BobMcGrathFor many, the name Bob McGrath instantly conjures up warm, nostalgic feelings of childhood mornings spent watching Sesame Street. “Bob from Sesame Street” wasn’t just a friendly face on television; he was a comforting presence, a bright smile, and an encouraging voice that inspired generations to sing and learn. He was a constant in the lives of children, and for this writer, that connection rekindled when my own daughter began watching the iconic show. Bob McGrath, the man who brought “Bob” to life on Sesame Street, holds a very special place in the hearts of countless viewers.
Recently, I had the incredible opportunity to interview Bob McGrath. Expecting to delve into his remarkable 45-year journey on Sesame Street, I discovered a much richer story. Beyond Sesame Street, Bob McGrath has cultivated an extraordinary and prolific career as a singer and performer, gracing stages with major symphonies across the United States and internationally.
Our conversation with Bob explored a wide range of fascinating topics, from his performance for a Japanese Prime Minister to cherished memories from his time on Sesame Street. We even touched upon his adventurous side, discussing his daring tandem skydive from 10,000 feet, and how Sesame Street profoundly shaped his identity as a father.
It is with immense pleasure that we invite you to delve deeper into the life and career of a true television legend, Bob McGrath – a man whose impact extends far beyond the neighborhood of Sesame Street.
Note: This interview is part 2 of a conversation with Bob McGrath. You can explore the first part, which focuses on Christmas music and cherished memories, here.
Kids Can Groove: Sesame Street has recently celebrated an incredible 45 years on television. Congratulations! How did you and the Sesame Street family commemorate this milestone anniversary?
Bob: It’s truly been a blessing to be part of an iconic show like Sesame Street for 45 years. It’s remarkable to think that Loretta Long (Susan), Caroll Spinney (Big Bird and Oscar), and myself are the remaining original cast members still actively involved. Not long after we started, in the third year, Sonia Manzano as Maria, Emilio Delgado as Luis, and Roscoe Ormann as Gordon joined our Sesame Street family. We’ve essentially grown up together, becoming as close as any family could be.
On the actual 45th anniversary, while the rest of the cast celebrated with Cookie Monster and the other beloved characters, I was at home deeply involved in launching my new website. I was particularly excited to share a video of a tandem skydive I undertook in Canada with the All Veteran’s Parachute Group. We jumped from an airplane at 10,000 feet – an absolutely exhilarating experience! I thought it would be a fun surprise for people to see one of the “elder statesmen” of Sesame Street engage in something so adventurous. My webmaster, Tammy, and my daughter Cathlin were instrumental in helping me get everything online. We finally launched my website quite late in the day, and we marked the occasion with a digital toast. That was our celebratory drink for the day!
KCG: Throughout your extensive time on Sesame Street, you must have accumulated countless memories. Could you share some of your most cherished moments from your time on the show?
Bob: After 45 years, narrowing down favorite moments on Sesame Street is a delightful challenge. However, two specials stand out vividly in my mind: “Christmas Eve on Sesame Street” and the “Goodbye Mr. Hooper” episodes. Both of these were exceptionally well-written and represent, in my opinion, some of the most impactful work we’ve done in our 45 years. While we’ve had countless wonderful scenes within the regular shows, these two episodes remain particularly significant.
In “Christmas Eve on Sesame Street,” there was a particularly touching segment featuring Will Lee, “Mr. Hooper,” along with Bert and Ernie. It was a heartwarming “Gift of the Magi” inspired moment where Bert and Ernie sought to exchange their most prized possessions to buy each other thoughtful Christmas gifts. Within the same special, I had the privilege of singing a truly beautiful song, “Keep Christmas With You,” composed by Sam Pottle and David Axelrod. There was a truly unexpected and moving surprise during that segment. As I was singing and playing the song on the piano with Linda Bove, who was deaf, and several children in the studio, I paused my playing and turned around to hear the children singing along. To my utter surprise, Linda had taught them the entire song in sign language, and they were signing it to me. That was my unforgettable Christmas present from Linda! It was an incredibly beautiful and emotional moment, and I loved the song so much that I chose to conclude my Christmas Sing-Along album with it. The song carries a beautiful message: the spirit of Christmas can be with you throughout the year, not just on Christmas Eve or Christmas Day.
