The old showmen were at great pains to conceal the secrets of their art. The old marionette players of the variety stage made sure all the puppets were hidden by canvas screens before and after every performance lest some visitor backstage should see they were only worked by two sticks; the Punchmen guarded the secret of Mr. Punch's squeaky voice lest anyone should see how simple was the instrument employed. Knowing the methods employed, however, is a very different kettle of fish to knowing how to employ the methods skilfully as any aspirant to Punch showmanship will quickly discover.

Perfectly clear enunciation of dialogue in Punch's voice through the use of a Punch call, known by various names but usually as the Swazzle or Swatchel, is virtually impossible, hence the employment of an interpreter out front as happened in the old days Tolerably good enunciation of most of Punch's limited dialogue is a feat of practice and skill; poor enunciation is common even among professional Punchmen. Some people can produce an excellent and clear voice for Punch without the use of a Swazzle, an obvious advantage as far as clarity is concerned, but this voice lacks the hard rasp of a swazzle-produced voice and also the ear-splitting trumpet-like quality of the noises that an exultant or incensed Punch emits.

The secret of the Swazzle has long been out although, even today, some Punch performers still like to surround the instrument with an aura of mystery, and hint at secret methods of construction. Certainly, some books on Punch and Judy have given instructions for making a swazzle which in practice, would be impossible to use and one feels the author must have been deceived by the Showman who was induced by soft words and hard cash to "reveal" his secret.

The real swazzle is made of metal and tape. Pewter, tin (real tin, not tin-plate) and silver are non-poisonous metals from which a swazzle can be made and held in the mouth with no danger other than that of swallowing the instrument. Incidentally it would be as well to mention here that if the swazzle is swallowed accidentally it should be followed immediately by a hearty meal of bread, dumplings or other suet pudding. The danger can be avoided by having a length of cotton thread tied to one end of the swazzle and left dangling out of the mouth while the instrument is being used; not a method for the orthodox but at least it provides a means whereby the instrument can be hauled back the way it went in if there is an accident. Tradition requires that the performer shall swallow his swazzle three times before he can call himself a Punch and Judy man. Beginners please note!

Now the making of the Swazzle: Basically it is two strips of metal 12mm wide and 19mm, 22mm or 25mm long according to the preference of the worker and, presumably, the proportions of the inside of his mouth. It is better to start with the length at 1 inch (25mm) then the instrument can be cut down if it is thought a smaller size might be easier to use. The two plates are made usually from silver since it is the easiest of the recommended metals to obtain. In Britain a florin or 2 shilling piece of date prior to 1920 was frequently used. One such can still be obtained from a coin dealer. It has to be beaten out until it is uniformly thin enough for the two plates to be cut from it. It was, of course, illegal to deface a coin of the realm by subjecting it to this treatment; nevertheless it has been done in the past although there are no records of a Punch professor being prosecuted for this particular misdemeanour. Today it can be done quite legally. It is not an easy job, anyway, for an unskilled person to beat out an old two-shilling piece and the easiest and quickest method of getting the necessary silver is to ask your local jeweller who will, perhaps, find something among his scrap silver from which the plates can be cut, or get you a piece of new sheet silver. The thickness should be 25 S.W.G.

German silver (a white metal alloy), aluminium and various alloys have been used for making swazzles but they are sometimes hard to obtain, too soft, or potentially poisonous. Commercially produced swazzles can be obtained - they are usually too big, or two flimsy, or of an unsuitable material. Anyway to make one's own is a matter of pride.

The two strips or plates having been cut, the corners are slightly rounded and the edges made perfectly smooth with file and emery cloth. Then the plates are bowed. The amount of bow can be adjusted to personal requirements but it is quite slight. A length of 12mm cotton or linen tape is wetted - with water or beer, laid around the convex side of one plate and the end held firmly while it is brought over the narrow end of the plate, stretched across the concave side and over the other end, round the plate again so it holds the start of the tape securely; the other plate is put into position and the tape wound around it, then round the whole thing again, cut to suitable length and then bound with cotton to hold it all secure. It may have to be undone and rewound more than once before the tension of the tape-reed is correct and the right sound can be obtained from the instrument but once properly adjusted -which must be done while the tape is wet - it will last for quite a long time. The tape frays with use - some tapes seem to last longer than others - but it is only the work of a few minutes to fit a new one.The tape must always be soaked in water, beer or with the performer's saliva before the Punch voice can be produced.

In use the instrument is held at the back of the tongue, right back near the root, and is pressed up against the soft palate by the tongue so the voice is directed through the reed. When the performer is speaking in any voice other than that of Punch, the tongue is relaxed allowing the swazzle to fall away from the palate so the voice speaks over the instrument and not through it. Breath is inhaled through the nose at all times since a quick intake of air through the mouth can dislodge the swazzle when it is resting on the tongue in the relaxed position.

