Saturday, August 6, 2011

Memories of Playland

When I was a kid there was an amusement park in San Francisco, right down by the beach. It was called Playland.

I remember it as huge and magical and fascinating. I'm sure if it was still there (it was torn down in 1972) it would seem smaller and cheesier. The magic would just be papier-mâché. The grease in the air would probably make me sick. But oh, it was fun to go there as a kid.

I remember a scary monster ride through the dark. A kid in my school told me solemnly that it was called The Dummies Moving. Somehow that name sounded scarier and more horrible than what it was really called. (I think it was called “Limbo.”) It seemed huge inside. You rode through the pitch dark in a little car. There was a smell of oil and metal. Suddenly a light in front of you would flash on -- there was a monster!  A roar echoed, then the lights flashed off again. Just when I had all the monsters memorized and wasn’t scared by them any more, they added a new one: lights flashed on, there was a flat picture of a monster with arms raised – suddenly, with a grinding of machinery, the arms came down, reaching for you!

I remember a roller coaster called the Mad Mouse, though I can’t find mention of it in the Wikipedia entry on Playland. They do mention the “Alpine Racer” which is described as a “wild mouse” ride. The Roller Coaster Database, at, defines a Wild Mouse rollercoaster as one “using single-car trains on a track with very tight turns. The cars' wheels are positioned closer to the rear of the car than a traditional coaster. The front of the car travels past the turn before changing directions, giving the sensation that the car will fall off the track.” That must have been the one that we called the Mad Mouse. I was always either too little or too afraid to try it out.

I remember the Kooky Kube, which I only went in once. It wasn't really a ride, it was a house you walked through with a guide and each room was distorted and weird. In one room you sat down on a board on rollers and seemed to roll uphill.

And I remember the Fun House. I didn’t know then what a historic treasure that Fun House was. All I knew was that I hated the laughing lady doll in the window. Great big mouth, bulging cheeks, fat hands, and sounding like she was choking with crazy laughter that haunted me. (She was called “Laughing Sal” and you can watch a video of her at

To get in to the Fun House, you went through the mirror maze. After a few times, I memorized the route and could get through quickly while my little brother was still lost. The trick was this: if you walked directly towards the lights and noise Fun House interior, you’d bump into mirrors and glass walls. You had to take a passage away from your goal. Then you’d go around a wall of mirrors and find yourself walking out of the maze in just seconds. (That mirror maze entered my dreams a few months ago: a couple of the mirrors slid aside and formed a doorway to another world.)

Inside the Fun House, they had holes in the floor which blasted air up at you. I later learned they were for blowing up ladies skirts. Me, I hated those blasts of air, they made my heart jump. But I figured out that they were controlled by a guy at an elevated bank of levers. If I wanted until he wasn’t looking, I could cross the holes in safety.  I remember one time he saw me hesitating at a line of those holes, and he motioned me forward.  And blasted me as I came.

I liked best the tilting walkways because there were no holes in the floor there. You walked this pathway and the walkway moved up and down under you. There was also a turning tube you could walk through but I never tried: I would have been flipped sideways.

And then the giant slides, three stories tall, made of waxed wood. One slide went straight down, the other had a hump halfway down which made me feel I was going to fly off. I always took the straight one. You climbed a stairway up and up and up to a cramped little room at the top of the slides and they gave you a piece of canvas to sit on. You sat at the top of that huge fall and looked down and thought, am I really going to slide down that? The teenager handing out the canvas nagged you: “Go or get off and or give somebody else a chance.” And so you pushed off, feeling like needles were going through your crotch. Your behind heated up even through the canvas as you plunged down. And then you coasted to a stop, out of breath, triumphant.

They had these great old arcade games, some of which are now at the MuséeMécanique at Fisherman's Wharf.   My favorite was the baseball game. You stood behind home plate of a miniature ball field with metal players at the bases and short stop. Put in a nickel and a steel ball came up from a hole at the pitcher’s mound. It rolled toward a metal bat, which you pressed a button to swing. Swing at the wrong time and the ball rolled right past into another hole. Connect with the ball and it usually was snagged by a slot in front of a player. But if you were really good, you could roll it into the slot which said “Home run.”

Greasy fried food, kitchen-sponge-sized bars of pink popcorn, the Fun House, the scary monsters in the dark. The smell of the ocean nearby. Playland is one of those places like the old Nut Tree: a part of my childhood gone forever.

Here’s a few links if you want to read more about Playland:

Monday, August 1, 2011

Coming Up with Just the Right Voice for your Puppet

People ask me how I come up with the different voices for my puppets. Here are some thoughts:

Let the face of the puppet remind you of someone and talk like they do:  Just today,  I was playing with this little raccoon, thinking of how it should talk. It had a frizz of hair below its chin which looked like a goatee, a mouth with a wry twist and black “burglar” patches that looked like dark sunglasses. Suddenly I had an image of a beatnik. I opened my mouth and this hip, with-it kind of voice came out (but pitched a little higher, since this is a cute little furry thing).

Try different voices until you find one which clicks:  Willy the Wolf is the star of most of my puppet stories (have a look at some of the stories on  I have a warm furry, gently silly voice for him.  But when I started using that puppet, gosh, 25 years ago (!), I gave him a stately, intimidating British voice and made him the wizard hidden at the end of the underground maze.  But that just never worked for me, so I kept trying.

Shape your face and mouth like the puppet's:  Purse your lips in just that way, arch your eyes, put on that silly or wise or snarky expression.  What emotions do you feel?  What do you want to say?  Open your mouth and let it come out.

Feel your hand as the soul of the puppet and let it talk to you:  So if there was a little person there at the end of your arm, how would it talk to you?

Still stuck?  Just play.  Talk in a high pitch, then a rumbly low one.  Talk bubbly fast, then syrupy slow.  Stick your tongue out and make a silly face!  Maybe have the puppet start to tell you about itself.

Have fun.  Share with me any ideas you have and let me know if this was useful!