In November last year I was passing through Madrid, Spain and I realized that this was the city that Ventriloquist Celia Muñoz was from. I thought, on a whim that perhaps she would meet me for an interview. We had met at the conVENTion a couple of years back so an introduction had already been established.
"Celia, would you be interested in being interviewed for the Vent O Gram?"
"Por supuesto, " she replied. And on that "Of course" we set up a time and place.
We met at the Taberna del Alabardero, which is just a stones throw from the Madrid Opera house. I thought, "We are meeting on her own turf. That is good."
The tavern is classic and traditional Spanish. I sat down, ordered a glass of wine and began to take note of my surroundings. As I said, the place was very Spanish, but with one difference...one wall was covered with publicity shots of artists from all over the world.
This place was obviously a 'go to ' destination for performers. It didn't take me long to discover Celia's photo with her character Joselito prominently displayed in the tavern.
About this time Celia came through the door. Beautiful and charming as ever, she lit the place up. The wait staff had been pleasant to me, but when they discovered I was a guest of hers I was now, like Celia, royalty.
The interview all took place at the last minute but as you will see, she is not only a great artist, but a person of great transparency, integrity and substance.
And now, Vent O Gram proudly presents Celia Muñoz.
All of America knows you as a ventriloquist. But what about you as a Spaniard? May we begin at the beginning? Where were you born?
In Spain. Here, in Madrid. I am 100% from Madrid. My Mother and Father and my brother are from Madrid and I have other family in the south of Spain.
When you were young, did you study music?
I first began in theater and later began to study music. I studied at the Conservatory of Music in Madrid and later went to Finland to study voice...Opera.
So it was always the voice?
Yes, yes. When I lived here though I did classical theater like Shakespeare, Lorca etc. I joined a company and worked as an actor. I was very young. So, theater I began to love very early in my life, but that evolved to music as well.
Is Lorca (Frederico Garcia Lorca) still revered in Spain?
Oh yes, yes. Many of his plays are still performed in Spain. Lorca needs no introduction. If his name is on a play, then it will be successful! Many of Lorca’s writings have a been set to music as well.
Have you ever performed any Flamenco?
My Aunt sings Copla. (A traditional form of Spanish popular song) And I have my puppet Joselito perform ‘Copla’ when I perform. But no, I have never performed Flamenco. It is another art form.
How many years have you been performing in theater productions in Spain?
The company that I was in took part in InternaJonal Classical Theater festivals. I did this for about 5 years. But I have been in theater since I was very young. All my life really.
What about puppets? Did you have any interest in puppets during this period?
No not at all. Never in my life.
Well then tell me, how did it begin?
About 4 years ago.
Amazing.
Yes. I always liked playing ‘characters’ in theater. You know, like an old woman or what have you. And, I always loved Joselito. (Joselito , is a former child singer and film star in Spain, primarily active during the 1950s and 1960s) I watched Joselito movies with my Mother. Joselito was very popular and so that is my inspiration for my Joselito puppet. I was always impersonating Joselito. This was before ventriloquism.
So, all the people in Spain know the Joselito character.
Yes, when I bring out my Joselito everyone knows he is the character from the movies. 100 per cent of the people know. People love him. And of course, he sings, as did Joselito in the movies. By the way, Joselito is still alive and when he saw me on Spain’s Got Talent, he sent me a message!
Who made Joselito?
Clinton Detweiller.
Clinton Detweiller made Joselito?
Yes. The figure was in England with a collector. I was looking for a puppet and I didn’t want to spend a lot of money. I think he made the figure in 2010. The figure has his signature. It might be one of the last one’s he built. Then I went out and bought all of the costumes.
So, exactly when were you first introduced to ventriloquism?
A little before the pandemic. No one introduced me. I had seen some videos of ventriloquists , Terry Fator and Darci and I was very interested because they are also singers.
As as I was watching I thought, maybe I can do this. So, I tried and right away it came to me. I said to my brother, look, look I can do this! And after, I tried to do it with Joselito’s voice. And I did, and I could!
Then I discovered Senor Wences. I had never seen Wences. Then I saw Jay Johnson, and Ray Alan and others. I just starting watching videos all the time.. The old ones.
Why the old ones?
Well, it is like singing. You always try to learn from what went before. You go to your roots you know?
Yes
.
And then I saw Paul Winchell. I love Paul Winchell. Many things I do in my act are inspired by Winchell. The relationship that Paul had with his characters was so charming. The same with Ray Alan. I also listened to the great Lester. So, yes I began a process of investigation.
