Ad-libbing is speaking or performing without previous preparation. In any type of standup comedy act such as a vent act, it's a performance technique that's simple to attempt, but difficult to do well. This article will act like a coach and give the knowledge, the tips, the tricks, but it's up to the player, or in this case the performer, to practice and practice, little by little, until good ad-libbing skills are developed.

Since ad-libbing can be tricky and not really needed, one might as why even attempt it in the first place? Why take a chance? Why not stick to the script? Straying from tried and true material can lead you into dangerous territory, and it's no substitute for making sure an act is solid, funny, and entertaining. BUT...Ad-libbing done well adds the element of unpredictability to the show. It raises suspense and interest from the audience because they know the performer is in uncharted waters. It helps keep the set fresh, and makes the show seem completely new. If done well, it shows the ability of the performer to get off the page.

Before you rush into ad-libbing, however, you should consider that there are some good reasons to NOT attempt the feat. First off, you might stink at it. Great ad-libbing will make your act better. Bad ad-libbing can kill it. Understand your own abilities. Your comedic strengths might be crafting jokes ahead of time, getting the timing and the nuances just right, not throwing out dialogue off the top of your head, hoping it will end up funny. Bad ad-libbing can slow down the show or it can look like you're padding and killing time. If you put a stopwatch on a good, solid comedy act, there should be an average of six laughs a minute. That's 10 seconds per set-up and punch line. If there are long stretches without laughs, the audience will become nervous for you, afraid that the act is failing. Crafting a really tight, laugh-packed act should come first, before launching into ad-libs. You have to cut the fat, getting rid of lines that slow down the pace or that seem extra and don't make the joke any funnier. This isn't easy. But it's painful to watch a vent who has good ventriloquial abilities but never gets laughs. The audience wants funny. Start with a great act that's proven: LEAN and FUNNY.   THEN learn to ad-lib.

Remember that the goal is to entertain the audience. A question often posed to us these days is, "Why is vent dead?"    It's not dead, but no one is interested in a vent act if it's not funny or not entertaining. The most important thing is to make the folks laugh. Why are there so many 'bad' vents?   Potential performers learn the techniques of vent -- still lip, good manipulation -- and then they think, "I'm in Show Business!" Okay. Sort of. But you're not GOOD yet. You have to learn to write jokes and entertain. You have to be funny. Ad-libbing is a great way to make an act funnier. It's an added spice on a hopefully already good dish.

Next, just what really is an ad-lib? Are all ad-libs truly ad-libbed? Some lines pop into your head spontaneously and really are ad-libs. This happens more easily when you're on stage because you're more 'on' as a performer than when you're simply practicing at home. The adrenaline is pumping and things seem to fall together just right. (Well...For some performers anyway...) Funny lines really do pop into your head if you are comfortable enough on stage and know the act well enough.

On the other hand, some ad-libs are not spontaneous but seem like it to the audience... They're actually recalled jokes, but come off as reacting to the moment.

Also, you can classify most ad-libs into one of two categories: First is the Standard Ad-lib which is reacting to the unexpected: A baby cries, a heckler shouts, a guy gets up and walks out, etc.

The second kind is the Trolling Ad lib where the performer asks an open-ended question like, "Where're ya from? What do ya do?" When you go this direction, you'd better be ready to be funny. The audience will wonder what's going to happen and it may make them a little uncomfortable, but they're looking for comedic genius or at least something amusing. This kind of ad-lib is dangerous because it's a true test of your spontaneity. You really have to be quick-witted and practiced at how to take whatever answer is given and make it funny. It's best to do this without truly humiliating the audience member.   An audience can turn on a performer easily if he or she is too mean.

The best environment for ad-libbing is when you're at a stress-free, relaxed place during a performance. But try practicing your ad-libbing when you are rehearsing at home. Then sometime when you are comfortable and relaxed on stage and the act is going well, give it a try.   One or two little lines. And don't work on ad-libbing the same night you're performing new material. You need the freedom to think clearly. Plus you need to know the scripted material like it's second nature. You need to be able to jump right back where you were in the planned material without an extra thought.

Here are a few ways to practice ad-libbing:

ask and answer questions out loud
ask and answer questions from the newspaper
watch the news and have your figure comment

If 5% of the answers are funny, you're becoming a comedy writer and a comedian. One joke can be worth $75 from a comedy writer. A good joke is an asset to a vent. To test your comedy writing abilities, try doing straight stand-up. Figure out what makes the audience laugh. With just you, 'naked' on stage with no puppet, you figure out what material works and doesn't. Vent makes it easier because it's a dialogue; you get two voices for the set-up and punch.

Being a good ad-libber means being able to write jokes. If you can't do it on the page, you can't do it on the stage. Keep a joke file on your computer. Clearly not all ad-libs are random, so write them down. Review them periodically. After awhile of accumulating your ad-lib experiences, you'll be able to pull jokes from your files instantly. Try to take notes after each show or write down funny lines as soon as you get off-stage while the material is still fresh in your head.

Some ad-libs work and others don't. Jay Leno does 30 new jokes a night. After a while you get a better sense of what's good. It's like golf; you'll never perfect it but you'll be better than most if you practice.

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November 2006

International Convention Traveling

by Doug Price, South Africa

For a number of years I have been making plans to go to Convention, but being so far away, something has always cropped up so as to stop me going. During the year 2001, I made the decision that I would go to the Puppeteers of America National Convention in 2003. You might say why so early in the planning stages? The simple reason being that the trip is half way around the world from where I live and that the earlier one books, the better the airfare that I would have to pay. The second reason is that I have a full-time job and would need to get leave at the right time of year, and thirdly, the most important component is the MONEY.

Once having made the decision, the next step was to be able to get the dates of the convention out of the convention organizers, which let me tell you is not always that easy. This time I was lucky and received the dates, but when I received the price for airfare, I soon realized that to come over for one week was not a very good idea. So I made it two weeks. I then found a second convention...I-Fest [International Festival of Christian Puppetry and Ventriloquism]. And what do you know...the Puppeteers of America ended on a Saturday and I-Fest started on the following Monday. This was great, two festivals one after the other. I would now be away two weeks and would then make the spending of the airfare money worthwhile.

I discovered the Vent Haven ConVENTion when I was looking in one of the I-Fest web pages, where they advertise the different events on a calendar. I followed the link from there, and I opened the Vent Haven web page and gave it a thorough once over. What impressed and enticed me was the write-up and pictures on the previous years' events [click here to see the 2006 ConVENTion article]. In addition, the hotel web page, the Drawbridge Inn, gave an in-depth write-up on the location. I also noted that for 2005, the convention fit into my plans, and for very little extra travel cost I could add another week to my schedule. Then all the conventions would be following one after the other with a travel day in between each convention. For an international traveler, this is very important as this saves unnecessary extra hotel accommodation costs.