“Goodbye Mr. Hooper” is an episode that stands alone in its impact. It offers children a profoundly important and sensitive perspective on death, particularly relevant if they have experienced the loss of a parent, grandparent, or another loved one. Will Lee’s passing occurred during a break from Sesame Street filming. Jon Stone, a brilliant writer, director, and one of the original creators of Sesame Street, dedicated about three months to thoroughly research what children need to understand about death and dying. Jon collaborated closely with our in-house research team, as well as leading external child development specialists throughout this process. After extensive research and thoughtful consideration, the team produced an exceptionally well-crafted and moving script.
On the day of recording, we rehearsed the entire episode for several hours, focusing solely on the words, devoid of emotion. When it was time to film, we performed with raw, unfiltered emotions, which were incredibly difficult to manage. We were all on the verge of tears, deeply reliving Will’s wonderful presence on Sesame Street throughout the years. After filming, Jon asked if we could redo a small section. We reluctantly agreed, but after only a minute or two into the segment, Jon stopped us. It was too much; we were all breaking down emotionally. So, what you see in the “Goodbye Mr. Hooper” episode is the very first and only take of the entire show. It was a deeply emotional experience, and we continue to miss Will immensely to this day.
KCG: That sounds incredibly moving and genuinely authentic, which undoubtedly made the message even more impactful for viewers. Were you able to visit with Will Lee before he passed away?
Bob: Yes, I was fortunate enough to be the last person to visit Will in the hospital the night before he died. He had many tubes and medical equipment, limiting his ability to speak or move much. I asked the nurse about his condition, and she mentioned they were having trouble getting him to urinate. So, I leaned in and told Will that if he could just try to urinate, we would dedicate the next day’s Sesame Street episode to him, featuring the letter “P.” Will couldn’t really speak because of the tubes, but he managed the biggest smile he could muster and even chuckled a little. The nurse was deeply touched that “Mr. Hooper” had rallied briefly to share a happy last moment.
KCG: Over your many years on Sesame Street, have you developed close friendships with other cast members that extend beyond the show?
Bob: Caroll Spinney and I have become exceptionally close, long-term friends, largely due to the numerous wonderful Big Bird and Oscar segments we filmed together, especially in the early years of Sesame Street.
KCG: Was it ever challenging to interact with them as muppets on-screen, rather than seeing them as the puppeteers behind the characters?
Bob: It could be tricky at times to separate the muppet from the talented person operating it! I especially felt this way when interacting with Oscar in his trashcan. Our dynamic was almost like Jack Klugman and Tony Randall in “The Odd Couple,” with Oscar playing the grumpy, cynical one, and me being the eternally optimistic “Mr. Nice Guy.” I was definitely an easy target for Oscar’s playful, and sometimes not-so-playful, tricks.
KCG: Could you share some examples of Oscar’s “tricks” on Bob from Sesame Street?
Bob: There was one memorable segment called “The Magic Spoon.” I was walking past Oscar’s trashcan when he called out in his signature grouchy voice, “Hey Bob, wanna see something?” Always curious and good-natured, I happily obliged. Oscar proceeded to tell me about his latest invention, “the magic spoon.” He explained that it would feed you automatically, “without you lifting a finger!” He handed me a bowl filled with chocolate syrup and a spoon. I noticed the spoon was attached to some hidden mechanism. I positioned the spoon near the bowl, and it automatically dipped into the chocolate and then moved towards my mouth. I tasted it and told Oscar it was delicious! Oscar, of course, encouraged me to have more. As I took another spoonful, he subtly started increasing the speed of the motor controlling the spoon, making it go in and out of the bowl faster and faster. Within moments, the spoon was moving at a dizzying speed, and I was completely covered in chocolate syrup from head to toe! Watching my sticky predicament, Oscar started chuckling and simply said, “Gotcha again, Bob!”
Oscar also had a few recurring, endearing nicknames for me, like “High-Tonsils” and “Bright Eyes,” which, despite his grumpiness, were actually rather sweet greetings in his own way.
