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Big Bird's birthday is March 20th.
As Caroll Spinney has aged, the show has gradually started to train new performers to play Big Bird. These apprentices include both Rick Lyon in the opening theme song of the show's 20th, 25th, and 33rd seasons[11] and Matt Vogel in the show's Journey to Ernie segment. Sometimes, Matt Vogel performs in the Big Bird puppet, with Caroll Spinney dubbing all his lines in later, though Vogel has also performed the voice on occasion.
Caroll Spinney was sick during the taping of a few first season episodes, so Daniel Seagren performed Big Bird in those episodes.[12] He also performed Big Bird when he appeared on The Ed Sullivan Show in 1969, and in a number of Sesame Street Cast Tours in 1970. Jim Henson, who designed Big Bird, proved to be a possible candidate to perform the bird, as he was slender and over six feet tall. But Kermit Love, who built the costume, didn't think that he walked like a bird is supposed to walk.[13] Henson then offered the part to Frank Oz, but since Oz hated performing full-body characters, he turned down the job.[14]
The Big Bird performer is completely enclosed within the costume and extends his right hand over his head to operate the head and neck of the puppet. The Muppeteer's left hand serves as the Bird's left hand, while the right hand is stuffed and hangs loosely from a fishing line that runs through a loop under the neck and attaches to the wrist of the left hand. For some of the "Journey to Ernie" segments, a second puppeteer (usually Jim Martin) controls Big Bird's right hand.
When Spinney is performing on-location and cannot get a video feed on his television monitor, a hole is made in the bird suit to give Spinney the ability to see out in front of him. In these occasions, Big Bird wears a neck tie at all times to hide the hole. Don't Eat the Pictures, Big Bird in China and Big Bird in Japan are all examples of this.
For years, Caroll Spinney had a policy of refusing to pose for photographs in half of the bird suit. He later explained why in an interview for The New Yorker:
