The Dingbat Show Created & Performed by: Matthew Morgan, Tina Groff, Brandon Breault, Gilford Adams. With Special Guests (different for each performance). A high-energy, fast-paced, raucous clown show. Four characters: a loud and foul-mouthed "emcee", a Shakespearean actor in tights, a traditional circus clown in full make-up, and a forthright, energetic gal who all appear to come from totally different worlds except that here they are two brothers, one adopted sister, and an uncle. Add to the absurd premise of them being family, the announcement at the top of the show that "mom has died" and "the show must go on." This quartet of performers present a silly, vulgar, vaudeville-style program, filled with traditional clowning, hat tricks and group juggling, but filtered through their skewed world. While we are busy laughing at their antics, they abuse each other as well as the audience, they touch on themes of racism, sexism, alcoholism, and suicide. The strong characters nicely balance each other out. There were guest performers (apologies for not listing them here), that added to the feeling that we were attending a crazy theatrical circus of sorts.
Dante, The Magical, Mysterious Man in Plaid, Creator/writer: Sean Dawson, Performers: Sean Dawson, Tanya Solomon, Director: Sean Dawson, Musician: Tanya Solomon, New Orleans, LA. Dante (Sean Dawson) is a silent magician with live musical accompaniment from Tanya Solomon on accordion. An impressively-skilled magician and a funny character combine excellently to make Dante completely entertaining. He presents a half carton of eggs at the top of the show, setting up what becomes a repetition of eggs, that keep appearing and disappearing throughout the performance. He has an astounding cigarette trick in which lit cigarettes also keep appearing and disappearing from all sorts of places in his costume as well as his mouth. Live music is always a welcome aspect to clown shows, and here Tanya's playing seamlessly blends with the business on stage.
Members of Our Limbs, Created and performed by Jenni Kallo, Sampo Kurppa and Thomas Monckton, Finland, France and New Zealand. A trio of stupid, zany clowns with real skills, physical acrobatics, music and dance. How many times have we seen a clown with a folding table or chair? Thom Monckton manages to get a ton of clowning from a simple folding table due his absolute brainlessness. He also manages to get tangled in a chair so that it is stuck to his body. The beauty in this is that he is actually highly physically agile. All three clowns are bizarrely appealing. The world they inhabit is strange and wonderful. This is a perfect example of theatrical clowning with elements of tradition and originality.
Tuesday, September 25, 2012
Monday, September 24, 2012
MORE SHOWS SEEN, SEE BELOW
Saw five more shows since my last posting. Am I tired? If I have to ask then you know the answer. Such great work being created--this year's festival is chock full of strong shows, brimming with talent.
Thursday, Sept. 20th saw Dont Run, RUSH! Creator/writer: Mona Ray (Ratalahti), Performer: Mona Ray, Director: Lilli Sukula-Lindblom, Music: Sami Sippola. Tampere, Finland. Mona treated us to several different scenes, each with a different character, one was a man with a mustache, another a bride with a cigar, and a few others. English not being Mona's primary language, her accent accented her clown's serious presentation of the science of laughter. She engaged the entire audience in the exercise of laughter and when using audience members on stage, she firmly yet gently called upon them to participate. At one point, she had 9 people on stage, putting paper bags on their heads. Between scenes was the excellent jazz music of Sami Sippola. A lot of fun, a lot of laughs.
In The Boudoir, Creator/Writer/Performer/Director: Summer Shapiro, San Francisco, CA. Once you are drawn in by Summer's gripping eye contact, she never lets go until the show ends. We go on the journey of a woman seeking love and companionship, with a character that has a very publicly private struggle. Dressed in a voluminous gown puffed out with crinoline (that gets caught on table legs and other things), she tells her story using her agile physical style. The men in the audience are at her mercy, and two of them end up dueling (swords, nun chucks & pistols) for her affections. There were abrupt changes in movement and music that at times made me feel cheated of a completed action, yet clowns do this all the time. We still go where she leads us, and we are not disappointed.
Perhaps, Perhaps...Quizas, Creator/writer: Gabriela Muñoz, Performer: Gabriela Muñoz, Co-Director: Luis Sosa, Costume: Valentina Muñoz, Art and graphic design: Marion Sosa, Mexico City, Mexico. (Apologies for lack of accents on names/titles: not available on this blog's format). Reprinted here is my first blog upon seeing Gabby's act in its original, shorter version: "a bride ready to walk down the aisle with that special man. First she has to find him. Wordlessly (but for some goofy humming) she turns to the audience to mine what prize may be found there. This clown has a beautifully open face where we see her entire inner life expressed. She is at times exasperated, hopeful, cynical, and impatient, and we can’t take our eyes off her for a moment. (It occurred to me that this bride has probably been married and divorced many times.) She clearly likes creamy wedding cake, a bit of romance, and expects her man to step up to the plate. The piece was short, simple, and left me wanting more." All I said before still holds true. Now I can add that the expanded version delivers the "more" we were left wanting, complete with a wedding party (audience members recruited as bridesmaids and priest, as well as that lucky groom) and the solitude of the lonely single, dreaming of love.