KCG: Let’s rewind a bit. Can you tell us about your journey to Sesame Street? How did you initially get involved with the show, Bob?
img022Bob: You know the old musician’s joke, “How do you get to Carnegie Hall?” The punchline, of course, is “Practice, practice, practice!” While dedication is key, even with immense practice, maybe only one in 10,000 musicians ever get to perform at Carnegie Hall. So, my variation of that joke is, “How did I get to Sesame Street?” The answer is: by standing in front of Carnegie Hall! One day, while waiting for a bus near Carnegie Hall, I unexpectedly bumped into Dave Connell, a fraternity brother from my University of Michigan days. Dave had recently left the Captain Kangaroo Show, where he was a producer, and had joined the newly formed Children’s Television Workshop. He told me about this innovative children’s show he was developing and asked if I might be interested in auditioning. Initially, I was hesitant. I had just returned from nine successful tours of Japan, where I had cultivated a large teenage fanbase. At that time, my sights were set on becoming the next Perry Como or Andy Williams, aiming for a similar level of popularity in the United States as I had achieved in Japan. So, when Dave asked about auditioning, I politely declined, saying, “Not in the least!”
However, a couple of months later, I received a call directly from the Children’s Television Workshop, inviting me to come in and preview some of their test segments. They mentioned they were working with someone named Jim Henson, a name I wasn’t familiar with at the time, and some puppets called Muppets. I agreed to visit, and it took me all of about two minutes to realize that I wanted to be part of this show more than anything else I could imagine. I was completely captivated by the sheer brilliance of the animation, claymation, early film segments, and test pieces featuring Jim Henson and Frank Oz, and everything else happening at the studio. The creativity was simply overwhelming.
The Workshop auditioned numerous actors and ultimately selected a core cast of four. We filmed five one-hour pilot episodes, which were broadcast across the country on several closed UHF channels for test audience feedback. The original actor cast as Gordon didn’t resonate well with test audiences, so they brought in Matt Robinson, who had previously been a writer for the Bill Cosby Show. We then filmed 130 episodes together. Many of the early Sesame Street episodes written by Matt Robinson were exceptional, particularly those that resonated with our inner-city target audience, especially the Muppet character “Roosevelt Franklin.” In the third year, responding to feedback from the Latino community, Sonia Manzano joined as Maria, followed by Emilio Delgado as Luis, further enriching the diversity and representation on Sesame Street.
KCG: So, before Sesame Street, you were already an international singing sensation in Japan! How did you find yourself performing there, and what was your experience like?
Bob: My journey to Japan began when Mitch Miller invited me to be the featured male soloist, alongside the talented Leslie Uggams, for the second year of his NBC program, Sing Along With Mitch. The show enjoyed a successful four-year run on NBC. Simultaneously, unbeknownst to us initially, Japan’s NHK, a major broadcasting station, began airing Sing Along With Mitch. When NBC canceled the show in New York, the entire Sing Along With Mitch ensemble received an invitation to tour Japan. We embarked on a whirlwind tour of about 30 concerts in 30 days. Because NHK had been broadcasting the NBC show, I was astonished to discover I already had a significant fanbase in place in Japan even before we landed in Tokyo.
WelcomeBob
Our audience in the United States for Sing Along With Mitch primarily consisted of viewers aged 45 and older, and we naturally anticipated a similar demographic in Japan. We were quite surprised to find ourselves performing nightly to audiences of 3,000-5,000 teenagers! It was rather amusing because the songs we performed were classic, old-time songs, certainly not current teen pop hits. Every time I stepped forward to perform a solo, the entire audience would erupt in screams of “Bobu…Bobu!” We later learned that “Bobu Magura,” teenage fan clubs dedicated to me, had sprung up all over Japan, completely unbeknownst to us. After our initial tour concluded, the booking agent asked if I would be interested in returning in the fall to headline at the top two nightclubs in Tokyo. When I asked the names of the clubs, he replied, “The Latin Quarter and the Copa Cabana (just like in NYC).”