Having decided on the three conventions, I now started planning in earnest. The airline booking was made in such a way that to save on extra hotel bills, the attendees' arrival in the USA was the day before the conference starts. Then leaving at the end of the first conference, there was a day before the start of the next, and this was used for travel.

When organizing your travel times, make sure that you arrive the day before the start or leave the day after the conference closes. My mistake was to plan to leave on the last day, but the problem is that one needs to leave four or five hours before the plane departs, and you miss out on the last day of the conference. Needless to say, I did not make the same mistake again.

Next was the major job of getting an American Visa, which was extremely expensive, but the good thing was that the Visa was now issued for ten years. If I decided to attend further conferences, then this would be very useful.

How to pay for the registration as well as any other fees that would be required was not a battle as I was in possession of a credit card. The only conference that proved to be a problem as far as payment went was Vent Haven. The suggestion from Vent Haven was that I wait until I arrived at the Kentucky airport and go to the money changers. [There is an international bank, Fifth Third Bank in the Delta Concourse that can exchange currency. See the FAQ page for more information.] This would have been a good idea had I arrived during the day and not at 10:00pm at night when the bank was closed. For all other charges, I paid with a credit card and for this I would be able to pay all my expenses before I left home. If possible, exchange currency before you leave your own country.

With Vent Haven being held in a hotel, make sure that you have a reference number [Confirmation number] for your booking. I am glad I did because I was arriving after 6:00pm, and I was told by the hotel to submit my credit card number. In case I did not show, they would have charged my card for the first night. Now to send this detail in a secure manner, I split my card number into three sections and sent these sections in three different emails which apparently didn't work with the Drawbridge. When I arrived late that night, after flying for twenty-four hours, I found out my room had been given to someone else. After this very long flying time, I was not in any mood to be told that. They now had to find a room for me, so I was upgraded to a very expensive room. Then who was I to complain? I made it very clear that I would not move out of this room until I scheduled to check out at the end of the convention period. I also asked to sign a document confirming my daily rate at my original agreed upon rate. This was done, I took my copy, and I could now enjoy the comforts of my new upgraded room at my budget room price.

Thank goodness the Vent Haven ConVENTion dress code was casual. I brought a number of t-shirts, shorts, jeans, and one smart casual set, in case I needed such. The second suitcase was empty, as this I would use for all my purchases from the Dealers' Tables. I made sure that I was underweight for the aircraft; otherwise I would need to pay an excess weight baggage charge. I noted that if you travel around the US, the weight is about twenty pounds less than the weight allowed when traveling internationally. [Check out the Greater Cincinnati Northern Kentucky Airport website for more travel specific information. From the Travel Tips page you can link to all airline carriers that fly into CVG to verify weight and luggage restrictions.]

I must compliment Mark Wade on running a very good and tight shift ConVENTion. You could set your watch with his time schedule as each event started at the advertised time. Nothing was allowed to run over time, and nothing started before the advertised time. The second star is for the fact that there was time between each session to gather your thoughts and make some of those very important notes.

On my first morning in the Drawbridge after a good night's sleep, I made my way down to breakfast about 7:30am. I only left the restaurant at close to 9:00am, this being due to the service being extremely slow. Thank goodness the coffee was bottomless. I must have drunk about four mug-fulls before they then came to take my order, and another two mug-fulls before the order arrived. The following day the ConVENTion would be in full swing so as I paid for my breakfast, I asked the cashier at what time should I get in if I wanted to have breakfast at a reasonable rate without huge delays. She told me 6:00am would be a good time. The following day I was in for breakfast at 6:00am, and what a pleasure! I was in, served, completed, read the complimentary daily paper, and paid before the rest of the ConVENTioneers arrived. Thank goodness I have always been an early riser. I must say the hotel food in the restaurants, and the sandwich trolley at lunchtime outside the lecture halls was really top class.

Things I learned...

I prefer to have a single room with bathroom facilities, and I will pay the extra single supplement to get this. When I attended I-Fest, one of my biggest irritations is that the bathroom facilities are communal (undergraduate accommodation), and the only privacy was the toilet stalls. [Each room at the Drawbridge provides a bathroom in the room; there is no additional charge for this.] The rest was all out in the open, like on a large football field. I am no prude, but I enjoy my privacy.

Get your airfare monies worth, but do not be greedy and try to fit in three conventions one after the other. Do a maximum of two because by the time you get to the third convention, you are tired and you do not get the full benefit of what is being taught and the knowledge imparted.

I have made many wonderful friends with whom I keep in contact by my new best friend, email.

I will use a Dictaphone after the sessions in the future so as to ensure that whilst I am making notes I do not miss what the lecturer was saying. [Note: Audio or video recording devices of any kind are strictly prohibited during sessions. However, they may be used when a lecture has concluded.]

Finally...I do hope to return to the Convention Circuit in 2007...the old story being if the money is available. But what the hell? I can live on bread and water to save enough money, (we lose a lot on the rate of exchange) to again be a ConVENTioneer!

Pictures:

1. Doug Price, South Africa

2. Drawbridge Inn Outdoor Pool

3. Drawbridge Inn Standard Room

4. Phillip Jones, David Fleming, Chris Donahoe, and Mark Donahoe in their casual ConVENTion wear.

5. Mark Wade running a timely ConVENTion.

6. Chaucer's.

7. Bill DeMar and Bob Abdou at the 2005 VH ConVENTion.

Prior to the 2005 ConVENTion, Doug Price emailed me, Annie Roberts, with lots of questions which I did my best to answer to help him get ready for his trip. Following the ConVENTion, I asked him to write about his International Traveling experience to help others getting ready for the exciting and sometimes daunting journey. I appreciate his willingness to write this article at my request for the ConVENTion website.

When asked about his background, Doug writes: "I have a full time job and am 56 years of age, so all my talents are used in my spare time or at weekends. I have always said that if I ever lost my job, or the day I retired, I would then go into my current hobby full time. I am a glove puppeteer first and foremost, and I do a bit of Vent, Balloons, and Magic, that I can use during my act, hence the great interest in attending the Vent Haven ConVENTion. This really was a great inspiration to me, an injection to do better than what I had done to date. I started as a Puppeteer as the age of ten years. As the years have gone by, I added Balloons, then Magic, then Punch and Judy, and lastly Vent. The problem in South Africa is that funding is very hard to get and not really available, so hence the full-time job keeps the wolf from the door. The other problem is that we are in a backwater where the arts information is concerned, and do not have the driving force that is available in Britain and America."

"The other thing that I meant to say as well was that even if people have Vent as a hobby or have never done Vent and want to learn, they should not stay away from Vent Haven. Use this method of instruction and be amongst other people who are as mad as they are!"

