Terry Fator

 

“One thing I have learned is to keep pursuing your dreams. Honestly, they never really die unless the dreamer stops chasing them and lets them.”

I was standing on stage during a media event with celebrated entertainer Terry Fator when he was asked something about what he had learned by winning America’s Got Talent, which for him came a few years after he reached that magical milestone birthday most fear – forty. And that response you see quoted above struck me like a lightning bolt.

Harry Chapin wrote and sang several fantastic, interesting songs. I want to mention two of them here.

The first is called “Circle”… which he used to close all of his shows.

“All my life’s a circle
But I can’t tell you why
The seasons spinning round again
The years keep rollin’ by”

I mention this song, because I have absolutely zero doubt that Terry Fator had no clue at all about the connection… the circle… his comment had created with me.

At the time I met Terry, I was also preparing the final draft of my first book, Time Just Drifts Away. My wife is a huge Harry Chapin fan, and she has turned me into a very big fan of his music as well. When we got married fifteen years ago, I took one of his songs — “Dreams Go By” — and used it as a springboard to write my lovely bride a poem. (This would be the second song I plan to mention.)

I presented the poem to her on our wedding day. You could say that Chapin and his music are kind of special in our home. And so, when I was looking for options as a name for the first book, I went back to this song…

“I don’t know when
But we will dream again
And we’ll be happy then
Till our time, just drifts away”

Now… let’s take a look at what Terry said…

“One thing I have learned is to keep pursuing your dreams. Honestly, they never really die unless the dreamer stops chasing them and lets them.”

And then let me expand on “Dreams Go By” from Harry…

“And so you and I
We watched our years go by
We watched our sweet dreams fly
Far away, but maybe someday
I don’t know when
But we will dream again
And we’ll be happy then
Till our time, just drifts away”

And there you go… I was standing on a stage, more or less thunderstruck by my recognition of a circle, as Terry spoke of chasing dreams. Forgive me for seeing some interesting — though lacking a bestseller of my own, as yet unfulfilled — parallels.

Let’s shift the focus of this introduction back to an appropriate place… Terry Fator.

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Terry Fator never expected to win America’s Got Talent. In fact, if you asked him when he thought he had a chance of winning, his likely answer would be about three words long… “After I won.”

That’s just a guess on my part, but he did enter the competition hoping to boost his career options. He never thought he would make it to the finals. Having turned forty, Terry was finding his entertainment options were beginning to close. Not disappear… but they were not as filled with energy, hope and endless possibility as they had been when he was younger.

He was still dreaming though, so to speak. The target wasn’t winning America’s Got Talent. It was about opening new doors and creating fresh opportunities. It’s was about recharging his spirit. It was about facing his future and realizing those dreams.

Funny thing about opportunity. When there’s a knock on the door, some people answer and some people don’t. A few of those that do answer find themselves prepared to take advantage of it in ways they never expected. And once Terry qualified for the America’s Got Talent competition, his hard work and efforts over more than three decades of performances placed him in a comfort zone with a sense of preparedness few can understand. And it is that thought that sends us to Texas… almost forty years ago… where our story begins and a young boy was in a library…

Paul Winchell was an incredibly talented and special man. One of his most notable accomplishments was designing and earning a patent for an artificial heart. He was also a professional entertainer. Most of us will hear his voice with ease when it is noted that he was the original voice of Disney’s Tigger. He was also an accomplished ventriloquist. Two of his characters, Jerry Mahoney and Knucklehead Smiff, reside in the collection of the Smithsonian Institution.

Winchell wrote a book called Ventriloquism for Fun and Profit. Terry found it while working on a project in the library, and quickly added ventriloquism efforts to his expanding entertainment endeavors. This took place around his tenth birthday.

Terry was known to family and friends for his spot-on impersonations, earned a shot at his first paying performance by the age of 12, and dazzled onlookers when he sang cover songs… not just by performing the songs, but by sounding exactly like the original lead vocalists.

