From: "Alan Cook" <alangregorycook-AT-msn.com>
To: puptcrit-AT-puptcrit.org
Date: Thu, 31 Jul 2008 16:19:04 GMT
Subject: [Puptcrit] Strong Views


Sometimes just ONE WORD inspires one to join a conversation and Steve W. used that word:

PERSERVERANCE.

Jim Henson practiced that word. When the Muppets were just two people (Jim & Jane) they perservered with a little show called "Sam & Friends".. I loved the edgy later stuff on TV's "Saturday Night Live" provided by early Muppets.

Rolf  and Kermit were my personal favorite Muppets. For me they were Jim Henson's most interesting alter egos. The Jimmy Dean show with Rolf the Dog, was always circled in my TV Guide. So was the MUPPET SHOW, the Number One show on American TV.  And before that, Muppets on Sesame Street helped educate kids and entertain their parents at the same time (multilevel in those early shows).

Incidentally, when the Jimmy Dean show toured live performances (I saw performances in San Carlos & Anaheim, California and visited with Jim between performances) Rowlf was as delightful  "in person" as on screen because he had a unique and delightful personality. He was a complete work of theatrical art.

The Muppet Show was not a project of the big networks. It had to work around them, and STILL became #1.

PERSERVERANCE!

One of the reasons I am fascinated by puppet history is that it shows a BROAD RANGE of approaches to puppet art. At various times, one puppet form might dominate in a given culture: Hand puppets with Punch & Judy shows replaced earlier marionette versions. When I was growing up, puppet shows usually meant string puppets. Some of that was a result of the influence of Tony Sarg's touring marionette shows which criss-crossed the United States.

Today's puppeteers won't avoid current influences. Like it or not, we live in our own times. But still there is opportunity for new directions.

George Latshaw was noted for hand puppets, but he started with marionettes, and developed his own, unique "look" with hand puppets.

The Muppets as they grew,  utilized the talents of many, starting with Jerry Juhl, Frank Oz and Don Sahlin. The idea pool got larger and Jim aimed for that. As the Muppets got more visibility, a whole generation of kids tended to call any puppet show a "muppet show"---I corrected a lot of kids on the use of that word. No surprise that for many, a foam mouth puppet  became the dominant type of puppet. It was the one they were familiar with.

But even Jim made use of marionettes on occasion in feature films. After all, marionettes tend to have visible legs. And onscreen, sometimes that was required.

My point is, even if a performer prefers one type of puppet, experience with other forms of puppets is a good thing. 

I had the opportunity to work with a full range of different puppet types from finger puppets to an 18 ft tall cat, from marionettes to rods, to shadows (simple to complex)-, to stop-motion and each had specific advantages,  and some way or another, they shared something in common.

I think it is important that puppeteers at least LOOK at other forms: 
shadows, stop-motion, rod, string, even animatronics. You can discover a lot in the process.

Having done exhibits of puppets for over 50 years (and that sure requires perserverance), I have repeatedly seen the public relate to the great variety of forms of puppetry. If the public is capable of relating to such variety, certainly individual puppeteers should be.

As in all art forms, some puppeteers were lead and others will follow. 

The most memorable puppets are the ones with personality, feelings, attitude and variety who can relate to the audience. 

On my list, that includes Punch & Judy, Lambchop, Kukla, Bert & Ernie, Kermit & Rowlf, Charlie McCarthy and a HOST of others.

Julie Taymor & Michael Curry introduced puppets to a large public, and they were not in  Muppet Style.

I've enjoyed the work of Martin & Olga Stevens, Luman Coad, Ralph Chesse, Lettie Connell Schubert, Roger Mara, Tatterman Marionettes, Ellen & Romaine Proctor, Bob Baker, Rene Zendejas, Teatro Nahual, Frank Paris, Philip Huber, Bruce Schwartz, Tom Tichenor, Tony Urbano, the Carters in Seattle, Alice May Hall, Bob Jones and many, many more---a whole range of talents! And why? Because they were good.

Some leading puppeteers delight us for a lifetime. Other like Bruce Schwartz or Ben Blake or Marion Derby went on to other things, reminding us that there is no time like the present. See it now or miss out. 

Another word comes to mind. We don't have to agree on everything, but we need to ENCOURAGE one another.

ALAN COOK


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