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October 2006

Judy Buch &

Liz Von Seggen's

Preparing and Rehearsing Your Act

Written by Annie Roberts

"Today's preparation determines tomorrow's achievement!" This couldn't be more true when it comes to getting ready for a live performance. As you rehearse, do you hope for the best or just prepare for the worst? Actually the work you do behind the scenes before you ever bring your vent partner to the platform does make a big difference in your confidence and the success of your presentation.

First, you've got to have a game plan for your act. This is also known as a script. Developing a good script will probably be the hardest part of the whole job. Good material is hard to come by. Practicing lip technique and manipulation is much easier and more fun, but these elements will matter little if the material is not good. For help with developing your script, consult Killer Standup by Steve Roye or Comedy Writing Step by Step by Gene Perret. Start by writing out the script completely, choosing your words and flow carefully. When you get it tight on paper, now you've got to commit it to memory. The technique you choose to help remember your routine may also help how you craft it.

Here are some memorization techniques:

Repeat the first few lines over and over, and continue to repeat adding one or two lines at a time.
Record the routine and listen to it as many times as it takes until it is memorized. If you are a visual learner, read the script while you listen to it. Then read the script out loud while you listen to it. Eventually, try to not look at the typed copy and repeat it along with the tape.
Divide the script into smaller sections, and master one section at a time. Having your act grouped in chunks can be nice if you need to switch things up at the last minute or something unexpected happens. You can quickly switch to a new section.
Create two-color cards for use in memorization and later review. After you have created a routine, write the script with two different colors of ink, one for your vent pal and the other for your part. If you write them on 3x5 or 4x6 index cards, they are easy to tuck into a pocket or purse. You can pull them out and review the routine whenever you have a few minutes, especially on the way to the performance. Full sheets are too obvious and harder to carry. If you do many different routines, it helps to refresh your memory with the exact scripting that was originally created. This technique also useful when you are first committing the script to memory because you can memorize in short sequences, and the cards become like flash cards.
Storyboard your routine as you write it for easier memorizing. Storyboarding is creating the script in pictures. When you think about a section of your script, a picture will come to mind reminding you of the content. This can be much easier than trying to remember words on a page.
Practice with a friend. Give your friend either the vent part or the dummy part, so you can at least learn half at a time. You should practice whichever half of the dialogue is the hardest to remember. If the straight guy's lines or segues are the most challenging, work on those first. The easy stuff will always be easy.
Use a word acrostic as the framework for your routine. This is good for a routine that teaches something with fun conversation about each point. For example, if you were trying to help kids discover how to be successful, you might take the word TOP. To reach the TOP in anything it takes 1) Training, 2) Opportunities, and 3) Persistence. That would be the simple outline to convince a 'slow-witted, lazy partner' that it really does pay to practice football, get in the game, and of course, never give up even if he gets clobbered over and over. Examples of his life would bring smiles, but use the acrostic to memorize the flow and also leave a teaching concept with the audience.
Develop your routine with a linear time approach so it is easy to remember what happened in order, like the routine follows breakfast, lunch, and then dinner. When you finish the breakfast portion of the routine, it's easy to go right into lunch. Or create your routine to be like a story with a beginning, middle, and end. This is still a linear time approach.
Use the "5 W" journalism approach to creating dialogue -- Who, What, Where, When, and Why?
Structure your routine on a well-known song, joke, story, or poem, using conversation within that basic framework.
Write a routine with a "Good News, Bad News" flow of ideas. Then if you've forgotten your place, you know it will be either a good news bit or a bad news bit.
Limit your routine to a small number of points, such as "Three Ways to Get a Job."

Okay, so now you have material committed to memory. The next area of preparation that can often get overlooked is getting your voice ready. When the body is tired, so is the voice. Sometimes, a speaker/ventriloquist just needs to rest and drink plenty of water. Nothing takes the place of sipping water to keep the voice in good condition. Breathing exercises are at the top of the list for any speaking and performing professional. Inhaling for a count of 5, holding the breath for a count of 5, and then releasing for a count of 8 helps rejuvenate the body, mind, and voice.

(excerpts from Judy Buch's Mastering & Marketing Your Performance, "Voice Vitality" chapter)

"Stand up and bend over from the waist, arms swinging, and your knees unlocked. This is called the 'rag doll.' Say 'ah, oh, oo.' Next say, 'ah ah, oh oh, oo oo' and then 'ah ah ah, oh oh oh, oo oo oo.' This promotes relaxation and helps with nervousness. Then come up slowly as though you are stacking one segment of your vertebrae on top of another like building blocks. This helps align your spine and when your spine is happy, so is your voice."

"With your right hand, reach over to your left shoulder, bend your thumb, using the first joint of the thumb and your fingers, pinch the large muscle where your neck meets your shoulder. Squeeze that muscle while looking straight ahead. While inhaling slowly, turn your head over your left shoulder. Hold for three seconds before exhaling and turning your head back to the front. Repeat this on the other side, and that becomes one set. Do three sets to loosen up your throat, your shoulders and neck. It furnishes a flow of energy and a feeling of vitality."

Take care of your voice and be aware of some cautions for good vocal preparation. You can find other techniques for your voice in Discover Your Voice: How to Develop Healthy Voice Habits by Orel L. Brown.

Your routine is memorized; you've got a series of vocal exercises ready to warm-up for your next performance; you've practiced in the mirror, in front of a video camera, and a small, informal audience and have added great manipulation with good still-lip technique. Now you are ready for a live performance...almost. There are some final elements to getting your act ready. That is getting beyond the memorized script and preparing for your specific audience. Learn about your audience from the person booking the show. Find out pertinent information about the group so you can adjust your script accordingly. Know when written notes are acceptable and even preferred. For example, at Christmas time, you can use a long roll of adding machine paper which is rolled out like a long wish list for gifts. However, on the paper, have names of people in the audience and appropriate joke gifts for them. This helps when you don't know the people personally but have been fed some names and items by your host. An example of when you would definitely want to use notes might be when you were given detailed lists of names or honorary statements written by someone and you wanted to be sure everything was totally accurate. Even with such information, there can still be the give and take of humorous character comments from your vent pal.

The final preparation is to be professional in all your contacts as you schedule your performance. This will give both you and the booker confidence in your abilities both on-stage and off. Remember you are 'performing' from the moment you arrive. Getting beyond just memorizing your script means knowing the material so well that you and your characters can respond to the audience and any situation that may arise. Being thoroughly prepared and well-rehearsed will make your performance the best it can be.

*Stephen Knowles and Steve Taylor pictured above. Photo by David Crone.

*Cartoons courtesy of Al Getler.

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September 2006

Al Getler's 10 Ways to Improve Your Act

by Annie Roberts

Nothing is perfect...right? Not even an act that has been practiced and performed countless times. There are always areas that need work. For the new performer, there is so much to think about it's hard to figure out what to focus on to get better. Al Getler has created this useful list of ten ways to improve your act. These are true for all performers and even some of the seasoned pros could stand to brush up on these areas.

