August 2007

Gary Owen's Stage Craft for Ventriloquists

by Annie Roberts

To be an entertaining ventriloquist, it's important that you have good material, good puppets, be dressed nicely, etc., but if the show is not staged well -- if it's poorly lit, has a bad backdrop, you can't be heard -- then the audience is missing out on a good show.  Despite what you might think, you are NOT the star of the show; the puppets are the stars. They are the comedians and what the audience came to see.  The comedy comes from the characters.  So to give the audience a good show focused on the puppets, you've got to make sure the staging elements are in place.  There are many ways to enhance the production value of the show -- lots of different things in different places of the performance to make your show seem more professional, more polished and make those puppets really shine as the stars of the show.

Good staging involves good sound equipment, music, tables/stands, lighting, and choreography.  The staging of your show is a long term investment, but the expenses will definitely pay off.  It's about the whole picture which when done right, the audience will notice a great show.  When done wrong, comments like, "The puppet was cute but I couldn't hear him" or "I couldn't see him too well" surface afterwards.  

The first topic is sound systems.  If they can't hear you, your show is lost.  You need a good sound system of your own that you understand how to use.  Never rely on the host to provide what you need. You might find yourself in a situation where the technology is limited, where you're being asked to use a handheld mic or a lapel mic and the sound is above the audience in speakers at the ceiling.  This is NOT ideal.  Get your own sound system.   It's your show so make sure your show is going to work.  Look for a system that is fairly portable with not too much set-up that also doesn't take up much room in the car.  You want something that is light weight that folds up into a box or case.  A good, punchy system will cost around $400-$500 and can be found in most music stores or guitar centers.  Some vents use a small guitar amp for schools or libraries, and this is okay, but it doesn't put out the punch you need to do vent.  Vocal projection is definitely a weakness for vents; that means not projecting your voice so that it can really be heard by all, so you need a sound system that will push you because if the audience can't hear you, you've just lost half your material.  Get a sound system that makes you sound better.  Gary Owen recommends the Yamaha Pro Audio STAGEPASS300 which meets all the above-mentioned requirements. 

An important component of the sound system is the microphone.  Everyone has their own tastes about mics, but here are some thoughts to influence what looks good and sounds good.  All microphones have their own values, benefits, and drawbacks.  Don't settle for a $99 wireless mic.  You get what you pay for and at that price you will get one that does not carry your voice or  has other things like CB radios on the frequency making your voice cut in and out.  Do you really want your act to sound like a bad cell phone connection?   You've saved money on the mic but you've left your audience frustrated.  Plan to spend anywhere from $300-$700 for a decent microphone, depending on the frequencies and punchiness.

Before you buy anything, get educated.  If you see one you think you like, learn about it and get it demonstrated for you.  Never buy online without an in-person demonstration.  Also, learn about the technical support and repair options.  Find out how and where to get support and repair because it's almost inevitable that at some point you will need it.  Hopefully not ten minutes before a show either!

Now let's talk about wireless headsets.  The basic standard headset with the headband and mic ala Brittney Spears is good for demos at home shows, but doesn't provide much clarity.  Gary Owen's wireless mic of choice is the Countryman E6i Directional Earset.  It's subtle, powerful, and good for vents.  You're looking at investing from $499-$699 for this kind of wireless mic, but it's worth it.  Be sure you get a directional mic, NOT an omni.  Don't get an omni because it picks up sound in a circular pattern and you will get feedback.  Omnis are designed for musicians and concerts.  A directional mic picks up only what is going into the mic.  Wireless provides the vent with freedom of head motion and keeps the hands free to be involved in the act.  Some vents like the mic stand because they can hide their bad lip control behind the mic. A hands free set up will force you get better, not only by providing good sound, but improved lip control. 