(Performing for thoroughly entertained audiences… working hard at his ventriloquism skills… known for his celebrity impersonations… you should be seeing the foundation of similarities to a triumphant run on a television talent show. Remember… he was 12. We’re still more than thirty years away from his America’s Got Talent audition and we are seeing the development in so many areas of an all-around, tremendously versatile performer.)

He was also occasionally intertwining his singing performances with his dolls. In order to complete his “Rock With You” cover of Michael Jackson, Terry brought along a lion puppet he named Jackyl Mikeson. He sang while helping out with his family’s cleaning business. And he would sing along as the radio delivered songs in the car… mimicking all the singing voices, while practicing not moving his lips as he did.

In many ways, if it’s possible to define it this way, Terry’s biggest problem was being too talented to fit into any particular entertainment area.

He was the lead vocalist for a band, and thrilled those listening with his remarkable singing voice – especially when delivering virtually pitch-perfect renditions of the original. That band was on the verge of landing a recording contract. One of the problems? The band’s following, and Terry’s passion, was developed in no small part around entertaining the audience with quality music and impersonations of the stars. As Terry’s brother, Jep, offered: “Recording companies viewed that as a novelty. It’s nice, and great for the audience. But it wears thin quickly when you’re trying to plan a recording career, especially if you hope to record original material.”

As a solo performer, Terry was finding consistent work at state fairs and even through corporate events. Unfortunately, the ventriloquist seldom gets a spot in prime time on the main stage. He found himself fighting the heat of mid-day performances during the Texas summers. And one time, he had his show moved due to the weather and took the stage to find an audience of one person waiting for him.

One day, he decided to overhaul his performances. Having found a terrific reaction to a routine where he had one of his dummies singing the Garth Brooks classic “Friends in Low Places,” he started combining his ventriloquist abilities and impersonation skills to occupy an even greater percentage of his shows. In short, most of his show became the dummies impersonating the stars. United with his well-polished comedic sense and overall professionalism, he felt like he was getting stronger responses from audiences than ever.

That brings us to a little girl named Emma Taylor and an audition for the second season of a show called America’s Got Talent.

Terry had hoped simply to get an audition that put him on television. Sure, he wanted to advance in the competition. And — dare to dream — until he was eliminated there was always a small chance of winning. All he hoped for though was a shot that could lead to more things down the road. America’s Got Talent was the opportunity… he was at the door… and little Emma was about to break that door down.

“When I auditioned for America’s Got Talent, I was brought into this room with some of the production crew. You don’t immediately go on the big stage and audition for the three judges. There are some phases before that. So there I am with Emma, standing maybe ten feet or so away from the group, and I do ‘At Last.’ One of the people at the table looked at me and said, ‘That’s very nice, but you’re not allowed to use microphones and recordings.’ I told him I wasn’t using a recording and that it was me singing. He challenged me to prove it, and asked me to come right up to the table and sing again.”

Several weeks later, the nation watched Winston the Impersonating Turtle offer his version of Roy Orbison’s “Crying” and Terry was closing in on actually winning the competition. As Terry explained, “I will forever be convinced that while all of the characters helped, it was Winston that won America’s Got Talent.”

One of the funny twists about America’s Got Talent, and really for any of the competition shows, is the changes that take place from week to week. When a dance group knocks the audience out with a dynamic routine one week it’s fantastic. The downside is that once they advance, they then have seven days to prepare a follow-up. For a talented but unproven group of amateurs, that can be a problem. For singers unaccustomed to controlling the pitch of their voice or uncomfortable changing styles, a new theme can be a problem. One week is not much time to overcome those obstacles.

Years of practice and hard work meant that problem wasn’t really presented to Terry: “I had been singing and performing with bands for a long time, and I had been doing my ventriloquism for a long time. I had about three hours of material that I felt comfortable with and really good about pretty much ready to go. In many cases it was hard for me to decide what not to do.”

Have you ever watched America’s Got Talent? Have you ever heard them talk about not being certain if a performer can create a full show out of their two-minute routine?