Comedy

The first area is comedy. You can get by with a lot if you're making people laugh. If the audience is busy holding their sides with fits of laughter, chances are good they're not watching lip technique (not that that's not important). But it seems they notice lip movement more when there is nothing else to pay attention to. Have something funny to say. Spend time learning how to write bits, routines, jokes. Writing of any kind is a craft that can be practiced and there are good reference books out there about how to do it. Gene Perret is a comedy writing author with a book called Comedy Writing Step by Step that you can research at his website www.writingcomedy.com.

It's important to make the comedy you write your own. Getting a joke here and there from script books and other legal sources is okay, but the best parts of your act will be what you write that is unique to your character and fresh to the audience. They'll chuckle at jokes they've heard before, but the real laughs come from the humor of your puppet. A great example of this was during Dan Horn's lecture at the Convention this year. He got up with Gladys, a Mary Ann Taylor senior lady puppet. Most seniors take medication of some kind these days so he turned that into a five minute bit about cat medicine from Mexico taken for gout. Gladys was looped and giggly, and the audience couldn't help but laugh. It was hilarious; it was unique; and it came right out of that character.

Write with funny friends. It sharpens your wit and makes you funnier. The banter between you two is like a conversation between vent and figure. If you're funny friends are vent buddies who don't live near you, pick up the phone and be ready to take notes. Emailing is okay but it's much harder to read tone. This is not as easy as talking. Many years ago (like twenty or so), either Jeff Dunham or Mark Wade had purchased an Axtell bird. They were cracking up over this character. It was funny just listening to them banter with each other. Somebody realized this was good stuff, so they sat down at a table with pen and paper and began laughing and writing. It was funny to watch them work. They each tossed out ideas; some was funny, some not so much. Whatever made them laugh got put down on paper. The beginning of a routine was born.

Finally with comedy, learn to ad-lib and keep a joke file. Some of the best jokes are spontaneous during a performance. The audience loves to think that a bit or joke is unique to their show, and when they see the vent reacting off the cuff, it heightens the excitement of the show. Ad libbing too takes practice. Bill Cosby once said that the best ad-libs are well rehearsed. You have to be comfortable enough with your figure to get off script and be sharp enough to get back to it again. When a great ad lib pops out during a show, write it down immediately after the show or you will forget. Keep paper and a pen handy in your case or use a voice recorder on your cell phone, but get it recorded. When you get back home, put it in a joke file. As your joke file grows, this a great way to freshen your act. There may have been some funny ad libs that you used but have forgotten about. At least once a year, if not more often, go through that joke file and see if there are funny things you can use again. The bottom line is make it funny.

Appearance

The second way to improve your act is your appearance. Develop a look that is professional and pleasing from the stage and suited to your audience. If you work with kids, wear kid friendly clothes like funny ties, an interesting vest, or something with color. If you're doing corporate work, wear a nice suit. In comedy clubs, it seems that just about anything goes, but make it fit your act. Even casual looking attire needs to seem like your costume. Hire a tailor and get your clothes fitted to you. The first impression you make with your audience is your appearance. If your clothes are too tight or ill-fitting, you will appear slovenly and unprepared. Your clothing should help set the tone without becoming a negative focus of in your show. Get someone who will give you an honest answer to comment on your stage appearance. See if that person's comments meet with your opinion of how you look. Keep your haircut fresh and styled. Make sure you look good. Simple generally works better than busy or fussy. A professional appearance takes work, so be sure to work at it.

Staging

Next is staging. Do you have a sense of space? Stages come in all shapes and sizes depending on if you are in a theater, a comedy club, a banquet hall, a meeting room, a church or synagogue, or a living room. How do you utilize the space? If the stage is small, do you overwhelm it? If the area is big, do you get lost and swallowed up in it? It helps when the person booking the show asks ahead of time what you need for staging. Then it's less of a struggle. But if you're not asked, do your best to communicate what you need well before show day. The person booking the show usually doesn't know anything about performing so help him/her understand what you need. Be sure to get to the performance early and set up before any audience members arrive. You will seem less professional if the audience is getting seating watching you set your stage.

Flexibility

This brings us to the next element...flexibility. Can you perform under most conditions with grace and style? Know as much about the circumstances of your performance ahead of time but be ready to adapt. If you're working a big banquet hall and the organizer has got you all set up wrong so that you are swallowed up in the big room, respectfully explain how the show will be better if staged differently. Be sure to maintain the right attitude and stay professional. There may be a good reason in their mind why the room is set up as it is, but making the clients understand how they can get the best performance from you is important too. Work as a team. You are there to meet their needs, so do your best to be flexible and make the best of the situation.

Stage Presence

Every performer should have stage presence. When you hit the stage, are you telling the audience you have command of the situation or are you projecting an apology for being there? Even if you're nervous, you must appear confident and relaxed. Look the audience in the eye; this projects self-assurance. Tell the audience, "I'm here and we're going to have some fun together." The audience is there to have a good time, but if you are tense and unsure, the audience will be too. Lead them to a good time and have fun yourself.

Don't be a hack.

Don't be a hack. This refers to all the technical aspects of ventriloquism that most people are quick to judge as what makes an excellent vent or a mediocre one: lip control, clear voices, and pronunciation. These are easy elements to master with practice. So PRACTICE, PRACTICE, PRACTICE. Practice in front of a mirror. Practice on video (and watch yourself and take notes). Practice in front of live audience. Practice lip control. Create clear voices with your character's voice different than yours. Create characters that people remember and establish that character early in the act. The practicing doesn't end when you become a professional. Even the pros brush up on their technique frequently. Practicing should be a regular part of your ventriloquial habits.

Act and React

Ventriloquism is theater. It's more than just stand-up comedy with two voices. Act as if you are two individuals. Use theater skills like staying open to the audience; don't turn your back or the puppet's back to audience. Not only should the dummy react to what you say, you must react to the dummy. While the puppet is talking, you have to appear as though you are simply listening and reacting, instead of looking like you're concentrating on how he's moving, what your lip control is saying, or what you are making him say. The ventriloquist must appear as though he is simply listening. The master of this was truly Paul Winchell. One of the best clips from the Winchell Celebration this summer involved a skit where Paul was providing the voices for everyone in the skit, people and puppets alike. Jerry Mahoney convinced a man to take a pill which ended up giving the man Jerry's voice. Of course the man wanted his own voice back but the audience laughed as Jerry's voice continued to come from both Jerry and the man. Then as the act went on a couple of women came across stage, each with Jerry Mahoney's voice. What was truly amazing about this bit was first it was live TV. The performers really had to practice getting in-sync with the voice Paul Winchell was giving them. Then secondly, Paul Winchell's character hardly spoke. He really seemed like he was just watching and enjoying all the antics as a spectator when in reality he was speaking for everyone! It was acting and reacting at its finest!!!