Over the next three years, I returned to Japan an incredible nine times. I engaged in a wide range of activities: recording albums, performing concerts, appearing on television shows, and even filming commercials – all in Japanese! By my second tour, I was performing half of my show in English and half in Japanese.
Bamboo
One particularly memorable experience was when Japanese Prime Minister Sato invited me to perform privately for him and two of his distinguished guests. At the time of the invitation, I was opening the second half of my show in a full Kimono, performing alongside Minoru Muraoka, a master of the shakuhachi, a traditional Japanese bamboo flute. The Prime Minister’s daughter was a fan of my performances and had told her father about our show, leading to the invitation. I was deeply honored, of course, but I always found it slightly surreal and humorous that a farm boy from rural Illinois was singing Japanese folk songs for the Prime Minister of Japan.
Perform-for-SatoKCG: Was music a part of your life from childhood? When were you first introduced to the world of music?
Bob: I owe my entire music career to my mother. While I initially had no intention of pursuing music as a lifelong profession, I was immersed in music from a very young age thanks to my mother’s passion. She played piano constantly, and she encouraged me to sing anywhere and everywhere she could find an audience. I grew up in the countryside and often visited my Grandmother, who had eight children, including my mother. For some reason, my grandmother insisted that all of her children learn a musical instrument or be actively involved in music in some way. My mother was musically gifted; she could play by ear and also read music. In our farmhouse “parlor,” we had an upright piano. One day, while my mother was playing, I walked in and spontaneously started humming along. She noticed that I was humming in the correct key and encouraged me to learn the piece she was playing, which was a classic tune called “In The Good Old Summertime.” I learned it very quickly, and by the time my Dad came in from working in the fields for lunch, I had memorized it and sang it for him. About a month later, my mother entered me in a talent contest at the Roxy Theater’s amateur program. I came in second place, and that event essentially marked the starting point of my musical journey.
KCG: You mentioned that you didn’t initially plan to make music your career. What was the turning point that led you down this path?
Bob: During my senior year of high school, there was an amateur music club in my hometown of Ottawa, Illinois, that awarded me a one-week scholarship to a music camp just outside of Chicago. The camp was exceptionally well-organized, with faculty from the prestigious Northwestern Conservatory in Chicago. We worked on smaller, light opera-style productions. The faculty members were complimentary about my singing voice and inquired if I had ever considered a career in music. I replied, “Not really. Can you actually make a living doing that?” and they responded, “Sometimes.” My original plan was to attend the University of Illinois to study engineering because I excelled in mathematics. However, their questions about music sparked a new thought. I asked if they could recommend some reputable music programs. One of the schools they suggested was the University of Michigan. Coincidentally, my closest friend since the third grade, who remained my best friend through college, the army, and even our time stationed in Germany, was planning to attend the University of Michigan. So, I decided to apply and enroll there. Getting an education at Michigan proved to be the best decision of my life. Interestingly, transitioning from a small farm town community to a large university campus was surprisingly easy for me.
KCG: What was your first professional job related to music after graduating from college?
Bob: After graduating from the University of Michigan in 1954, I was drafted into the army. I spent two years stationed in Germany, where I worked booking performances for the 7th Army Symphony across Europe and also performed as a vocalist myself. After my military service, I moved to New York City to pursue a master’s degree at the Manhattan School of Music from 1956 to 1959. During this time, I also actively auditioned for various musical opportunities to utilize my background. I freelanced with NBC, performing on musical television specials, singing background vocals for late-night Rock n’ Roll shows, recording under the direction of the renowned composer Igor Stravinsky, and performing in concerts under the baton of legendary conductors Pablo Casals and Leonard Bernstein, singing symphonic choral works at Carnegie Hall.
KCG: You’ve released numerous albums throughout your career. Did you ever explore songwriting or composing your own music?
Bob: Songwriting wasn’t really my primary focus or inclination. In fact, I never felt a strong urge to write music myself. I identified primarily as a performer, 100% dedicated to performance. I devoted countless hours throughout my life to honing my singing voice and refining my concert performances. This dedication certainly extended to the past 45 years, during which I performed with over 100 symphony orchestras, presenting three distinct types of family-oriented concerts across North America. These performances with orchestras, often incorporating 50 or 60 local children into the production, demanded a tremendous amount of energy and meticulous preparation to perfect each concert. I genuinely enjoyed this work and was honored to be invited back to perform with many of the same orchestras repeatedly, particularly with symphonies like the Albany, Vancouver, and New Jersey symphonies.