Once he won America’s Got Talent, Terry brought his skills to Las Vegas. His hard work, dedication and years of experience have been rewarded with a passionate following of fans that now flock to see him perform. He currently delivers his efforts for about two hundred and forty shows a year in the Terry Fator Theatre at The Mirage… a show that is one of the hottest tickets around, based right on the main stretch of the world-famous Las Vegas Strip.

~ ~ ~ ~ ~

The real first question I planned for you is one I keep wondering about asking, and that is to find out how it feels to have a career started thanks to Tigger.

(Laughs) I guess that’s true. Isn’t it? Paul Winchell was the original voice of Tigger.

When I was about 10 or so, I found a book he had written on ventriloquism, and everything kind of jumps from there.

It’s funny, there aren’t many well-known ventriloquists, but the ones people do know are very well regarded. I also believe you spent a lot of time singing in bands and impersonating famous singing voices. Were there many ventriloquists that influenced you as you were growing up and learning your crafts?

Oh sure, Winchell was a very well-known ventriloquist. Jerry Mahoney was one of his characters. And I watched a lot of his work when I could.

Edgar Bergen and Charlie McCarthy of course. And I really enjoyed Willie Tyler and Lester.

I loved it.

Since you perform regularly in Las Vegas, I’m wondering what is motivating you to hit the road and how often you do.

Well, first of all it’s a lot of fun just because it is something a bit different. It’s wonderful to take the show, maybe shake some things up a bit, and bring it out of Vegas.

The unfortunate reality is that as fantastic as performing primarily in Las Vegas is — and it really is very special — people tend to forget you exist if you don’t get out once in a while. You have to stay on their mind.

A night like this lets me bring the show to audiences that might not get to Vegas. Maybe along the way, I get some people interested in traveling to Vegas to catch the show down the line, and just in general make sure people know I’m still around.

How many shows do we travel for? It’s maybe twelve to fifteen each year. So, it’s not too many. But it’s certainly fun for me to go to new places and meet people. And I love performing for them.

Do you find yourself changing the show much?

I try to shake it up when I can.

We do two hundred and forty shows each year at The Mirage. And when I travel, most people still recognize me more from America’s Got Talent. That’s great, and I am incredibly grateful. The thing is, doing more than two hundred shows annually in Vegas, I need to work hard at creating a show that people consider a destination for their trip this time and also work on making it a destination for future visits.

There’s always room for new puppets and new routines. I think that audiences will be very happy with the show every time though, and they can rest assured that their favorites will be joining me onstage.

So, you’re very conscious of creating a connection with the audience.

Absolutely. No doubt about that.

I want them to come to the show and have a really good time. I want them to feel thoroughly entertained. If that happens… if they have a great evening at my show… and go home talking non-stop about Winston or Walter or Emma, and not so much about me? That is just fine with me.

I like that you mentioned audiences can identify with your characters more than you. Ventriloquism can be a funny art. When it works really well – heck, Shari Lewis was able to make a connection with her audiences using sock puppets. Lamb Chop being the most famous example. Do you think there is a special knack for connecting with an audience, and what happens when a puppet makes that connection?

For me it has always been about basing things on people we all know.

Vikki the cougar is almost direct from people I know in Los Angeles. And Duggie developed from me wondering what happened to all those druggies from high school while I was growing up, and thinking about what they might be like as neighbors today.

Do you have a favorite character?

(Takes a deep breath) I do. Two actually.

The first one is very personal for me. When I was a teenager, I had really begun pursuing performing. Part of that was with a band, and part was doing shows and ventriloquism. I was very serious about it, so my mother began saving money and eventually had enough for a professional ventriloquist’s doll. They cost about $1,500 back then – which is a lot today and it was even more back then. And she bought me Walter T. Airdale.

And the second is easy, Winston the Impersonating Turtle. I will forever be convinced that while all of the characters helped, it was Winston that won America’s Got Talent.