Make a Connection

Constantly evaluate if you and your audience are connecting. If the audience is on your side, they will be more ready to laugh and have fun. If they are skeptical, you're going to have to work harder to entertain them. Focus on someone that is connected and expand the connection. Try to bring in the others around this person. Help make the performance feel more intimate. If it doesn't seem like you are in tune with your audience, be flexible and try a new direction. Perhaps move on to a new bit or a new character. Work to find that groove and then go with it. Be sure to take notes after every performance. List what worked and what didn't. Try to evaluate why something worked or didn't based on the audience, the staging, your material, etc. Keep a file of these notes so that if you're called back to a similar situation or group, you've got a quick reference about what will work and where to start.

Smile!

The real secret to success is to smile. A smile goes a long way to making the audience comfortable, setting the tone that you're going to have fun, and making the audience glad to be there. The master of this is Dan Horn. He smiles and laughs all the way through his act. It's very natural and doesn't seem forced or rehearsed in any way (although I'm sure Dan would say that it does take practice, practice, practice). As an audience member, you're having fun because he is having fun. The better you become on stage and the more you truly enjoy what you're doing will show through. That smile will improve any show 100%.

The Complete Package

Finally, be the complete package. Don't just improve some of these elements in your act. Master all of them. It is SHOW business and show BUSINESS. Make it a great experience for the person booking the show from beginning to end. Make it a great experience for the audience. You must be professional behind the scenes as well as on-stage. Be sure to return phone calls promptly, arrive to performance on time which means plenty of time to set up and solve problems that might arise. Give a great performance, and be sure to shake hands when you take your check. Always follow-up with a card and email. You might even leave a self-addressed stamped envelope for comments and feedback.

Whether you are just starting out in ventriloquism or you've been performing for 30 years, every one is striving to get better. This means continually evaluating yourself as a performer. Take a look at your own performance based on these ten ways to improve. What area is your biggest weakness? Start there and work your way down the list. Always work to be the best you can be and put on a great performance every time.

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June 2006

Dealing with Media: Television in the 21st Century

by Gary Owen

When I originally wrote this article in 1984, there were still only three major networks. Cable television was in its infancy. There was no internet, no camera cell phones, no satellite TV, no digital HD or DVD. Local television focused as much on local issues as networks did on national stories and events.

Today the television news industry has changed dramatically. Cable is overwhelmed with news channels; the three major networks fight for survival; and local news stations compete ferociously to be number one. Local news is more fast-paced and jammed with hard-hitting, sensationalism. Morning formats have added traffic reports, frequent weather forecasts and “late-breaking news!” Most major markets have reduced or eliminated in-studio interview segments within their newscasts, which used to be considered a highlighted feature. Small and medium size markets are more likely to still have these segments on-going. However, there is still opportunity for the local ventriloquist to gain on-camera exposure with a little creativity, forethought, and planning.

Unless you are Jeff Dunham, ventriloquism is rarely seen today on national television. Ventriloquism has become a rare entertainment commodity, and because that is so, ironically it surprisingly always grabs the attention of the TV media.

The general public enjoys watching, hearing or reading about the art. Their curiosity is always at attention when a ventriloquist is in the spotlight. It may be because of a cute or funny looking figure, or that the ventriloquist can do something unusual like the distant voice or polyphony. The TV journalist is just as intrigued by this amusing style of entertainment and is eager to learn how you do it.

In this article I will offer some brief tips on how to take advantage of and make the most use of local TV news media. In most markets just about every station that has a local newscast looking for what we call in the business "human interest" stories. As a veteran broadcaster for over 36 years, I know what these people are looking for. . . so take heed and read carefully. But don't abuse the plan.

If you are going to be performing for a large organization like say a fund raiser, or perhaps you are scheduled to make an appearance at a local hospital for children, call the TV station and ask for the assignment editor. (The assignment editor is the one who assigns stories to reporters.) Explain the function and why you are performing. Express your interest to get some publicity for the organization! The idea is to get on camera for an interview or perhaps to perform a tidbit of your act. The station thinks you are doing a nice gesture using your act to help the organization when in reality you are getting TV exposure for yourself too! In a subtle way, you are marketing yourself for FREE! Educating the general public that there is a ventriloquist who provides entertainment in town. A word of caution: Doing charity work can cause some viewers to think all you do is perform for free. If you want to get paid bookings…make sure you slip in comments that you do professional work for schools, corporate events, or whatever.

Perhaps you volunteered to be chairman for a non-profit group which will require some television publicity, such as appearing on a local telethon, opening a new public facility, entertaining at a political event, performing at a local school or convention. The key to getting a station to do a story about where you are performing is to give them an ANGLE. This is very important to motivate their interest in giving you airtime.

These stories are usually featured at the end of a newscast as a “feel good” story to cap the heavy news of the day. Watch the CBS evening news and most everyday you will see a “feel good” story. In most cases one of the best times to get local station attention is on Friday or the weekend.

Send the stations a news release at least two weeks in advance of the event. Include detailed information about the event highlighting YOU as a featured guest or performer. The “who, what, why, where, and when.”…if you will. Make sure your name and phone number is on the news release so the station can contact you about a potential interview. Stipulate the best time to call.

Although the majority of major markets rarely do them any more, it is possible to find a station that does in-studio interviews. These segments usually survive on local features and guests. YOU are a potential guest. If you have an angle and want to be on the show, contact the show producer and explain why you want an interview. Again, you MUST have a good angle. (This is NOT to promote yourself, but rather the reason you are involved in the story)

Be well informed before you do the interview. You are considered the expert. Provide questions for the interviewer or journalist. Be prepared to discuss how you got into doing vent, how long you’ve been performing and how you acquired your characters. Providing the questions allows you an opportunity to control the content because you know the answers. This will also enable you to be more relaxed and in-control.

I encourage you to talk about ventriloquist history and VENT HAVEN MUSEUM . Mention there are over 400 ventriloquists from all over the world who attend our annual ventriloquist convention in Ft. Mitchell Kentucky. Just a few ideas that will add spice to your interview and will most assuredly make you a respected and knowledgeable entertainer.

A word on requesting a video copy of your interview from the TV station, most stations will not provide you a tape. Find out when the story will be aired and tape it on your home VCR or ask someone to do it for you. This is legal and you will have a nice keepsake for your scrapbook file.

Our goal as ventriloquists should be to use all media to our advantage in promoting ventriloquism and exposing the art to new audiences. If we all work together for the same mission, we will stimulate the birth of new ventriloquists everywhere.

And remember if you get ever get on camera be professional, prepared and well informed so you won’t look like a boob on the tube!

