Puppeteer has thrilled audiences for over 50 years

By Shirley Hawkins

Contributing Writer

LOS ANGELES — In the world of puppetry, Gary Jones has few peers.

Jones has been entertaining audiences for more than 50 years with his colorful roster of 120 multicultural puppets that continue to captivate and enthrall audiences of all ages. 

Jones has traveled with the puppets who flaunt their large, expressive  eyes, fluttery eyelashes and broad facial features to Honduras, India, Japan, Iceland, Holland, Germany and Portugal.

His puppets have entertained and educated children at elementary schools throughout Southern California.

“I love seeing the sparkle in the children’s eyes when we stroll on stage,” Jones said.

The puppets, whose skin tones range from cafe au lait and cocoa brown to midnight ebony, stand three feet high and are handcrafted by Jones, who uses clay sculpture to create their heads and the hands. After the clay has dried, he attaches the puppets to metal rods which he uses to glide and dance with them onstage, 

“First, I write a script,” said Jones, who said that topics have ranged from AIDS, drugs, conflict resolution and self esteem.

“Then I audition the puppets to see which one perfectly fits each role.” 

Jones, 82, said that crafting a puppet is usually a three-month process. 

“First, I build a cloth-stuffed body that is glued to the head,” he said.  “The eyes are ping pong balls and the arms are stuffed cotton sewn onto the body.  Then I take a wig and cut off the small pieces and glue the hair onto the puppets. The last stage is to buy fabric like silk and satin to sew their costumes.”

A native of Chicago, Jones was 17 when he watched his first production of “Madame Butterfly” at the Kungsholm Miniature Grand Opera, a theatre that produced puppet shows for adult audiences. 

“It was the first time that I had seen puppets performing in an operatic setting,” he said. “It blew me away.”

The creativity and intricacy of the performances impressed Jones so much that he asked for a job at the historic theater and was hired on the spot.

“I became a scenic designer,” he said.  He worked at the theater for the next three years, learning how to work with and create puppets from scratch.

In 1975, Jones decided to form his own company and named it the Blackstreet USA Puppet Theater, also known as the Yuppets (Young Urban Professional Puppets).  He moved to Los Angeles in 1984

Watching Jones gracefully interact with his puppets is an experience. Jones dances with the puppets on stage, twirling and spinning them in the air. Their energetic performances never fail to elicit awe in children and adults alike.

Proud of his heritage, Jones routinely challenges the European standard of beauty by ensuring that many of his puppets are crafted with full lips and noses.

He recalls one performance where a Black child, eager to impress his buddies,  took one look at the puppets and yelled out loudly, “They’re ugly!’

“I stopped the show right then and there and asked him, ‘Who told you that full lips, a wide nose, dark skin and nappy hair are ugly?’

“He shrugged his shoulders and couldn’t answer. It was something he had internalized  from living in American society. In our culture, many times our folks frown at full noses and lips,” he said. “But I feel all of us should proudly embrace our features because they capture the distinct beauty of our African heritage. I craft my puppets with broad noses and full lips on purpose to further promote racial pride.”

Jones does have some favorite puppets, but he won’t divulge which ones.

“Sometimes I work with a puppet on stage and it proves to be a bit too heavy when I lift it with my arms,” Jones said. “That means it has to lose some weight and do some dieting.” 

Several museums — including the Craft and Folk Art Museum in Los Angeles, the Art Institute of Chicago and the Smithsonian Museum in Washington, D.C. — have displayed Jones’ puppets in the past, but Jones is reluctant to loan any of his puppets after one was damaged by museum handlers. Upset at the damage, he sued the museum and was awarded $15,000.

“And I refuse to sell any of his puppets to collectors,” Jones said, adding that his puppets are like members of his own family.

Concerned about senior citizens and at-risk youth, Jones has volunteered to perform countless times in convalescent homes and juvenile detention centers throughout Los Angeles. 

He has been the recipient of numerous grants and awards including the Crystal Castle from the Walt Disney Corporation for his outstanding work with children. People magazine wrote a feature on him in 1998 and lauded him for his work with youth and shedding light on controversial topics.

Jones and the Yuppets previously resided in a workshop on Washington Boulevard for nearly 30 years until gentrification forced him to move. Fortunately, he didn’t have to move very far. 

He and his puppets now reside at the Nate Holden Performing Arts Center (a stone’s throw away from his old location). People walking by the theater often pause to stare at his colorful array of puppets of every size and hue which are prominently displayed in the window.

Washington Boulevard has emerged as a bustling enclave for artists and continues to draw creatives from all sections of the city. 

“It’s important to me to note that in today’s world of electronic media that live entertainment is becoming increasingly sidelined or forgotten,” Jones said. “I feel it’s important for artists to keep pushing their art forward.”

Jones hopes to celebrate nearly 40 years of existing at his “home” on Washington Boulevard with a celebration during Black History Month.

As for the puppets, Jones said that he is working to expand his puppet family as new members join the fold. 

“There are always puppets in my workshop who are anxious for me to bring them to life,” he said.

Jones’ website can be reached at yuppets.org. 

Shirley Hawkins is a freelance reporter for Wave Newspapers. She can be reached at shirleyhawkins700@gmail.com.

       
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