When I joined Sesame Street, I briefly considered songwriting, but I found myself thoroughly enjoying performing the exceptional songs that composers Joe Raposo and Jeff Moss were creating for the show. I had the privilege of first singing “Sing, Sing a Song” on Sesame Street as an English-Spanish duet with the original Luis. Later, The Carpenters recorded it and turned it into a major hit. I did collaborate on some co-writing with Christian Rex on the album Sing Me A Story. There’s a particularly wonderful song on that album called “Everyone Asked About You.” Christian’s daughter brought home a book from school titled “Everyone Asked About You,” which is a lovely story and served as the inspiration for the song he wrote. It’s a fantastic song with a South African Pop style, and it’s a valuable resource for teachers to use in multi-ethnic cultural lessons as it celebrates diversity and inclusivity, representing people from all around the world.
KCG: In addition to your music, you’ve also authored books. How did that come about?
Bob: Writing books was a very different creative outlet compared to songwriting. Some years ago, my wife and I collaborated on a series of children’s books called “Bob’s Books” for Price Stern Sloan publishing. These stories addressed issues and values that we felt were important for young children growing up. One book, titled “Dog Lies,” told the story of a child who tells a small white lie that gradually escalates and snowballs into a series of complicated situations he struggles to escape. The core message was the importance of honesty and “don’t lie.” Other books we wrote in the series included “I’m a Good Mommy” and “I’m a Good Daddy,” which were heartwarming, feel-good books celebrating the love and roles of mothers and fathers.
Later, Barron’s publishing contacted my manager expressing interest in having me write a potty-training book. So, my wife and I co-authored “Uh Oh! Gotta Go!: Potty Tales From Toddlers.” We subsequently wrote a second book for Barron’s on manners, titled “Oops! Excuse Me! Please!: And Other Mannerly Tales.” Both of these books have continued to sell well for many years.
KCG: How do you feel being on Sesame Street for so long has influenced or changed you – personally, as a parent, and professionally?
Bob: It’s impossible not to be profoundly influenced by the wealth of research and positive messages consistently presented on Sesame Street. Each segment thoughtfully focuses on every stage of a child’s development, and this has significantly impacted me as a father of five and grandfather of eight. When my children were young, navigating fatherhood was definitely a challenging learning curve, as it is for many dads. Understanding how the Sesame Street scripts were crafted, informed by child development experts, helped me learn how to become more attentive and sensitive to a child’s way of thinking and their potential for learning and growth. I learned the crucial importance of listening – truly listening – carefully to what your children have to say. When my kids were young, that meant getting down on the floor to their level, making eye contact, and focusing intently on all the wonderful things they wanted to share.
We are currently embarking on our 46th experimental season of Sesame Street. The word “experimental” is actually part of the heading in every writer’s notebook they receive each year because the show is conceived as an ongoing experiment, constantly evolving and adapting each year. It struck me just a few days ago that when my wife and I celebrate our next wedding anniversary, we will be beginning our 57th experimental season of being married (laughs). We’ve been incredibly fortunate and blessed with a large, loving family. Being a parent, grandparent, and nurturing a marriage are all lifelong experiments, much like Sesame Street continues to be. The constant challenges and joys of life keep things fresh, vital, and continuously evolving.
KCG: What has been the biggest adjustment for you on Sesame Street as the show has evolved over the decades?
Bob: Adjusting to being recognized as “Bob from Sesame Street” was a unique experience, as were the reactions I received from both children and parents when they encountered me off-screen. I recall one instance where a woman, through tears, explained that seeing me brought back a flood of cherished memories from her childhood and expressed how much Sesame Street had meant to her and her family over the years. Those kinds of heartfelt reactions are incredibly touching and humbling.
