful.”

Warsh has also long been an advocate for shrinking the Fed’s $6.7 trillion balance sheet. In the Tuesday hearing, he said any such plans would take time and must be publicly discussed well in advance.

Jai Kedia, a research fellow at the Center for Monetary and Financial Alternatives at the libertarian Cato Institute, told Al Jazeera that there were many “encouraging” signs in Warsh’s candidacy.

“Warsh is presenting himself as a regime change candidate at a time when the Fed needs serious reform,” Kedia noted. “Particularly encouraging was his understanding of the negative effects of QE and his focus on reducing the balance sheet. He also correctly criticised mission creep and acknowledged that the Fed did better when it kept its focus on the dual mandate [of keeping inflation at 2 percent and increasing employment].”

Quantitative easing or QE is an unconventional monetary policy under which a central bank lowers interest rates, among other measures, to boost the economy, a step taken by central banks in several developed countries during the pandemic.

Warsh’s private investments, at well over $100m, are also under scrutiny. Among them are two holdings in the Juggernaut Fund LP, apparently part of his work advising for the Duquesne Family Office, the private investment firm of Stanley Druckenmiller.

Warsh’s nearly 70-page financial disclosure also showed that his other holdings include investments in Elon Musk’s SpaceX and the prediction trading platform Polymarket.

“I agreed to divest virtually all of my financial assets, the large majority of which will be divested” before taking office, Warsh said without giving any details.

Warsh noted that selling his holdings comes with challenges. He said that when that process is completed, he would have “virtually no financial assets” and “we’ll be sitting in something like cash”.

Warren, however, questioned him about the divestment plan. “Do we have any way to verify that, in fact, these sales will occur if we have no idea what’s in them?” she asked.

Political hurdles

The hearing quickly turned contentious, and the pace of Warsh’s confirmation process through the Senate remained in doubt.

He would not directly say that Trump lost the 2020 election – a statement of fact that Senator Warren said was a litmus test of Warsh’s independence from the Republican president who nominated him for the top Fed job.

Yet even amidst the focus on independence, Warsh needs 13 votes to clear the 24-member Senate Banking Committee.

North Carolina Senator Thom Tillis said he would vote against Trump’s nominee and join Democrats, which would create a 12–12 split. The committee has 13 Republican members and 11 Democrats.

Tillis said he would not vote for any Trump nominee until an investigation into current Fed Governor Jerome Powell, whose term ends May 15, is either concluded or called off. Last month, federal prosecutors said they found no evidence of wrongdoing. But Jeanine Pirro, the US Attorney for the District of Columbia, has not indicated that the investigation will be dropped.

Tillis said on Tuesday that he would support Warsh’s nomination once the probe into Powell is dropped.

“Today’s confirmation hearing underscored that Warsh is aiming for independence with guardrails,” noted Selma Hepp, chief Economist of Cotality, a market analytics company. “He rejected being a political ‘sock puppet’ and argued the Fed protects its autonomy by ‘staying in its lane.’ He offered no pre-commitment on rates, while emphasising inflation discipline, a large balance sheet, and a desire for clearer Fed communication.”

Noel Dixon, senior macro strategist at State Street, said that with Warsh, the US would have a “dovish-leaning Fed”.

“When a senator asked him if he would lower rates to 1 percent – I guess Trump had indicated that he would like to have rates below 2 percent – Warsh didn’t really say no to that,” Dixon noted. “He didn’t say that it would increase prices. He kind of leaned on it and said there would be a lagged effect, and he was just very noncommittal to that. So it’s almost like – just reading between the lines – he’s giving himself space to maintain possible justification for rate cuts by the end of the year.”

Trump has continued to pressure the central bank.

On Tuesday, he said he would be “disappointed” if the Fed did not lower interest rates.

Tuesday’s remarks follow comments in December, when the US president said he would not appoint anyone to lead the central bank unless they agreed with him.

“The public needs to know whether Mr. Warsh will have the courage of his convictions or if he’s willing to compromise his independence and accommodate more Wall Street deregulation,” Graham Steele, an academic fellow at the Rock Center for Corporate Governance at Stanford University, told Al Jazeera in an email.

Warsh has praised the administration for its push for increased bank deregulation. In a November 2025 op-ed for the Wall Street Journal, Warsh claimed that Trump’s “deregulatory agenda” is “the most significant since President Ronald Reagan’s”.