Polka, big band, folk, military marches, etc.

Depending on the performance, hits from Sinatra, Elvis, Peggy Lee, Bobby Darin, opera arias and a good dose of the 70s. 

NOTE: Seniors, their adult children (if present), and other adults often tell me that they “enjoyed the music selection.” 

No. As the show’s name suggests, I’m a puppeteer.

I do include a bit of ventriloquism by way of human sounds: “snoring,” “kissing,” and “screaming” just to name a few. These serve to inject more life into the puppet characters.

All music and lyrics emanate from a sound system, not from my mouth. Considering the manipulation of props, constant movement, and non-stop acting on my part alone, it would be virtually impossible to engage in proper ventriloquism during the performance. But that’s the uniqueness of what I do!

As an actor, I like to project honesty and believability. I prefer roles that don’t seek to make the audience laugh necessarily, but instead bring about a variety of reactions. So too is how I present TMP. 

I take the audience on a journey of logical and recognizable situations while attempting to remain present and emotionally sincere. I believe “acting silly” –especially during a puppet show– can distract an adult audience from staying engaged and focused on the storyline. I want my audience to “keep up” with me and to feel the anticipation so that when we get to the end they will appreciate the surprise finish.  

You bet. Here is my pledge to you as a professional entertainer:

TMP is geared toward adult audiences and is neither childish nor condescending; nor is there any content that could be construed as disrespectful or indecent. Free of any explicit political, religious, and sexual themes—and more important, no foul language—the performance is appropriate for family/inter-generational audiences.

Adults recognize the music selection, the storylines, and the acting (innuendos). In fact, the entire performance was primarily developed for adults.

Sure, “singing” puppets will always attract a child’s attention, but in this case, it is only the adults who can appreciate the music, understand the storylines, and “get” all the physical and emotional nuances. I created TMP –and continue to add material– first and foremost, with the adult audience member in mind.

I utilize warning cones. Once the performance area is “staged,” everything has its place and should not be moved.

For the best possible show, (unless an emergency) no one should go into the performance area nor move any item from it’s place.

I use a “Bic-style” lighter in a few of the vignettes. In one instance, I present a burning candle. Should one or more of your audience members be on oxygen please let me know, and I will adjust accordingly.

Yes. A variety of music, by definition, begets a variety of themes. It seems there is always a particular song, character, prop, piece of clothing, or storyline with which an audience member identifies. I can’t count how many times someone has approached me (post-performance) and has said how much s/he appreciated a particular aspect of the show.

ANECDOTE: A gentleman, who appeared to be about 80 years old, gave me a heartfelt handshake as he told me that the barber shop scene (with a spinning barber pole included!) reminded him of his barber profession.

Unless explicitly written, I never give consent to being videotaped (with any device) by any staff, audience member or anyone else present.

I do give automatic consent to your authorized staff member(s) or agent(s) to take still photos only. (If possible, please share a few with me. I’m always looking to add great shots to my performance portfolio). 

NOTE: There is the occasional individual who stands in the back of the room or around a corner and pulls out his/her personal cell phone and video records. Please monitor this and inform him/her/them that I do not consent to being videotaped.

If feasible, I suggest that staff or a “member-in-charge” be present in order to monitor the audience. This is especially important when there might be one or more individuals who potentially could be disruptive or might not follow the performance rules (i.e. touching/moving stage props without permission or shooting unauthorized video (as mentioned above).

I only perform one show per day. It is the very rare occasion when I perform two shows at the same venue, on the same day because of the time involved in (re)setting up and breaking down the stage area.

NOTE: It takes a good 2 hours to setup and organize the stage area. I takes another two hours to breakdown, clean, and pack my vehicle.

Music, acting, use of props, converting the musical arts to dramatic arts, animated movement, object manipulation, musical timing, ventriloquism (sounds), and storylines (always with a surprising ending!).

NOTE: See the elements’ descriptions by clicking the ‘About’ button on the Home page and then going to ‘The artistic elements’ section.