Professionally, I wasn’t a trained actor when I was initially hired for Sesame Street. My background was primarily in singing and performing music. I was initially somewhat concerned about my acting abilities and navigating scenes, particularly those with more complex or emotionally nuanced scripts. Will Lee, who had an extensive career as an actor and acting teacher in New York and had even taught renowned actors like James Earl Jones, was incredibly supportive and helpful. I shared a dressing room with Will for his entire time on Sesame Street. He generously gave me mini acting lessons while we were getting into our costumes each day, offering invaluable tips and guidance.
KCG: What have your own children thought about your long and successful career on Sesame Street?
Bob: My younger children absolutely loved watching Sesame Street while they were growing up. One of my most cherished memories is of my youngest daughter, Cathlin, when she was around three or four years old. I came home from a day of filming at Sesame Street, and she was sitting on the couch with her back to me, engrossed in watching the show. It happened to be an episode where I was on TV. I said, “Hi, Cat!” and when she heard my voice, she looked at me, then back at the screen, and repeated this double-take three or four times. Then, she stood up on the back of the couch and just leaped into my arms with a huge smile. She started playfully patting me on my chest, then looking back at the TV screen, pointing, and saying, “That’s my daddy! That’s my daddy!” I’m not sure who she thought I was on TV before that moment, but it was a truly wonderful and heartwarming experience, one I will always treasure.
KCG: Did your children ever have the opportunity to appear on Sesame Street themselves?
Bob: Yes, they did appear on the show a few times, but very infrequently. I wanted them to have a realistic understanding of my work, which involved long days and a lot of effort. My son Robbie is a talented guitar and banjo player, and he even performed on the show once with a small jug band. The kids enjoyed visiting the set and meeting the cast and some of the Muppets they had grown up watching on television. However, I didn’t want them to become “show biz kids.” I wanted them to have a normal childhood outside of the spotlight.
KCG: Your grandchildren must also love watching their grandpa on Sesame Street!
Bob: They do, and it’s a really delightful bonus of the job, quite frankly. It’s wonderful to share that legacy with them.
KCG: Over the years, have you developed favorite Sesame Street characters or Muppets that you particularly identified with or felt most comfortable interacting with?
Bob: Beyond Caroll Spinney’s incredible work bringing Big Bird and Oscar to life, I’ve always had a soft spot in my heart for Grover, especially in his skits as the waiter with the perpetually patient Mr. Johnson. There was something so endearing and vulnerable about Grover in those scenarios. Mr. Johnson would place an order, and Grover, with his characteristic enthusiasm, would inevitably spill everything on the way out of the kitchen. Then, in his infectiously optimistic Grover voice, he would say, “Sir, this was the last one, I’m so sorry, but it was a wonderful choice!” I think Grover is simply charming, brilliant, and utterly lovable.
KCG: I also have a soft spot for Grover, especially Super Grover! He just couldn’t quite manage to save the day, but he always tried with such enthusiasm!
KCG: What was the atmosphere like off-camera on the Sesame Street set? Are there any memorable behind-the-scenes moments you can share?
Bob: We had some incredibly talented guest stars on Sesame Street over the years. One particularly memorable guest was Lang Lang, the world-renowned pianist. Between takes, he would often entertain us with extraordinary piano pieces that were simply breathtaking. His speed and virtuosity were astounding.
When Lang Lang was a guest on the show, the writers cleverly created a scene where he auditioned for Oscar’s Trash Band, dressed as a Grouch Muppet himself! I recognized him instantly in the scene and asked him what he was doing on Sesame Street. He explained he was auditioning for Oscar’s Trash Band. I turned to Oscar and exclaimed, “Oscar! That’s Lang Lang! He doesn’t need to audition!” Oscar, in his signature grumpy voice, retorted, “I’ll be the judge of that!” and then gruffly instructed Lang Lang, “Play somethin’, twinkle fingers.” Lang Lang proceeded to play a few extraordinarily beautiful, short musical passages. After each one, Oscar grumbled, “That’s beautiful!” When Lang Lang asked Oscar if he had made it into the Trash Can Band, Oscar scoffed, “No, of course not!” explaining that Oscar hates anything beautiful. In mock desperation, Lang Lang dramatically slammed both elbows onto the keyboard, creating a loud, discordant crash. Oscar perked up immediately and asked, “What was that?!” Lang Lang replied, “Nothing.” Oscar insisted he play it again. After Lang Lang repeated the elbow smash, Oscar enthusiastically declared, “Yer hired!”