You've invested in a good sound system so the audience can hear you; now let's figure out how they can see you with effective lighting.  Never take the facility's word about lighting.  Banquet organizers will often say there is great lighting and you get there and find out it's dark or the light is not aimed at the stage.  Again, if they can't see the character, the other half of your show is lost.  Don't buy intelligent lights that DJ's use.  These have colors and you don't need that.  Gary Owen recommends a Par 48, Par 56, or Par 64 light package.   The lights come on a tree stand and do take some time to set up.  Some people go to Home Depot and buy a shop light and put it on a stand.  You'll certainly have light, but how effective will it be?  Does it make you look like you're being pulled over for a traffic violation?  You can spend from $399-$1500 on lights, and it does take some set up time. To check out lighting go to Musician's Friend and shop some of their packages. If you can't afford a lighting system, tell the client that they will lose value on the show if the audience can't see it.  Ask the buyer to rent lights for you or at least a spot light.  The client pays for it but he will feel like the company will get a better show because of it.  

To the suitcase!  A classic component of the ventriloquist act and used in jokes in just about every vent act.  Each vent has his/her own style of cases and stands, but you might streamline your show and make it more professional looking by choosing just the right kind.  A case that can also be used as your stand will save you trouble of having to use both.  Gary Owen uses a custom case built by Six Flags but it was taken off the magic table design. His case is 15 lbs. empty and 50 lbs. fully-loaded which is the limit for airline travel. The bottom has wheels, of course, for easy rolling.  The case itself is like a clam-shell and the top opens to double the height and become the stand for the figure.  The inside of the case is compartmentalized with slots for figures and props.  Cover the front of the open case with a canvas which can be fairly inexpensively changed as needed for different shows, and your beat-up travel trunk becomes a professional looking prop and stand, custom- sized to fit the height of your figure.  When the show is finished, everything goes back in its place, the clam shell is closed, and you're ready to roll it to car or plane.  It's helps tremendously when your case can be both functional and durable, as well as useful on stage.   

To find out more about cases, visit these resources: 

Many vents close their act with a song. In fact, it's become very standard and some might say overused, but there are other ways to incorporate music into your act to enhance the professionalism of the show.  This means using music for introductions, bumpers, and background.  If you're still using a cassette tape, you need to get out of the dinosaur age and into the digital age.  Some places have CD's players or ways to hook your I-Pod in, but you can't always rely on that.   There is a music sampler device called the Roland SP 404 which runs for about $399 which will allow you to add unlimited music to your act.   The buttons are big which is great as you get older according to Al Moessinger.  You can take it anywhere you want to go and often it can hook into the house PA system.  The Roland SP has eight banks with 12 tracks in each bank.  All the information is stored on an external memory flash card (never remove the flash card while the unit is on or all information will be lost).  Always turn off the unit before taking out the memory card. To purchase a Roland SP 404, click here.   You can make the Roland SP 404 wireless by adding the SHURE PG14 Wireless Guitar System.   The transmitter plugs into the earphone jack of the SP 404 and the receiver gives you the option of using a balanced or unbalanced line going into your PA.  This unit runs about $199.    

The Roland SP 404 allows you to prerecord your introductions with snappy background music.  It allows you to use music for all segues or bumpers like getting the figure in and out of case, exit music, music for when you bring volunteers up on stage.  It makes your show have no dead time.  The more you use music, the more polished your show looks.  If you have someone working tech backstage, be sure to include specific instructions on cues and tracks.  If it's all written out, it's very easy for someone to follow.  Also, be sure the music you are using is licensed production music.  You can go online and find production music at sites like Royalty Free Music, Freeplay Music, Studio Cutz, Free Hand Music, Music Bakery, CSS Music, The Production Garden, and Unique Tracks.   Axtell Expressions also carries royalty free production music disks.  Royalty free music CD’s run anywhere from $70 –$150 each and have a variety of themes per disc. Most companies allow you to audition the music on line before you buy. Many allow you to order and download directly from the websites.   Using music for more than just the closing song adds production value and helps your show be more successful.  Even if you can just add music getting on and off stage, it adds energy to the performance and gets the audience excited for the show.  

