Everything I Learned About Show Biz Came from The Muppet Show

S ome kids are born actors. Others are better suited for the director’s chair, and that is where I often find myself. There have been three major inspirations for my interest in bossing other people around the boards, two of whom are my parents (both of whom are musicians and have excellent taste in the performing arts). The other spot goes to that masterful American classic, The Muppet Show and its long-suffering host of note, Kermit the Frog.

The Muppet Show (and be advised, I’m speaking specifically about the 1976–1981 run) was Jim Henson’s bid for a wider audience — and one that wasn’t solely under the age of six. He conceived the idea for a variety-type show that would involve both the Muppets and human guest stars, but he couldn’t get any TV stations to accept the premise. The scheme was eventually saved by the Brits, and the first episode aired in the U.K. in September 1976. It became, as they say, a smashing success, and its characters and bits are now iconic.

Miss Piggy, that karate-chopping and tone-deaf diva, adores Kermit. Gonzo is always outdoing himself with potentially fatal acts. Fozzie Bear always gets out-joked by the world’s oldest hecklers, Statler and Waldorf. Rowlf the Dog (the most underrated character) is wonderfully soft-hearted. Don’t forget Doctor Teeth, Janice, Hilda the costume lady, Gonzo’s chorus chickens, Animal, and Sam the Eagle. And holding it all together is Kermit, that overworked, underpaid, intensely determined frog who takes punches, falls, and unwanted porcine advances all in stride.

Kermit and I have something in common: a desire to direct, to bring people together to create a memorable, enjoyable, entertaining production.

While I have been in a fair number of performances, what I lack in acting talent isn’t quite made up for by enthusiasm. I’ll sing in front of anyone, but the acting I leave to others. The exact date of my directorial debut is the subject of controversy — some saying it was the summer of ’03 when I staged scenes depicting the life of Saint Bernadette for an adoring crowd of five — but November 2005 saw my true beginning. American Girl, the maker of those much-coveted dolls, also published all sorts of books, covering everything from crafts to paper dolls to self-help. One of these was a theater kit, complete with posters and scripts, so you could stage your own 20-minute production of a scene from one of the beloved AG books. My little acting troupe’s rendition of Josephina’s Gift was well received by members of our local homeschool community, and ever since, I’ve always had about three concert or recital ideas floating around in my head.

Many of these concert ideas have been informed by various Muppet Show episodes, and, thanks to its influence, I have a particular affinity for the “variety show” type of production. But even a variety show must have continuity, and running gags and recurring segments give this cohesiveness to Muppet oddities. Statler and Waldorf’s taunting of Fozzie is a staple, as is that eye-roll-inducing bit “Veterinarian’s Hospital” (I love this sketch). The blatant sexism of “Pigs in Space” is always good for a chuckle, and who can forget the absurdity of the Swedish Chef (played — fun fact — by two puppeteers)?

Many of the sketches on the show are musical and are often truncated versions of popular music in all genres. Jazz? They’re on it. Blues? Yep. Folk? Darn right. There’s a rendition of “I’m My Own Grandpa” in Season 1 which has become my brother’s party trick. He’s played it, accompanying himself on ukulele, to great acclaim at all manner of family and college events at this point, and I still chuckle every time.

But perhaps the greatest Muppet Show moment was when the Leprechaun Brothers performed the most heart-rending variation of “Danny Boy” you’ll probably ever hear. This was another Muppet act my family members (my dad and his brother, to be exactly) took inspiration from, and it nearly brought down the house at a community St. Patrick’s Day event.

Given that The Muppet Show wasn’t aimed completely at kids, there are some elements my parents edited for us growing up (looking at you, Raquel Welch), and some of the guest stars were even stranger than the Muppets they performed with (Alice Cooper, anyone?). Overall, though, this is entertainment for the whole family, and a wonderful introduction to notable stars of days gone by.

And did they ever collect the stars. Early in the show’s run, its producers had to use their connections and contacts to get guests to make appearances. Eventually, though, the show became so popular that it became a badge of honor to perform on it, and actors the world over wanted a chance. Gilda Radner, Jim Nabors, Mark Hamill, Lena Horne, Paul Simon, Zero Mostel, Bob Hope, Danny Kaye, Julie Andrews — these and many others graced the Muppet stage and elicited laughs and smiles from viewers. It was also a lovely moment of cultural and generational connection, as my parents would tell us how they remembered watching these performers growing up.

It’s kookie and zany, but it’s also clever and creative. It’s hands-on, not animated, and fascinating — how do puppeteers accomplish so much expression and movement? What makes someone a great puppeteer? How long does it take to build a puppet? And don’t forget all the voice acting and singing that went into each and every episode.

Argue all you like about whether Muppet Treasure Island or Muppet Christmas Carol is better, or whether the modern Muppet movies have any merit. For my money, whenever I want a little inspiration or just a good laugh, this five-year stretch of TV gold is all I need.