KCG: Do the cast and puppeteers ever continue to interact in character even when the cameras are off?
Bob: Oh yes, absolutely! There are constant ad-libs and improvisations happening all the time. The Muppeteers are incredibly gifted at improvisation. They work under very demanding conditions. First of all, they are often lying on their backs or kneeling, and you might have four or five people contorted together in a confined space, almost like a car crash, trying to get everyone in the right position to operate the Muppets in sync. Being a puppeteer or Muppeteer is technically and physically challenging. So, during breaks, to clear their heads and unwind, they will often start “rapping” with each other in character. Some of their improvised exchanges are genuinely hilarious.
During a taping session, if an actor or Muppeteer flubs a line, there will be funny, character-driven comments and banter exchanged as soon as the take is stopped. It’s truly amazing to watch the Muppeteers in action. Actors typically come to set with their scripts completely memorized, whereas Muppeteers often read from scripts that are strategically taped in various places within their line of sight. They are also watching small monitors to see how the Muppets look on camera while simultaneously manipulating the puppets, sometimes with two people operating a single Muppet. It’s an incredibly demanding job, both physically and creatively. Playing Big Bird is perhaps the most challenging role of all because Caroll Spinney is inside this massive costume, which he can only wear for limited periods. His script is taped just inches from his eye, and he has a tiny monitor, about 1.5 to 2 inches wide, strapped to his chest. And here’s an added layer of complexity: when he wants Big Bird to move left, Caroll has to move right because the optics are reversed within the costume!
KCG: In your opinion, how has Sesame Street benefited its audience and society over its long history?
Bob: Sesame Street’s global reach is truly remarkable. We are broadcast in 120 English-speaking countries and have around 60 foreign co-productions. In South Africa, for example, they have a Muppet character named Kami who is HIV-positive. This might be startling to some, but Kami plays a crucial role in educating millions of African children about HIV and AIDS, conveying essential information, such as the fact that HIV cannot be transmitted through casual contact like playing with a child who is HIV-positive or interacting with parents who are HIV-positive. I’ve heard our CEO articulate in speeches that when our writers and producers travel to foreign or developing countries, they are genuinely on a mission to make a positive impact; they are not simply there to promote a television show. Sesame Street has also created incredibly sensitive and helpful segments for military families dealing with the loss of a parent, whether a mother or father, or addressing issues like amputations or PTSD. Sesame Street deeply respects and supports military families and their children through a bilingual educational outreach initiative called “Talk, Listen & Connect, which offers valuable resources on their website.
I always thought “Bein’ Green” was just a catchy, whimsical song for a frog until I heard Ray Charles perform it on The Tonight Show many years ago. I was profoundly moved and realized that it’s far more than just a song about a frog. The message of self-acceptance and embracing who you are resonates deeply with people from all walks of life.
KCG: It’s incredible how children can connect with puppets and Muppets through the power of imagination. I’ve witnessed my own daughter interacting with puppets as if they are real individuals, even though intellectually she knows they aren’t. Talking to a character seems to help her process and communicate her own emotions. Even as a child, and to some extent even today, I consider Big Bird to be a real person in my mind.
Bob: Absolutely. When Caroll Spinney puts on his Big Bird costume, it becomes almost impossible to imagine him as separate from the character. Caroll embodies Big Bird so completely that he is Big Bird; that is his persona. The same is true for Jim Henson, Frank Oz, and all the talented performers who bring the Sesame Street neighborhood to life. You can attribute this incredible skill and professionalism to Jim Henson, who set an exceptionally high bar for all the Muppeteers who have been part of Sesame Street over the years.
Albert Einstein famously said that while he possessed an extraordinary capacity for abstract thought, he felt that his imagination was the most important faculty he had in his life. He, too, recognized the profound power of imagination, particularly in connecting with ideas and emotions.
Share this:
Like Loading…