I have to say here that the three women clowns written about above, all present variations on the bride or single clown seeking a mate. All three are completely different and entertaining--each in their own way. A clown derived from the personal is rich with originality and unique qualities and no two are alike even when they explore the same themes.
That's all I can do for now--up next I will write about The Dingbat Show, Dante the Magical, Mysterious Man in Plaid, and Members of Our Limbs.
Thursday, Sept. 20th saw Dont Run, RUSH! Creator/writer: Mona Ray (Ratalahti), Performer: Mona Ray, Director: Lilli Sukula-Lindblom, Music: Sami Sippola. Tampere, Finland. Mona treated us to several different scenes, each with a different character, one was a man with a mustache, another a bride with a cigar, and a few others. English not being Mona's primary language, her accent accented her clown's serious presentation of the science of laughter. She engaged the entire audience in the exercise of laughter and when using audience members on stage, she firmly yet gently called upon them to participate. At one point, she had 9 people on stage, putting paper bags on their heads. Between scenes was the excellent jazz music of Sami Sippola. A lot of fun, a lot of laughs.
In The Boudoir, Creator/Writer/Performer/Director: Summer Shapiro, San Francisco, CA. Once you are drawn in by Summer's gripping eye contact, she never lets go until the show ends. We go on the journey of a woman seeking love and companionship, with a character that has a very publicly private struggle. Dressed in a voluminous gown puffed out with crinoline (that gets caught on table legs and other things), she tells her story using her agile physical style. The men in the audience are at her mercy, and two of them end up dueling (swords, nun chucks & pistols) for her affections. There were abrupt changes in movement and music that at times made me feel cheated of a completed action, yet clowns do this all the time. We still go where she leads us, and we are not disappointed.
Perhaps, Perhaps...Quizas, Creator/writer: Gabriela Muñoz, Performer: Gabriela Muñoz, Co-Director: Luis Sosa, Costume: Valentina Muñoz, Art and graphic design: Marion Sosa, Mexico City, Mexico. (Apologies for lack of accents on names/titles: not available on this blog's format). Reprinted here is my first blog upon seeing Gabby's act in its original, shorter version: "a bride ready to walk down the aisle with that special man. First she has to find him. Wordlessly (but for some goofy humming) she turns to the audience to mine what prize may be found there. This clown has a beautifully open face where we see her entire inner life expressed. She is at times exasperated, hopeful, cynical, and impatient, and we can’t take our eyes off her for a moment. (It occurred to me that this bride has probably been married and divorced many times.) She clearly likes creamy wedding cake, a bit of romance, and expects her man to step up to the plate. The piece was short, simple, and left me wanting more." All I said before still holds true. Now I can add that the expanded version delivers the "more" we were left wanting, complete with a wedding party (audience members recruited as bridesmaids and priest, as well as that lucky groom) and the solitude of the lonely single, dreaming of love.
I have to say here that the three women clowns written about above, all present variations on the bride or single clown seeking a mate. All three are completely different and entertaining--each in their own way. A clown derived from the personal is rich with originality and unique qualities and no two are alike even when they explore the same themes.
That's all I can do for now--up next I will write about The Dingbat Show, Dante the Magical, Mysterious Man in Plaid, and Members of Our Limbs.
Wednesday, September 19, 2012
JESTER OF THE PEACE
Jester of the The Peace, Barbara Ann Michaels, New York, NY. In her genuine capacity as a wedding officiant, Barbara Ann Michaels brought her warm and funny disposition to bear on her show. I came to the theatre not knowing what to expect, except that I know Barbara has a way of pulling fairy dust out of thin air and weaving it into something sweetly magical. The unscripted program centered around ceremonies to celebrate whatever anyone wanted to acknowledge or devote themselves to, be it a person, a piece of fruit (someone actually brought a papaya), small nervous dogs (yes, you read that right), or, in my case, "sleep." Since Deborah Kaufmann had also requested "rest", we were called upon to get into the same silk sleeping bag and lie down on stage. We couldn't stop laughing it tickled us that much. Barbara's way with improvisation made the evening light and fun. She evokes real emotion from what at first seems like a playful, simple exercise. Her sincere desire to connect people to their own loving energy, coupled with her ability to gently bring that about, was unexpectedly affecting, and at times, quite touching. One ceremony was performed via Skype. The gal was in our audience and her fiance was in California and they told us their story and then ended the call with a dance to "Let's Get it On" together through the Skype camera. There was a costume rack on stage for those who wanted to transform themselves and get into character. The lights and music used enhanced each ceremony. Everyone got a ring (since we were being "wedded" to our aspirations). Barbara's show had the feel of hanging out at a nice party. We the audience were an integral part of the action and as we all got involved, we became a unified group. A lovely evening that generated true feelings of goodwill. I suspect that was Barbara's intention all along. And at the end there were cupcakes!