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May 2006

International ConVENTion Traveling

By Stevo Schuling

Traveling to the ConVENTion is easy. Your local travel agent will be able to give you all sorts of up-to-date general information regarding procedures of immigration like passport, visa etc.

Fly to Cincinnati International Airport (CVG), which is, ironically, in Kentucky. At immigration, the officer may ask about the purpose of your stay. Tell the truth, the word ‘ventriloquist convention’ always puts a smile on the officer’s face. And most officers at the Cincinnati/Northern Kentucky Airport know the Drawbridge Inn. One year I was asked: So you are a ventriloquist? Yes, Sir! Then throw your voice! My reply: I would not throw ANYTHING at a federal officer on duty!

The Drawbridge Inn (that is the location of the ConVENTion) is a short drive from the airport. There is a free shuttle bus so you don't have to take a taxi to the hotel. In America, driving is the normal way of transportation. Public transport is underdeveloped by European standard, with exceptions in metropolitan areas.

Pre-register so the ConVENTion staff can prepare and plan. Sending the registration fee, however, can be tricky. Actually, if you try to send money internationally, the fees along the way your money travels can eat up a great percentage...more than you save by pre-registering. So do send in your pre-registration data and pay in cash when you get to the Registration table.

A major credit card is almost a *must* in the US; the MasterCard is accepted almost everywhere, even for small amounts. You should bring some dollar bills, too, for tips, vending machines, etc. Most banks in Germany have US dollars at their exchange desks. If you plan on buying a figure at the ConVENTion, cash is a good idea, as many dealers cannot process credit cards and a cash advance in a bank in the US is quite expensive. The rate of exchange is better over here (Europe/Germany), anyway.

The ConVENTion is the ultimate place to by a new vent figure. There are figure makers of hard and soft figures, vintage and used figures, novelty items...the lot. So leave some space in the suit case, you will definitely pick up something.

But you may find it only fair to bring your vent partner. I have never had trouble with figures en route; some officers make you pull out the figure out of curiosity but usually they don't. Wouldn't you expect that a humanoid head filled with wires on the X-ray calls for an explanation? Obviously most often not. I carry promotional pictures and give them an autographed postcard; officers are an audience, too. But don't mess with security at immigration, not a cool place to display your distant voice!

I strongly recommend you book a room in advance (the Drawbridge's toll free number is (800)354-9793); it is fun to team up with a roommate. If you don't have one, you can look for a roomie on the email lists that connect ventriloquists worldwide. Actually, that is another convenient way of finding out about many details you might be interested in. In America, hotels charge per room, not per bed, and breakfast is usually not included. However, if you buy breakfast, coffee refills are free.

Don't bring food into the country. I usually buy fruit or cheese and soft drinks there at a supermarket (some open 24 hours!) for snacks between lectures and shows. Restaurants in the hotel complex serve food 24 hours a day; many ConVENTioneers drive their own cars to the Drawbridge Inn and small groups go out to get meals at nearby fast food places or restaurants with Chinese or American cuisine.

You will find it extremely easy to join in. It is a wonderfully open and friendly bunch of people and it is a strong tradition to make sure the *first-timers* are not left out. Each year I try to tell the registration people that I am a first-timer and need a red dot on my name tag, but most know me and turn me down. Must be my German accent or something.

Don't expect to see much other than the ConVENTion while you are there. Sure, the big city is near, but during the ConVENTion there is so much going on literally around the clock that you would miss a lot if you went out to see that zoo, a baseball game, or the city. If you want to do that, fly in a few days in advance. This will also allow your system to adjust to the time difference. For me it is much harder on the way back, though. To the airplanes busy, the transatlantic flights usually go westbound to the USA in a long day with the sun, and back eastbound through a short night. This plus the sleep deprivation of three days at the ConVENTion makes me sleep the better part of a day and a night when I return.

For further questions from international travelers, please email Annie Roberts at aroberts@venthavenmuseum.net.

*Picture disclaimer: Stevo writes, "I personally like the wooden cigar shot, because it was taken at the museum and it is provocatively politically incorrect, smoking and dressing in Iraquian attire...I would like the clarification that it is a wooden prop cigar, not Cuban contrabande and that I do not promote smoking which is unhealthy but I do support traditional American crops and appreciate the hard labor involved with tobacco growing and making hands - however without advocating slave labor or ecologically questionable forms of agriculture."

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April 2006

Dale Brown and Mark Wade present:

Masterful Marketing Ideas

by Annie Roberts

Every vent who has moved beyond just a hobbyist wants to perform as much as possible, especially if you're trying to become a pro. As much as you want to perform, getting gigs is not always easy. People don't just automatically intuit that you're a performing ventriloquist and call you up, and you can't just hang a sign out in your front yard. This is where Mark Wade and Dale Brown's Masterful Marketing Ideas can help you improve "business" and get your name out there.

The first step is setting goals. Where would you like to perform? What kind of audience suits your act? The following is a list of possibilities:

Birthday Parties	Cruise Ships	Opening Acts
Banquets	Fairs/Festivals	Stage Shows
College Shows	Gospel Programs	Stores/Shopping Malls
Corporate Programs	Grade School	Trade Shows
Comedy Clubs	High School	Television
Conventions	Libraries	Other

Now that you have determined where and for whom you would like to perform, how can you get work as a vent? Before you can work, you've got to get to work to let people know you are there and ready to perform. Here are some methods to use beyond that front yard sign to help you get the word out.

Referrals
Face to Face
Direct Mail
Agents
Yellow Pages
Networking (with other performers)
Web Page

Some vents feel that any other vent is competition for jobs. That's true to a small extent, but as Jay Johnson says, the more vents are working, the more work vents will get. It's impossible for a vent to accept every gig offered. As you get more and more shows, you will end up turning some jobs down. This is where networking with another vent comes in handy. Obviously, if a client is seeking your services, they are interested in a ventriloquist. By getting to know other vents in your region or price range, you can recommend each other if the other is booked. It's a nice way to pick up some new jobs.

In addition to talking to people, placing ads in the Yellow Pages, and crafting a website, there are some Marketing Tools, mostly paper-type items to have on hand that tell people about who you are and what you do.

Business Cards
Brochures
Fact Sheet/Bio
Promo Items - buttons, coloring pictures, pocket puppets, anything with your name/photo on it
Stationery
Photos
Letters of Recommendation
Press Kit - Press Releases
Video/CD
Direct Mail
Web Site

When you use pictures for marketing, it is important to rely on professional photographers versus having a friend take your promotional shots. It might seem cost effective to get a buddy with a nice camera to take some pictures for you, but you and your pictures may come across as amateur. If you want to look professional, then use an experienced photographer to make you look great. A professional photographer takes pictures every day, and they have an eye for how an image will come across. It's even a good idea to take a few promo shots of others that you like to give the photographer an idea of what you're looking for.