So, in a way you were going to school?
Yes, studying the greats. The technique I could do the technique right away, since from opera singing I had already a knowledge of the voice, but I also connected with Gary Owen and he gave me the basics in ventriloquism, consonants, how to use the puppet... he was so sweet and supportive to me.
Are you talking specifically about near or distant ventriloquism?
Well everything had a process. I did both, but the distant voice was gradual. When I first did it I thought, “wow, this is very interesting.” My brother was where I learned more of misdirection. He is a master. I looked to him all the time. .And of course my husband is a well known opera teacher and I pestered him to look at me if I moved my mouth , if he could see me breathing, or if it sounded right. Meaning did the voice sound full with still lips. Did it sound open.
How did you meet Gary?
I met Gary Online. I knew he was working with Darci (Lynne)
Were you doing any performing with puppets at all?
No, I worked for a few months and then my brother took me to an open mic. It was just for fun. Everything was for fun. Like I said, I had been practicing for about 3 months before my first performance. I was reading, studying, you know the consonants and the labials.
Let’s talk about your act. Were you coached?
My brother, Miguel. He helped me to create the act. I knew I wanted to do Joselito and I knew that I wanted to sing. And so we combined the two.
How did the process work with you and your brother?
During rehearsals we did a lot of improvising in order to find out what worked and what didn’t work.
What does your brother do?
He’s a magician. He is very well known in the international magic community. (Miguel Muñoz Segura is an international magician and actor who won the World Championship of Magic in 2015. He also won the Spanish Grand Prix in 2011, the Grand Prix at the White Magic Convention in 2014, and the FISM Europe award in 2014. He made his film debut in Tim Burton's Dumbo in 2019.)
My brother is my major inspiration. I told him I needed to do something with Opera because I am an Opera singer. So he is the one that suggested using the opera voice combined with the distant voice.
So, it all became very theatrical.
Yes, very theatrical. It’s my background.
This is what has made your act very original throughout the world...the theatrical piece to it.
Yes. It is like a concept. Like when I did the radio, or the popcorn bit it is all very theatrical because it takes place in my dressing room.
Congratulations to Miguel. This is impressive. Of course, one needs the talent to carry off those ideas.
Yes. Yes. My brother has directed all my acts, he had the main ideas, so I owe him a lot . He has a brilliant mind .
How did Spain’s Got Talent come about?
The open mic that Miguel took me to…They were there that night and sent me an email the very same day. They said, “Do you want to come?” I said, “No, no, I’m an opera singer, I’m not ready.”
Wait a minute, this is really fast. So you go to the open mic and perform. How did people like it.
I have never seen such a reaction. It was crazy. They were screaming after the performance. It was unbelievable. I was so nervous because I was thinking about so many things. They went nuts. They were saying, “What just happened here?”
This was in Madrid?
Yes.
Ok, from that singular performance, Spain’s got Talent wrote you. You didn’t apply?
No. I posted a video and they contacted me immediately.
Did you audition eventually?
Yes, but just through the video.
So they wrote back after the video?
Yes ,they said “do you want to be on the show?” I said, “ No, I have to think about this. I am an Opera singer and if I do this people will think I am not serious about opera.”
But then , covid came and no one, including me, was working. It was during covid that my brother and I created the act.
How did that work?
Well, my brother and I would exchange ideas. The drinking, the popcorn, the floss all of these ideas came during covid. And when we sent off the video I thought, “Ok whatever happens I don’t care. “ It wasn’t’ work to me. It was just fun.
So when you did your first live performance for Spain’s got talent, what was the reception?
Oh, they loved it. But, you have to understand, it was the first time I had ever done this type of thing in front of a live television audience.
But, you went on to win?
Yes, but it was crazy because I didn’t have any material. Every time I advanced during the show, I had to come up with new ideas for the next performance. It was horrible because it was always, “What do we do now? What do we do?”
So, during this time, we came up with the idea of doing the act in a dressing room.
So this was your idea?
Yes. Yes. But then they told me I couldn’t be in a dressing room. They said, “You’re going to be in a taxi. “ And I thought....whatever. (laughter)
After you won, were there many opportunities in Spain for you?
Yes.
How long was it before you were asked to come to America?
It was very short. They contacted me when they saw the act. This is when I came up with brushing my teeth. I thought it was funny. It’s funny and stupid.” So, I did that act. It was like Spain, but different. And this time, I was in the dressing room!
How were audiences different between the two shows?