Tuesday, September 18, 2012
GUERRA and POE & MATTHEWS
Friday, September 14, 2012
GUERRA, A Clown play Directed by Decon de Mayo, Seth Bockley & La Piara, Performed by Madeleine Sierra, Artús Cháves & Fernando Córdova, Mexico City, Mexico. This is clowning at its best: simple, hilarious, and joyful. They had the audience in their grasp from the moment they entered the stage. The characters were strong and consistent. The subject of war was handled beautifully with laughter, while fully conveying the real horrors. To my mind, this is the true beauty of clowning. There were the hierarchies, and elements of status, including the invisible authority on the telephone: the "Commander", that are essential to good clown shows. I thoroughly enjoyed myself and laughed a lot, thanks to the performers' own pleasure at playing for us.
POE and MATTHEWS: a misadventure in the middle of nowhere, Brian Kuwabara & Emily Windler, Los Angeles, California. This character-driven show is a delightful blend of witty and silly. There is a strong script combined with nimble improvisation. Poe, played in drag by Emily, is based let's say loosely, on Edgar Allen Poe. She portrays this male character with a comfortable air, conveying a male-ness without hitting you over the head. Brian as the ridiculously overweight Matthews, creates a perfect balance to his partner. They quickly draw us into their world, and we are easily willing to go through this imaginary scenario of being shipwrecked on a deserted island, and the hardships endured by the two characters. The performers present strong characterizations and relationship, so that we like them and care what happens to them. A great pairing, echoing the likes of Laurel and Hardy. I loved the playfulness with anachronisms and direct reference to the silliness of the show, such as one made to "the island of suspension of disbelief." See what I mean? Simultaneously brilliant and stupid.
Having seen these two shows back to back, I was struck by their wildly diverse approaches to the art of clowning. Both were strong, well-written, well-performed, inventive, and full of substance. Wish I had time to write more about both shows, and to express my thoughts with more eloquence. I'll just say that I am very glad I got to see them!
GUERRA, A Clown play Directed by Decon de Mayo, Seth Bockley & La Piara, Performed by Madeleine Sierra, Artús Cháves & Fernando Córdova, Mexico City, Mexico. This is clowning at its best: simple, hilarious, and joyful. They had the audience in their grasp from the moment they entered the stage. The characters were strong and consistent. The subject of war was handled beautifully with laughter, while fully conveying the real horrors. To my mind, this is the true beauty of clowning. There were the hierarchies, and elements of status, including the invisible authority on the telephone: the "Commander", that are essential to good clown shows. I thoroughly enjoyed myself and laughed a lot, thanks to the performers' own pleasure at playing for us.
POE and MATTHEWS: a misadventure in the middle of nowhere, Brian Kuwabara & Emily Windler, Los Angeles, California. This character-driven show is a delightful blend of witty and silly. There is a strong script combined with nimble improvisation. Poe, played in drag by Emily, is based let's say loosely, on Edgar Allen Poe. She portrays this male character with a comfortable air, conveying a male-ness without hitting you over the head. Brian as the ridiculously overweight Matthews, creates a perfect balance to his partner. They quickly draw us into their world, and we are easily willing to go through this imaginary scenario of being shipwrecked on a deserted island, and the hardships endured by the two characters. The performers present strong characterizations and relationship, so that we like them and care what happens to them. A great pairing, echoing the likes of Laurel and Hardy. I loved the playfulness with anachronisms and direct reference to the silliness of the show, such as one made to "the island of suspension of disbelief." See what I mean? Simultaneously brilliant and stupid.
Having seen these two shows back to back, I was struck by their wildly diverse approaches to the art of clowning. Both were strong, well-written, well-performed, inventive, and full of substance. Wish I had time to write more about both shows, and to express my thoughts with more eloquence. I'll just say that I am very glad I got to see them!