In addition to the marketing tools you create, it's important to find groups of people to contact. These clubs and organizations allow you exposure to potentially large numbers of people. Word of mouth is a powerful tool. People tend to trust what someone else says about a show rather what your own literature says about your show. These organizations and groups often have people cross-over into other groups. If you can get a gig with one group, that can lead to several more bookings with others, just through word of mouth. Here are some groups to contact:

Service Clubs and Professional Organizations -- Lions, Rotary, Women in Communications, State Association of Engineers
Churches
PTAs and School Principals
Non-Profit Organizations -- Big Brothers-Big Sisters, YMCA
Local Clubs -- Dog Breeders, Coin Collectors, Car Clubs
Chamber of Commerce

There are also thousands of trade associations - national, regional, and state - where you can get in touch with large groups of people. Columbia Books (www.columbiabooks.com) publishes a resource listing all kinds of pertinent information for these associations. It includes five convenient indices that enable you to look up associations by subject, budget, geographic area, acronym and executive director. Other features include: contact information, serial publications, upcoming convention schedules, membership and staff size, budget figures, and background information. In fact, they have just combined The National Trade and Professional Associations and the State and Regional Associations into one publication. It's also available at www.associationexecs.com. If the cost seems beyond your price range, always check your local library and Inter-Library Loan. The Reference section may have these volumes and save you some money.

Finally, Web Pages have become a quick and relatively inexpensive way to reach lots of people and get your name out there. When setting up your page, follow these guidelines:

Keep it simple. Don't clutter things up by including too much on any one page. Blinking neon can be eye-catching but also cause the viewer to want to click off your page. Keep it simple.
Include your address, phone number, and email at the bottom of each page to make it easy for prospects to get in touch with you.
Offer credibility by including quotes or recommendations from groups for whom you have performed. Mark Wade lists his as Testimonials.

Describe the "types" of shows you do i.e. birthday parties, banquets, outdoor venues, company picnics, etc. If a visitor to your site isn't sure you can meet their needs, they'll move on.

Include a biography and a good quality photo that can be downloaded by prospects. Many prospects need to be able to have hard copies of this information to show others who will be included in the final decision-making process.

The last point to make is when you're starting out as a vent, sometimes it's difficult to get valuable feedback. It can be helpful to have audiences and/or the person who booked the show fill out an evaluation form and give some concrete comments and suggestions, rather than trying to judge how successful you're doing based solely on applause. Dale Brown has crafted an excellent evaluation form to use. Click on the following link Evaluation Form which will take you to the form for you to print out and begin using. By gathering this feedback, you can see what's working and what's not and improve the act accordingly. This will also help you figure out what kind of audiences and groups with which you are most successful. Then you can aim your marketing efforts at getting more of those types of jobs.

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March 2006

Over and Over Again
by Jeff "earlier-and-later" Dunham

February 28, 2006

It makes me laugh and cringe all at the same time when I read some of the stuff I wrote regarding ventriloquism, comedy, and performing some 26 years ago. Annie Roberts sends me these old things and asks me to update or rewrite them for web-posting. I was eighteen when I wrote this one. It isn't as goofy as some, so I altered only a few sentences. Hope you can take something from it for yourself! jd

August 14, 1980

You've heard it preached over and over again, "The more shows you do, the better you get," right? I'd like to elaborate a bit! How about this: The more shows you do in different situations under varied conditions with varied dialogue, the better a performer you become.

Here's my reasoning:

Any performer who has ever worked at a club, amusement park, fair, or anyplace where he or she is doing shows over and over again knows that the same routine can be repeated again and again without ever having to change a word of it. True, by doing the same routine time after time, you can learn it by heart and therefore concentrate on other aspects of audience, manipulation or adlibs. But doing a routine over and over again is good only so much. It's like traversing a complicated pathway through a dense jungle: You can learn it by heart, following it again and again never faltering. But if you travel it enough, the path-way becomes a rut...a deep rut, which will eventually make you stumble.

Doing the same show again and again can become a crutch. You feel safe in your career because you're performing day after day, doing just as you're supposed to. You're working. Or are you? Is that really working? Are you learning anything? Are you expanding your imagination and creativity? Or have you fallen into that dreaded "routine"?

This same question and criticism can be applied to your act wherever you perform. Do you have a set routine you do in almost every performance? If you do, what happens when you are in front of the same audience for a second time? You'll be stuck in the rut of your old routine and you won't be able to change. It would be difficult and unnatural to alter the familiar. Or what about this situation: you have done an act at an amusement park over and over, hundreds of times during the summer... Your wording is the same every show, and it never changes. You know the act perfectly and it is geared smartly for that environment.

Then the gig ends and soon you're back to other types of shows. You've done that park routine word for word too much, so when you're suddenly in front of a corporate audience, much of what you were doing for kids and families doesn't work at all. And the reciprocal is certainly true: If you've been doing all adult shows, what happens if you're hired for something that is all ages, and now your act needs to be squeaky clean? Are you ready? You either need to turn that show down or be ready for the change-up!

Here another suggestion on how to stay out of the over-and-over thing: No matter where you work or what routine you're doing, change up your bits and jokes every so often. Keep the same jokes, but change the order in your act. Do a different character first or last. Certainly you want to open and close with your best stuff, but make it DIFFERENT.

Also, learn to talk fluently and naturally without saying the exact same words over and over again. Make them new conversations. In this way you will be thinking all the time, and you might find better ways of telling certain jokes. Also, won't become lazy. You will be an artist painting a new picture each time you get up on stage.

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February 2006

Dan Horn's Make It Move

by Annie Roberts

If you want the audience to buy in to the puppet coming to life, then the puppet better move like it's alive. Dan Horn’s lecture worked to show vents “how to get your puppet created to move better.” In other words, great manipulation not only comes from how the vent operates the figure, but also, how the figure is set up to allow better motion. It’s important that the puppet have the appearance of weight and mass to make it more anthropomorphic…or in layman’s terms, human-like. Using external devices like stands and rods plus recrafting the body of the figure will make it more pliable and can give a puppet that extra bit to make the audience forget that it’s really just a hunk of fabric.

Dan started by taking apart Orson, his hard-of-hearing partner, and showing how flexible he is…Orson that is, not Dan. Unlike most of his type, Orson is a soft-figure with a removable head. Dan adapted the fabric of the neck to be a bit longer to allow the head to get away from the body which opens mobility. At Orson’s neck, he installed an embroidery hoop to create a socket. After taking Orson’s head off and then velcroing it back in the body, Dan moved down to the waist. If the body is one solid piece, it eliminates any kind of motion in the middle. Orson’s body is basically soft fabric, like the neck, covered with clothing. There is no foam frame or plastic bleach bottle. The way Dan holds Orson gives the impression that the body is more solid; his arm becoming like a spine for the puppet and creating a wider range of movement. In addition, Dan also uses a shell and strap to allow the elbow to control the torso.