Finally, let's look at choreography.  No, we're not talking about adding dancing to the show.  This is about format, entrances and exits, and line-up.  First impressions are important. Think about how the audience first sees your puppet. Does he come out of the case or do you walk out on stage carrying him?  Either way, be sure to keep the figure facing the audience.  Never turn your back or the puppet's back to the audience.  If you're coming out from behind a curtain, put the figure out first toward the audience so they don't see the hole in the figure's back.  Remember to manipulate and make the puppet alive all the way to the stand when the routine starts.  Make sure your stand is pre-set so that once you get there, you're not taking time to adjust. If everything is ready to go, you will come across as much more professional.  

This brings us to format.  Have a written format for your show so you know what you're doing at all times.  Write it down.  If you have someone running sound for you, that person will need it.   Get to your performance site a minimum of one hour before show time.  If you rush to get set up, then you're fried by the time you walk out on stage. Your breathless appearance will make you seem tired before the show has even started.  An hour should give you time to get your sound system set up, to hook into the house system if possible, to go over sound cues with a tech person, to get your stand set to the right height, to make sure the lights are focused on the stage, and finally to actually do a sound check long before any of the audience members arrive. If there is an event going on just prior to your show, you may have to come get set up several hours before and then come back a little before show time. During your sound check, start with the volume low and gradually increase.  Again if everything is ready to go, you will come across as much more professional.

Once you get to the stage, you need to be confident, and you will, if everything is ready to go and tested.  If you look good and sound good, you will perform good.   All these staging elements that the audience takes for granted will help them have a great time at your show. 

Blast from the Past

Guess who this young astronaut is?  He abandoned his dreams of going to the moon and focused on music, magic, and ventriloquism instead.  You might recognize him as a face from the Dealers' Room or as an emcee this year at the convention.  If you think you know who this is, send your guesses to Annie Roberts at aroberts@venthavenmuseum.net.  There are no prizes; I just enjoy getting email that's not trying to sell me replica watches.  

The Story of Broken Chuck

by Bill DeMar

The following events occurred at the 2007 Vent Haven ConVENTion:

"Well, here's the story of my broken 'Chuck'.  The young 12 year old enthusiastic boy, whom I let look at Chuck between lectures, accidentally broke his eye control. Al Stevens looked at 'him' [Chuck not the 12 year old boy] later and we discovered that all of the mechanisms in the head were in bad shape. The last time they were in good shape was about 1986 or '87, when Ray Guyll rebuilt him and made Marshall's eyes that only went from side to side, to go up and down also. All movements other then the mouth are great 'IF' they are NOT overused, which they are, a lot of the time. Just because a figure has 'the movement' doesn't mean you have to use it. Only if it fits, or you have good reason. 

Well, Al Stevens didn't have his tools with him, but Dan Willinger said that Lee Dunn did, and introduced us.  So Lee took 'Chuck' and worked on him till 5:00am in the morning and had him ready for the Saturday Night Show. Thank you, Lee. There is still much work that has to be done. Restring the eyelid controls, put in a new 'Headpole', fine tune him and a little spruce on the pine.  He'll be ready to go again the next time. Maybe in 2012.  

I forgot one of the basic principals of show business. One never, never, ever lets anyone touch their equipment. No matter who it is, or what it is, or where it is."

Can y

June 2007

What's New at the 2007 ConVENTion?

*New faces! Lectures, workshops or performances by people who have never been on the ConVENTion bill, including Tim Cowles, Mark James, Rick Mohr, Al Stevens, Allan Blumenstyk, Ian Varella, Mary and Peter Kingsley, Al Moessinger, Manami Limuro, Nancy Roth, and Keith Hadrill.

*New Vent Haven Museum! The W.S. Berger building (the one with Jacko and Charlie McCarthy) was completely renovated this winter.  ALL displays are new and different including an expanded Edgar Bergen section and Jimmy Nelson section.  The building is now circular in shape instead of a horseshoe to allow for easy traffic flow.  ALL the pictures have been reorganized and rehung.  A selection of never before seen library materials will also be on display.  In addition, an expanded Frank Marshall exhibit has been created in the Josephine Berger building (the schoolroom), and ALL the pictures in that building were rehung.  Many people say, "I've been to Vent Haven.  I've seen it before."  But not this year.  Every building is different.  Be sure to get over there Saturday to check it out!