Different. Well, first in America they have done the show a lot longer than in Spain. Plus, they know more about ventriloquism in America. You have to understand, in Spain for many years there were no ventriloquists in Spain. None. In Spain, to do ventriloquism with Joselito was really something. But, in America, they really wanted something original. I am not saying Joselito is not original, he is. But, America’s Got talent wanted something different.
Were the people good to work with?
Yes, very nice. But, there are so many people and so many departments. Sometimes the left hand does not know what the right hand is doing! Every aspect of what I finally did had been examined over and over again.
Had you had complete control with America’s Got Talent, do you think it would have turned out differently?
I can’t complain. I went to the finals and then was a wildcard and that took me to Las Vegas.
How was the Vega experience?
It was very good. It was an amazing show. I was there for a year.
Did you miss home?
Yes, a lot. I was alone. My family came of course. Other friends came to visit. But, the experience was really good. The treatment of artists in America is much better than in Europe.
When did Mark Wade call you for the Vent Convention.
It was during America’s Got Talent. He said, “Would you like to come?” And I said yes, because it would be nice to meet other ventriloquists.
Was the convention a good experience for you?
Oh yes, I got to meet so many people. I was a fan of Jay Johnson, and it was so nice to meet him, and others of course. When I did my first audition for America’s Got Talent my brother said “Let’s go to Magic Castle.” And, Jay Johnson was performing there and he was so kind and encouraging to me.
So, a year in Las Vegas and then you came back to your home in Madrid? Will you come back to America?
Yes, of course, if they invite me. Right now I’m doing a lot of work in Europe. In 2025 I’m going to be in Viet Nam, in Taipei and in Italy.
How will you deal with the language?
I try to do a little of the language in each country. But, most of my act is singing and so that is universal.
How long is your act now?
It depends because I now have different acts. Joselito, singing, impressions, séance, the dressing room. So I have a lot to draw from.
Is the act difficult to travel with?
Well, that’s another thing altogether! (laughter) I really try to do everything in one suitcase. A big one! Joselito is the biggest problem. I travel with the head on the airplane.
Do you travel alone?
Yes, but sometimes my brother and I are working the same shows, or the same cities, then we travel together. The magic festivals are great because you get to know everyone. It is like a family.
Are you working in any theater productions now?
No. Just the act now. But, I do some concerts where opera is the focus and not the ventriloquism. I try to keep busy.
I want you to reflect. All of this has happened so quickly. How do you explain this?
It was so natural. Here is the thing, I did not fight it. But also, it was natural because I always did shows with my brother. I would sing. My brother and I were always investigating how music could be used with the magical arts. I was not only just doing classical singing.
So you really have no explanation for your success?
It just came. I was open to opportunity.
Do you think that luck has a lot to do with success?
It depends upon what you call luck. I think you have to be in the right place at the right moment and you must be ready. I was ready. My technique was there. I had been doing theater since I was little and I was used to being on the stage. Plus, I had my brother, and my husband... helping me. Plus you need to have a little bit of talent.
Do you have favorite ventriloquists?
Yes, Jay Johnson is one of my favorites.
Why is that?
He is so good with the timing.. I have investigated his videos. He is a master of misdirection. Jay is perfect.
Who else?
Paul Winchell. I love so much ,He is amazing with the manipulation, plus his charming personalities and his relationship to them. Of course, Wences is one of my favorites too. His timing is incredible. He is a great influence in my own act. Then I discovered Ray Alan. And of course Shari Lewis. And there is also Jeff Dunham of course. And I must include Edgar Bergen. So many amazing artists.
Now it is time for advice. What do you advise for new people entering the art form.
In Spain we didn’t have much in terms of history. In some way, it is good not to have a precedent to follow. When you have a lot to look to there is a tendency to be like everyone else. It gives you the freedom to play with the art. To be creative.
Ventriloquism is an art form.
When I started, I had no idea what had gone before, so it was easy for me to create my own originality. So, not having a precedent was good. But of course, it is always good and necessary to look at the
masters of the art you are studying. When I do ventriloquism, it must be artistic. If I did not think it was artistic, I wouldn’t do it.
FINIS
After the interview I took this photo of Celia. We said our goodbyes. As I was leaving the owner of the tavern approached me and said. “All is well?” I looked at him, smiled and said: “Mi tiempo en España es completo.” My time in Spain is complete. And indeed talking with Celia Muñoz was a delightful conclusion to my Spanish sojourn.
To find out more about Celia go here:https://celiamunozsegura.com
Next time on Vent O Gram we take you to Canada and…
BRAD CUMMINGS
Until then, Salud!
David Malmberg
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