Some people find that they can master the basics of talking through the swazzle quite rapidly. Most people despair that they will ever get the knack. You have to persevere.

Commence by letting your mouth get used to the sensation of an alien object. Pop the instrument in your mouth and the go about your business. See how long you can keep it in. Try and talk with it in without making it obvious - after all it's no bigger than some toffees. Do this, on and off, for a few days. You will probably find that your mouth gets sore. This is quite usual, and that is why I suggest this toughening up period. At the end of a few days your mouth will have become accustomed to the swazzle, and your tongue will have learned how to shift it around, and the roof of your mouth will have become less sensitive. You will have actually done some very useful preparation.

Now let us make some noises. If you are starting from scratch with a dry swazzle the first thing to do is to wet it, thoroughly. Place it under the tap and soak it, and then assure yourself that it will work. Just put it to your lips and blow through it. It should emit a nice clear squeak from either side. Now pop it in your mouth and move it around. Manoeuvre it onto the tongue, held to the roof of the mouth, with the long side parallel to the back of the top teeth.

While in this position you have to drive air through the reed to make a sound. The action is a bit like making the English "th" sound (as in thatch or thistle) - only normally you make this sound with the tongue just touching the top teeth. You now attempt this sound, but with the tongue further back, pressing on the swazzle. At first you'll do a lot of spitting and slobbering so privacy for your first attempts is essential. Initially you might not get a sound - but suddenly you'll find your squeak. Once you find the knack play around with it. Squeak, and squawk and drone, just familiarise yourself with the noises you can make. Move the swazzle to the side of the mouth, then try and get it back into position using the tongue. At first it will insist on turning sideways mid-squawk. It takes a lot of practice to steer the thing around your mouth. You will also probably find that your swazzle produces a nice clear sound when blown from one direction, but not from the other. A little adjustment, leverage from the back of a teaspoon perhaps, slightly altering the bow on the metal, on one side may be necessary. In stubborn cases you may have to pull the thing to bits and rewind the tape. But before you do this, try leaving the swazzle to totally dry out. Leave it a couple of days. Then soak it again and try all over again - you may find it now works perfectly. Don't ask me why, I don't know. Also swazzles can go "out of tune", and yet recover simply by being ignored for a few days. For this reason it is a good idea to make several swazzles and use them in rotation. Another good reason to have at least one spare is the ever present possibility of swallowing the one in use!

Back to the practise session: Now try speaking. I can't teach you how to do this, it's something else you must "discover". With the swazzle held against the roof of the mouth with the tongue, attempt to say "That's the way to do it". Over emphasise each word, especially "that's", driving air through the reed. Remember you are not a ventriloquist, it is essential that your lips do move. In fact clear Punch enunciation needs exagerated lip movement.

As I said, I can't teach you just how to talk through the reed, I can only suggest the way to experiment to find your voice. But will find you can do, quite easily, with the thing in your mouth. The real difficulties are twofold. Firstly it is difficult to make words recogniseable - and clarity will only come with lots and lots and lots and lots of performances. My only advice is, in the early days, limit your script. Practice a few phrases that Punch will repeat, and write your script in such a way that he doesn't need to say more.

The other difficulty you will experience is shifting between the voice of Punch and that of the other characters. Actually it's easy enough to speak for Punch through the swazzle, then ditch the thing at the side of the mouth while you speak for the other character in a human voice. The problem comes in a quick switch the other way, from a normal voice to a swazzle voice. The trick here, in your early days, is to try and avoid quick retorts by Punch. For example, avoid direct questions from the character to Punch, since this demands an instant change from normal to swazzle.
"You're a wicked man, aren't you Mr, Punch?" "Oh no I'm not. I'm a good boy!"
Would be easier for the neophyte if written:
"He's a wicked man, isn't he boys and girls?" (response from kids) "Oh no I'm not. I'm a good boy!"
The children's reply gives that extra moment in which to return the swazzle to its operational position. Again it's a matter of thoughtful scripting.

What more can I tell you? Not a lot. It really is a case of discovering for yourself by trial and error. Oh, there is one more tip: The swazzle must be wet to operate, but after a prolonged period in the mouth it can become waterlogged. This perhaps happens when your, please forgive the indelicacy, when your spittle becomes viscous and frothy and clings to the tape spoiling the tone. A good sharp squawk is required to clear it. The traditional cry "That's the way to do it!", with great emphasis on the first syllable, does the trick magnificently.
(C) C.C.S. 1984

Chris van der Craats suggests:
http://www.jewel-toolcraft.co.uk/Sterling-Silver-Sheet_B2WKO.aspx and says that from this company you can buy 0.5mm thick silver for £7.95 (writing in 2007) for a piece 35x80 which will make 3 swazzles that you cut out using tin snips and file the edges smooth.

If you really can't face making your own swazzle it is possible to buy one ready made from Brian Davey - The puppetree company. His number is (UK) 01297 443728.

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