20 For 20: The Woman Behind the Strings, The Dolores Hadley Marionette Auction

By Jason R. Roske

There are house calls you remember because of the value.
There are others you remember because of the people.

And then there are the rare ones where you walk into a space and immediately think, “This feels like the opening scene of a horror movie.”

That was my first visit to the Dolores Hadley estate.

This post is part of our 20 For 20 series, where we look back at memorable auctions, collections, and moments from our first 20 years at KC Auction & Appraisal Company. Some stand out because of the results. Others because of the stories behind them. This one stands out for both.

Her son Dan had reached out, and I went over to take a look at the collection. He led me down to the basement, opened a long closet, and there they were.

Rows of marionettes. Hanging. Silent. Each one carefully protected in a clear garment bag, suspended by strings like they were waiting for their next performance.

It was fascinating. It was impressive. And yes, it had just enough of a creepy, movie-set quality to make you pause for a second. Like they were waiting to come alive and take over the world.

What I didn’t realize at the time was that I was looking at the life’s work of a woman whose work would eventually be collected and preserved far beyond Kansas City. I also didn’t know that the collection would start creating lasting moments, even before they came to the office.

From Christmas Gifts to Center Stage

Dolores Hadley did not set out to become world famous.

Like many great stories, hers started simply. As a single mother, she began making puppets as Christmas gifts for her children. What started as a personal gesture quickly revealed something more. She had an instinct for character, movement, and expression that most people simply do not possess.

By the late 1960s, she was performing through Kansas City Parks & Recreation. The work gained attention, and the characters she created began to develop a following.

Then came a moment that changed everything.

She reached out directly to Lamar Hunt and secured a contract with Worlds of Fun beginning in 1973. That decision turned a local performer into a regional and eventually national attraction.

For more than 20 years, La Famille Marionettes became part of the Worlds of Fun experience. Her troupe performed up to 10 times a day during the season. Millions of visitors saw her work.

And this was not just her show. Over time, her children became part of the performances. Each took on roles within the production, making this a true family creation.

Her work went beyond the park as well. She performed at the Nelson-Atkins Museum of Art, schools, benefit events, and venues across the country. She appeared on television and was featured in numerous publications.

Today, her marionettes are held in museums and collections around the world.

An Artist in Every Sense

It is easy to underestimate marionettes if you have only seen them from a distance.

Up close, Dolores Hadley’s work tells a very different story.

Each figure was handcrafted by her. The faces were sculpted with intention, often exaggerated to enhance expression. The eyes, the hands, and the posture all worked together to create a believable character.

The costumes were detailed and purposeful. They were designed to move, to catch light, and to reinforce the identity of each figure.

And then there was the engineering.

A marionette is only as good as its movement. The balance, stringing, and control all have to work together. These were built not just to be displayed, but to perform.

That is why her work resonated beyond Kansas City. These were not novelties. They were functional works of art.

Living With the Collection

Once we brought the collection back to our auction facility, the experience took on a life of its own.

We had dozens and dozens of marionettes, and we needed space. So we used everything we could. Picture hooks, rolling racks, anything that would support them.

Before long, the office was full.

Everywhere you looked, something was looking back at you.

Some were cheerful. Some were mischievous. Some had expressions that were just a little too real for comfort. You would walk through the office and catch yourself locking eyes with a character hanging quietly in the corner.

It became a running joke, but it was also true. You were never alone in that space.

And in a strange way, that made the collection even more impressive. These were not passive objects. They had presence. They held attention even when they were completely still.

A Collection That Still Had Life

As we worked through the estate, what stood out was how well everything had been preserved.

These were working marionettes that had been performed thousands of times, yet they remained in remarkable condition. Carefully stored and protected, they still felt ready to take the stage.

We also discovered old performance videos. We digitized several and shared them online. Those videos are still being watched years later.

They show the marionettes doing what they were built to do, moving, interacting, and telling stories.

That connection carried over into the auction.

The Character That Introduced the World

Every auction has a moment where something clicks.

For this one, it was Dracula.

The marionette had a presence that translated instantly. The expression, the posture, the styling, it stood out in a way that made people stop scrolling.

We posted it early, and the response was immediate. The post went viral and reached far beyond our usual audience and introduced the collection to people all over the country and beyond.

That same figure became the highest-selling single marionette in the auction.

It was only outperformed by a more complex grouping, including the Farmer’s Wife and the Three Blind Mice, which had multiple figures and a larger stage presence.

But Dracula was the introduction. It was the piece that opened the door.

The Auction Comes to Life

From the beginning, this felt different from a typical Kansas City auction.

We saw interest from collectors, working performers, museums, art dealers, and people who were simply curious. We even had bidders travel in from out of state just to preview the collection.

At the open house, Dan joined us and brought the marionettes to life.

Watching him operate the figures changed everything. These were not just objects. They were performers. They had timing, movement, and personality.

That moment shifted how people saw the collection.

Bidding reflected that shift. Interest was broad, steady, and competitive across the entire catalog. The right audience had found it.

A Moment I Won’t Forget

Around the same time, KC Studio Magazine was preparing the From Footballs to Puppets, KC Auction Company Puts Kansas City’s Past on the Block article about our company. Photographer Jim Barcus came by our office to take pictures for the article.

We were walking through the office, looking for something interesting to build a photo around, and nothing was really working. I mentioned the Dolores Hadley collection and I had a few pictures on my phone. That was enough. Jim was immediately intrigued.

The only problem was timing. At that point, we didn’t even have the marionettes yet. They weren’t scheduled to arrive for another week or so.

We had just a couple of days to get the photo done.

Jim reached out to the magazine to see if we could get access to a studio on short notice. I reached out to Dan and asked if there was any chance he could bring in a few marionettes and help set them up for a shoot.

Both said yes.

If I remember right, it all came together the very next day.

We met at a studio in the Crossroads Arts District. Dan brought in several of the marionettes and carefully set them up. Jim worked his magic behind the camera. And I stepped into the middle of it all.

The result is one of my favorite photos we have ever taken.

It ran with the KC Studio article, it’s now part of this story, and it perfectly captures what made that auction so special. Standing there, surrounded by those figures, even before the full collection arrived, you could feel the presence of Dolores Hadley’s work.

It was one of those moments where everything just clicked.

What This Auction Taught Me About Value

This auction reinforced something I believe strongly.

Unique collections do not need a broad audience. They need the right audience.

At first glance, a collection like this might seem niche. But that is exactly what creates opportunity. When the right buyers find it, they recognize the craftsmanship, the history, and the rarity.

An estate auction creates that connection.

It brings collectors, institutions, and enthusiasts together in one place. It creates competition among informed buyers, and that is where value is realized.

Whether you are selling fine art, coins, jewelry, or a unique collection like this, the principle is the same. The right audience matters more than the size of the audience.

Final Thoughts

The Dolores Hadley Marionette auction remains one of the most unique and memorable estate auctions we have conducted in Kansas City.

It was fun. It was unusual. It was just a little eerie in the best possible way.

But more than anything, it was a reminder that behind every collection is a life’s work.

Dolores Hadley created something that entertained millions and continues to be appreciated in museums and collections around the world.

We were honored to help share that story.

If you are considering selling collectibles at auction, or you have a unique collection, we would be happy to help.

At KC Auction & Appraisal Company, we provide free evaluations and decades of experience helping clients navigate estate auctions in Kansas City and beyond.

The right buyer is out there. Our job is to help you find them.