One of the most amazing elements of Dan’s manipulation is his use of rods on the wrists to make Orson more like a puppet than a vent figure. Orson’s arm movements become extremely realistic. However, just putting rods on a puppet’s arms and practicing won’t imitate the life-like quality. The arms have to be created to bend and move like a person's would. Dan remade Orson’s arms using two paint rollers and gluing them in such a way so the elbow won’t bend backward. People certainly can’t do that. Also he made the wrist so it was more pliable. The fingers are fashioned from foam curlers. Once the arm is complete, then it’s stitched to the top part of the shoulder but not stitched underneath or all the way around; this creates an armpit. Dan noted that his fabrication of the arms and use of rods was inspired by Jim Henson.

Finally, Dan talked about the rods for which he is famous. Creating rods that work, as with all the other puppet body adaptations, was a process of trial and error. Wooden rods break; coat hangers are too thin. Eventually what he found to work best is screen door bracing rods covered with underwater sprinkler tubing from Home Depot with a black rubber hair band (also known as a ponytail holder) on the end. Dan showed he is the MacGyver of the Vent World.

Coming up with the rods is the easier part. Now comes learning how to coordinate them. First, take one of the black hair bands and band the rods together near the end at about the place where your hand will be holding them. Work about ¼ or 1/3 of the way up the rod from the bottom. If you work too close to the end, you get no leverage. Use the little finger to hold the rods and the thumb and forefinger to control the movements. The rods enable the vent to be detached and not invade the puppet's space. Plus the puppet gets to use both arms instead of having one still hang lifeless at the side.

Once the puppet’s body has been made as flexible and natural as possible, you can use a stand to create movements and really give the puppet a feeling of weight and mass. That anthropomorphic (human-like) feeling is not just good rod technique. It’s truly a combination of the puppet’s body -- that is waist, torso, shoulders, head, and arms -- moving together. All aspects have to work in combination in order to ‘make it move.’

Dan Horn will be doing Part II to his Make it Move Lecture at the 2006 Vent Haven ConVENTion.

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January 2006

David Fowler's Wig Care for Dummies

edited by Annie Roberts

A figure's wig can make all the difference as to how that character comes across to the audience. In addition to clothing, this is an area of appearance that can communicate who your partner is to the audience before he or she even opens a mouth. For example, a little boy character with hair that's perfectly coiffed and looks freshly cut is not as realistic as a look that is more disheveled. Also, changing the wig of a figure is a quick way to create a new character, turning a figure from a boy to a girl, child to senior citizen. It's much cheaper than getting a whole new figure and you're already familiar with the controls.

The following are suggestions for maintaining your figure's wig from David Fowler's 2005 ConVENTion workshop:

Wig Types:

Fake Fur - spiky, piecey, and fantasy looks; can come in fantasy colors

Synthetic Hair - has more of a natural look; made from modacrylic fibers usually Kanekalon. This style is pre-set.

Human Hair - gives the most natural look and the most freedom styling. It's the only wig fiber that can be colored darker successfully; however, don't try to lighten.

Cleaning the Wig:

Fake Fur - Dry Clean Only. Do not use liquid shampoo as it could destroy the fibers.

Synthetic Hair - The fibers are non-absorbent and don't attract dust. If left on the figure, use a stiff brush to remove dirt. If removed from the figure, use a mild shampoo with cool water. Hot water will take the pre-set curl out of the wig.

Human Hair - It should be cleaned with a non-flammable liquid cleanser (like dry cleaners use) either on or off the figure. Since cleaning can dry the fibers out, the wig should be conditioned after each shampoo. To rinse, turn it inside out. Let excess water run from the wig, then squeeze and lay on a towel to dry. Let the wig dry without heat for up to 48 hours. Replace on figure and style.

Attachment Methods:

Tape

Glue

Staples

Velcro

Cutting the Wig:

Caution: Remember once you cut, it doesn't grow back. Also, figure makers tend to place wigs too far forward on the head so that the bangs cover the eyebrows or hang in the eyes. Before you cut the bangs, try moving the wig back a little and see if this solves the problem first.

Fake Fur - scissors work best. Have a pair just for this type of wig.

Synthetic Hair - use scissors for length and a razor or thinning shears to remove bulk.

Human Hair - use scissors for length and a razor or thinning shears to remove bulk. When thinning concentrate on removing bulk from the top, hairline, and behind the ears.

Adjusting the Wig:

Making it bigger - turn the wig inside out and wet the foundation with hot water. Stretch the wig carefully to the larger size. Place it or block it on a ball approximately the size you need until it is dry.

Making it smaller - Horizontal tucks shorten from front to back. Vertical tucks shrink from side to side.

Styling the Wig:

You can tease or back comb any wig. Curling irons and straight irons should be reserved for human hair only. Irons will melt synthetic fibers. Nylon brushes work best for styling. An inexpensive hair spray can be used to hold the style. Be sure to protect the face as you spray. Older female characters can even wear a hairnet. It serves two purposes: two hold the hair in place and it is in character for them.

Reminders:

Take care when cutting. Once it's gone, it doesn't grow back.

Never use heat on synthetic hair.

Remove bulk from top and behind the ears mainly.

Always cover the wig cap when styling so that only hair is showing and you can't see the frame and netting (the cap) of the wig.

Figures pictured with article reside in the Vent Haven Museum. They are in order of appearance:

1. Red Flannels made by Frank Marshall used by Terry Bennett.

2. Lilly Scooter Girl made by Frank Marshall used by vaudevillian Valentine Vox of Vox and Walters.

3. Cecil Wigglenose made by George and Glenn McElroy used by vaudevillian Valentine Vox of Vox and Walters.

4. Monty Ballew made by Finis Robinson used by Jeff Dunham.

5. Effie Klinker Replica made by Tim Selberg, original used by Edgar Bergen.

David Fowler has been doing vent for 30 years starting back in 1974. He was inspired by Shari Lewis, Paul Winchell, and Jimmy Nelson, and even got to see Shari Lewis and Jimmy Nelson perform live in Michigan. He learned vent through the Maher Course which he says was only ten lessons at that time compared to the thirty lessons of today's course. Through high school, he performed with Barbara Dewey and made "primitive" soft-sculptured figures for awhile. David got his first hard figure, named Russ, from Brian Hamilton in 1976; Hamilton was only 16 at the time. Currently he performs with Beatrice Hive, a retired hairdresser; she was made by Tim Selberg.

In addition, David is a licensed cosmetologist and has been since 1984. He got involved in dummy wigs when friend Vikki Gasko asked him to help her with her figure's wig at a convention one year. He's been specializing in it ever since. Recently, David moved to Grand Rapids, MI and has set up a wig workshop in his basement. For questions about purchasing or wig care, you can contact David Fowler at 616-791-4891.

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