Monday, September 10, 2012
2012 Festival Begins! Machinations and Buffoon Anonymous: 12 Steps to Inanity!
Hello again,
Once again we are gathered in Williamsburg, Brooklyn for the month of September. With all the teeming cafes, bars and theatres, it amazes me that I can still find parking every time. (I hope I didn't just jinx myself by putting that in writing.) Always so much fun to congregate with the New York clown community, as well as all the out-of-town and international clowns we get to meet.
The 2012 Festival is underway and it is off to a great start. The Opening Cabaret on Friday night was so much fun and displayed the incredible variety of clowning styles represented in the Festival. The following two shows were presented one performance each for this Festival.
MACHINATIONS
Created by the cast: Lauri Berritta, Andy Dickerson, Perry Garvin, Ethan Leinwand and Jason Leinwand. Director: Andy Dickerson, Musician: Ethan Leinwand, Lighting Design by Andy Dickerson; sets, masks, and puppets by Jason Leinwand and Andy Dickerson, animations by Ethan Leinwand and Jason Leinwand
Saturday night I attended Machinations, the lastest show from the Cirque This company of performers. It is set in a myterious scientific lab full of strange characters: a couple of mad scientists, a mad scientific study subject, and a mad machine maintenance man. There were song and dance numbers, animations, a drug trip, and general silliness centered around a curious piece of machinery. Particularly enjoyable was the use of an audience member in a surprising twist. The live piano accompaniment and fantastic sound effects enriched the production. I wouldn't mind at all if the characters went even further into the clown realm, and the dance number with the machine parts connected more directly to other happenings in the story. All in all, it was a delightful show to watch as it unfolded before our eyes.
BUFFOON ANONYMOUS: 12 STEPS TO INANITY
Creator/performer: Adam G. Gertsacov
Sunday evening performance. Presented in a one-circus ring, the clown reviews his life story as though attending a 12-step meeting for people who can't stop clowning. We are witness to a mini-circus made up of doll-size figures, juggling and traditional circus clowning. There was a lovely bit where the clown retires to the audience, making an opportunity for someone to get up and perform in his place. We were treated to an entertaining rendition of "All That Jazz" by a willing volunteer named Zooey. There was an overwhelming audience vote in favor of the "obligatory avant-garde dance piece". I would have liked to see more ridiculousness in that number. There is an opportunity to play more off of actual 12-step programs here, as suggested by the show's title. Adam is a friendly clown who is clearly in love with his profession.
Once again we are gathered in Williamsburg, Brooklyn for the month of September. With all the teeming cafes, bars and theatres, it amazes me that I can still find parking every time. (I hope I didn't just jinx myself by putting that in writing.) Always so much fun to congregate with the New York clown community, as well as all the out-of-town and international clowns we get to meet.
The 2012 Festival is underway and it is off to a great start. The Opening Cabaret on Friday night was so much fun and displayed the incredible variety of clowning styles represented in the Festival. The following two shows were presented one performance each for this Festival.
MACHINATIONS
Created by the cast: Lauri Berritta, Andy Dickerson, Perry Garvin, Ethan Leinwand and Jason Leinwand. Director: Andy Dickerson, Musician: Ethan Leinwand, Lighting Design by Andy Dickerson; sets, masks, and puppets by Jason Leinwand and Andy Dickerson, animations by Ethan Leinwand and Jason Leinwand
Saturday night I attended Machinations, the lastest show from the Cirque This company of performers. It is set in a myterious scientific lab full of strange characters: a couple of mad scientists, a mad scientific study subject, and a mad machine maintenance man. There were song and dance numbers, animations, a drug trip, and general silliness centered around a curious piece of machinery. Particularly enjoyable was the use of an audience member in a surprising twist. The live piano accompaniment and fantastic sound effects enriched the production. I wouldn't mind at all if the characters went even further into the clown realm, and the dance number with the machine parts connected more directly to other happenings in the story. All in all, it was a delightful show to watch as it unfolded before our eyes.
BUFFOON ANONYMOUS: 12 STEPS TO INANITY
Creator/performer: Adam G. Gertsacov
Sunday evening performance. Presented in a one-circus ring, the clown reviews his life story as though attending a 12-step meeting for people who can't stop clowning. We are witness to a mini-circus made up of doll-size figures, juggling and traditional circus clowning. There was a lovely bit where the clown retires to the audience, making an opportunity for someone to get up and perform in his place. We were treated to an entertaining rendition of "All That Jazz" by a willing volunteer named Zooey. There was an overwhelming audience vote in favor of the "obligatory avant-garde dance piece". I would have liked to see more ridiculousness in that number. There is an opportunity to play more off of actual 12-step programs here, as suggested by the show's title. Adam is a friendly clown who is clearly in love with his profession.
Subscribe to:
Posts (Atom)