HYDERABAD: What started as a playful pastime to entertain the children in her household soon turned into a career. With hand puppets and a knack for humour, Seema Golccha’s impromptu ‘Watta Witty Show’ became a family favourite. Little did she know that this casual evening tradition would one day take her to international stages like Gotham Comedy Club in New York, where she shared the lineup with legends such as Jerry Seinfeld and Jay Leno.
At 45, she took the bold leap of turning her passion into a profession. The ventriloquist has a heartfelt conversation with CE.
Excerpts.
Can you share how you first got into comedy and what drew you to ventriloquism as a storytelling medium?
I was a housewife in a joint family when I got married. We had 4-5 kids at home, and instead of bedtime stories, I’d tell them jokes and do fun activities with my hand puppets. It became a regular after-dinner feature where I use basic puppets and experiment with different voices. That was the start!
I got an opportunity through Toastmasters to do stand-up comedy, and I thought I should try my hand at ventriloquism (literally). It was a complete game-changer — make that ‘life-changer’ — for me. I received a standing ovation after my show, and that was enough of a sign that this is what I needed to pursue in life.
I took up ventriloquism professionally five years after that first show, at the age of 45. I became an in-house comic at Canvas Laugh Club, Mumbai/Delhi. My journey has been slow but incredibly fun and fulfilling.
Being one of the few female ventriloquists in South Asia, how did you create a unique space for yourself in the comedy circuit?
I realise that this art is unique and rare, especially because I didn’t have any coaching or training. There was no one teaching this, so most ventriloquists, I feel, are self-taught.
Since there are so few ventriloquists in the world, not many people have seen it performed live. That has worked as an advantage for me. Wherever I travel, I try to take a spot in the city or country. Even if there is a waitlist of performers, I usually have an edge as a ventriloquist. I feel the craft and the humour have helped me carve a small niche for myself in the comedy circuit.
Your puppets, like Jack Denials and Darwin the Monkey, have become integral to your performances. How do you create and develop their personalities and dialogues?
My first puppet was the blue, hairy one I call Jack Denials. Over the years, Jack has grown into a personality and has a voice of his own. People actually believe he’s a different person (and so do I).
I’m now building Granny’s character, who is slow, funny, and has her own unique voice and style.
Darwin the Monkey and Snowy the Dog are among the many puppets I use for kids’ shows. They are fun and silly, and kids love animal puppets.
Who or what has been your greatest influence in shaping your comedic voice, both in traditional stand-up and ventriloquism?
My husband, my kids, and my life! I believe funny is everywhere — it’s about how you present it and put your quirky spin on it.
Given your background in a conservative family and society, how do you balance crafting jokes that are bold yet connect culturally with your audience?
Oh, that’s easy for me! Being a ventriloquist helps — I can maintain the ‘good person’ image on stage while my puppets say the most inappropriate things and get away with it.
Also, I don’t use profanity in my acts, and my upbringing doesn’t allow me to say anything that could genuinely offend people, so I’m good!
You’ve performed internationally, including at Gotham Comedy Club alongside legends like Jay Leno and Jerry Seinfeld. How has global exposure helped your understanding of comedy?
Global exposure is essential if you want to grow. I’m so passionate about what I do that wherever I go, I’m looking for spots or shows to perform.
Gotham Comedy Club in New York was one such show for new talent. In a room full of 140 people, when I asked if anyone had seen ventriloquism live, not one hand went up. I learned that some jokes that worked in India didn’t go well with audiences in the US, but others worked better.
During that same show, the two surprise acts were Jerry Seinfeld and Jay Leno. That’s when I realised how big a show it was, and I was thrilled to be a part of it.
In Singapore, I opened for Bassi at the Esplanade, where there was an audience of 1,700 people. That was a completely different experience. It’s important to keep trying different rooms and audiences in different cities if you want to grow as an artist.
Your shows involve audience interaction through your puppets, right? What’s the most unexpected or amusing reaction you’ve had during a performance?
Audience interaction is always fun and different. At the end of any solo show, I usually turn someone from the audience into a puppet and make them say or do fun things on stage.
During one show in Mumbai, I called a guy on stage and made him say he wanted to juggle. He turned out to be a professional juggler! He was so good that I wanted to leave the stage and let him take over. People thought I had planted him in the audience because he was so good, but I hadn’t!