Winston was a last-minute addition, wasn’t he?

He was. I had this vision in my head for America’s Got Talent. I thought it could be a really great segment, where I had Kermit singing “What a wonderful world” with Louis Armstrong.

I decided to call up the Muppets and ask about using Kermit in my act. They said no. They wouldn’t allow me to bring Kermit onstage and do his voice. I was stuck. And I really wanted to do this number.

Eventually Winston was born… a turtle impersonating a frog.

What about new characters? I know you used to sing in a band and were known for impersonating the famous original voices for some of your cover songs. Do you find yourself thinking about some of the favorites you sang back then, and wondering about how to design a character so you can sing them now?

(Laughs) Definitely.

It’s hard to explain though. Because sometimes the character and the song don’t look like an immediate match.

Like Emma singing “At Last.”

Exactly.

When I saw that on America’s Got Talent, I was stunned.

(Smiles) Here’s a good story.

When I auditioned for America’s Got Talent, I was brought into this room with some of the production crew. You don’t immediately go on the big stage and audition for the three judges. There are some phases before that.

So, there I am with Emma, standing maybe ten feet or so away from the group, and we do “At Last.”

One of the people at the table looked at me and said, “That’s very nice, but you’re not allowed to use microphones and recordings.”

I told him I wasn’t using a recording and that it was me singing. He challenged me to prove it, and asked me to come right up to the table and sign again.

I did, and the next thing I knew I was heading to the stage for the judges.

Your goal with the show wasn’t to win, was it? I’ve heard you never thought you could win and were hoping only to open a few doors?

True. That was exactly my goal.

I had no illusions of a ventriloquist getting America’s vote and winning the show. I was hoping to get far enough along to earn some exposure, perhaps make a few contacts, and maybe get some people talking about me.

But you also had an interesting thing in your favor… at least I think you did. What I mean is that so often I’ll see performers come out on the show, win a round and advance, and I can’t figure out how they will ever learn a new routine in a week and perform it at a level worthy of moving on again.

Sure. I see what you mean, and it’s true.

I had been singing and performing with bands for a long time, and I had been doing my ventriloquism for a long time. So, I had about three hours of material that I felt comfortable with and really good about pretty much ready to go. In many cases, it was hard for me to decide what not to do.

And now, well, I know we have to consider an Oscar winner and many other awards, but I think you arguably may be the most successful winner ever from these talents shows. And well-deserved at that.

(Smiles) Thank you for that. (He turns and looks at the seats in the theater.) I certainly can’t complain about the places I’ve been since.

What can we expect from you in the future?

I hope a lot.

I love performing in Las Vegas, and hope to be there for quite some time. And, I’ll keep traveling when I can to do some other shows.

We have plans to release another DVD at some point this year. And there is some talk of something for television.

Since we’re talking about keeping up with you, I want to mention that I really enjoy your web site. It’s easy to navigate, very professional looking, and has a ton of information. Should people be headed over there for more details?

Thank you. And sure — www.terryfator.com — people will find news about all the upcoming events and specials there as soon as it’s released.

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I want to thank Terry Fator, for all of his time and consideration, along with some of his representatives for their assistance in assembling this piece and providing the images shown with it.

In addition to meeting in person, this piece was developed through e-mail exchanges and many contacts, and I simply cannot express my gratitude in words for the assistance, patience and friendship afforded me. It was an absolute pleasure meeting and working with them on this project. (And I certainly hope to work with them again.)

Of special note… you need to check out Terry Fator. Buy a DVD… look for him on television… and if you have plans to head to Las Vegas, an evening at The Mirage in the Terry Fator Theatre should be one of your must-do items for the trip.

Here is the best place where you can learn more.

Terry Fator’s official web site

The pictures you see in this article have been provided by Terry Fator and his representatives. All rights to these pictures belong to Terry and his business entities, which have in turn approved their use with this project on my site. They cannot be used for any other purpose without the permission of Terry Fator and/or his authorized representative.