*The Dealers' Rooms will have 24 vendors this year.  

*Three documentary film crews will be attending and filming.  Descriptions of each project are listed below.  

          -Montivagus Productions is creating a feature length documentary entitled I'M NO DUMMY.  Written and directed by Bryan Simon, this project "will include interviews with many of the finest ventriloquists practicing their art today and budding amateurs...We will interview figure makers who are currently building ventriloquist puppets and film the handcrafting of a 'dummy'...the documentary will be an insightful and whimsical look into the world of ventriloquism."  Mr. Simon has already completed hundreds of hours of filming including interviews with Willie Tyler, Jimmy Nelson, Kelly Asbury, Jeff Dunham, Jay Johnson, Lynn Trefzger, Mark Wade, Tom Ladshaw, Lisa Sweasy, and many others. 

          -Mono TV is creating an hour long TV documentary for Channel 4 in Britain (equivalent to a major network in the U.S.).  Producer Fleur Fekkes and her crew are bringing a British entertainer named Justin Collins who is learning to be a ventriloquist.  "We are following Justin's journey so we can learn the challenges and difficulties of becoming a ventriloquist and document all the aspects to this art through Justin's learning curve; from finding an act that suits you to perfecting your skill to writing material to actually performing on stage." 

          -Mark and Lindsay Goffman of Los Angeles, CA are creating a feature-length film documentary called Figures of Speech.  "Our take is to follow five ventriloquists (from a beginner to a professional) over the course of a year.  We want to delve into the craft and find out how they got interested, how they selected the personalities of their dummies, how they develop their talent and ultimately where they go to perform and converse with other ventriloquists" (the Vent Haven ConVENTion).  Inspired by Lindsay's mother Marlene Cohen, a ventriloquist who has attended the convention, they will be searching for the five vents to profile as well as doing some initial filming.  Lindsay says, " My husband and partner is a successful television writer and producer (Touched by an Angel, The West Wing, Studio 60), and he has also written/directed two award-winning festival short films.  I am currently a Manager of Scripted and Non-scripted Development at Freemantle Media, which produces American Idol and America's Got Talent."

*The Hospitality Committee this year will be led by Bob and Marty Hamill.  With their crew of friendly faces they will be welcoming first-time attendees in London Hall Lobby during Registration and checking for badges at the doors during the ConVENTion.  Of course, they will be hosting with Phillip Jones the famous Hospitality Suite in room 179.   Joining their committee this year is Bob Abdou.  

*A new lecture on Vent Haven Museum - the Past Thirty Years will be presented by curator Lisa Sweasy on Thursday morning.  She will show how the museum has evolved since W.S. Berger died in 1972 and the museum began functioning as an independent corporation.  Organized by decades and presented with pictures, the presentation will show how the collection has grown highlighting new figures acquired, discuss significant players in the vent community, and demonstrate how the museum is preserving today's vent history for generations to come.     

*The Junior Vent University just for young vents is all-new this year as well.  On Workshop Friday, the Juniors will have a morning and afternoon session with six different professional vents or Professors covering topics like writing material, showmanship, basic technique, manipulation, getting gigs, etc.   It's also a chance for the Juniors to connect with other young vents like themselves.  What a valuable experience.

This is just the new stuff!!  Of course, the Vent Haven ConVENTion is always packed with favorites like Jimmy Nelson's Vent Videos, the Big Wednesday Show, Open Mics, Friday workshops, and the Saturday Night All Star Show.  If you haven't registered, you'll be missing out on a wealth of information and a heck of a good time.  

Do you have an Axtell puppet? If so, click on the banner above to find out about the Axtell Puppet Video Challenge.  It could mean $1000 in your pocket.  

Please send suggestions, comments, tips, techniques to Annie Roberts at aroberts@venthavenmuseum.net .

Copyright 2007 Vent Haven ConVENTion, Inc.
For information: markwade@venthaven.com

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