At last I get around to my final post...We come to the end of another great NY Clown Theatre Festival. I saw 14 shows and as usual, loved every minute of being there--inside and outside the theatre--meeting new faces, solidifying acquaintances into friendships, and reconnecting with friends and seeing colleagues from years past. If any performer is reading this, I want to say that I admire the courage it took to put your show out there to an audience often predominately made up of fellow clowns. Among other things, the festival is a chance to show each other the work we work hard to create, and to energize the art form we love. I know I am inspired.
During this festival, I kept a running count of recurring themes, props, instruments...and here is the final tally:
attempted suicides, 4 shows
ukuleles, 4 shows
single long-stem roses, 4 shows
musical saws, 2 shows
lost teeth, 3 shows
This list only includes shows I was able to attend. I heard there were more lost teeth and who knows what else, in shows I missed. What is evident is that ideas and themes reappear as they probably have been doing since the first performer stepped on a stage. The list represents a little something of the idea flow that runs through the current crop of clowning. It echoes the traditional past as it reflects the culture of the present, and that is as it should be. Thank you all who take the time to read this humble blog. Enormously understated huge thanks as always to Audrey Crabtree, without whom none of this would happen, and to her fearless crew who make the Festival run, to the incomparable Brick Theatre where it all unfolds, and thanks, especially, for the laughs. See ya.
Thursday, October 2, 2014
BIG SHOES, SHORT TALES
BIG SHOES, SHORT TALES, Michelle Nicole Matlock, Performer, Seattle, WA
In a voiceover, Michelle narrates in third person her own story--this strikes me as brilliant, and works to full comic effect. It is a charm bracelet of tales (if you will), of her arrival in New York and subsequent struggles (and triumphs) as a starving, striving actor in the big city. Thanks to her artistic creativity and well-developed theatricality, Michelle's honest, down to earth performance is both stirring and funny. What is evident is a talented performer who knows how to connect with her audience. The ending comes too abruptly, leaving us wanting more. Something to look forward to, after this inspired start.
In a voiceover, Michelle narrates in third person her own story--this strikes me as brilliant, and works to full comic effect. It is a charm bracelet of tales (if you will), of her arrival in New York and subsequent struggles (and triumphs) as a starving, striving actor in the big city. Thanks to her artistic creativity and well-developed theatricality, Michelle's honest, down to earth performance is both stirring and funny. What is evident is a talented performer who knows how to connect with her audience. The ending comes too abruptly, leaving us wanting more. Something to look forward to, after this inspired start.
Wednesday, September 24, 2014
VINDLEVOSS FAMILY CIRCUS SPECTACULAR
Vindlevoss -- will write more later--just go see this show on Sat 9/27 @ 8 pm. They are a charming, funny pair of oddballs.
VINDLEVOSS FAMILY CIRCUS SPECTACULAR! Carrie Brown and Karim Muasher, performers, NY
Finally getting around to this as promised...We have Professor Penelope Vindlevoss, with her outrageous mustache--not in drag--just a mustache, perhaps in lieu of a red nose. This curious anthropologist engages us with her ridiculous german-like accent. Her charge is Edward, a zombie from Borhaah Borhaah (spelled as the Professor pronounced it.) He is a humble and amiable zombie who longs to be human again. Twice during the performance I attended, Edward's monster teeth popped out. It appeared to be unplanned (though with clowns you never know). I was hoping it would happen a third time--at the very end--when Edward becomes human. Professor Vindlevoss is a splendid straight man for her partner, and gives him plenty of opportunity to shine. This is a delightfully skewed take on Pinocchio.
VINDLEVOSS FAMILY CIRCUS SPECTACULAR! Carrie Brown and Karim Muasher, performers, NY
Finally getting around to this as promised...We have Professor Penelope Vindlevoss, with her outrageous mustache--not in drag--just a mustache, perhaps in lieu of a red nose. This curious anthropologist engages us with her ridiculous german-like accent. Her charge is Edward, a zombie from Borhaah Borhaah (spelled as the Professor pronounced it.) He is a humble and amiable zombie who longs to be human again. Twice during the performance I attended, Edward's monster teeth popped out. It appeared to be unplanned (though with clowns you never know). I was hoping it would happen a third time--at the very end--when Edward becomes human. Professor Vindlevoss is a splendid straight man for her partner, and gives him plenty of opportunity to shine. This is a delightfully skewed take on Pinocchio.
Sunday, September 21, 2014
GIOVANNI!
GIOVANNI! Hew Parham, Performer, Craig Behenna Co-creator & Director, Adelaide, Australia. These are the notes I took during the performance, in the dark, without looking at the page because I didn't want to miss a second: "Wonky Australian-Italian accent, very funny, goofball clowning, extensive preamble before Giovanni introduces himself, food cosmetics applied to G, diatribe on "piece of shit", nonsense, all related to food, insane character, hit on real truths about modern, fast-paced, convenience-centric world, motivational speaker." All those notes do not adequately convey Hew's laugh riot, virtuoso performance. I didn't mind following his lead even when I didn't know where he was going, because I was effortlessly drawn in to the intimate environment created on stage. Giovanni literally spoke volumes. There was substance in the nonsense. It goes to show that a highly-scripted work can be as fresh, and in the moment as any clown show, when performed in a magnificent spirit of playfulness. (Afterwards, a group of us went to Fortunato Brothers Pasticceria and had cappuccino and Italian sweets. What else could we do?)
A FEW OF MY FAVORITE THINGS
A FEW OF MY FAVORITE THINGS, Jeroen Bouwhuis, performer, directed by Ton Offermans and Eveline Mois, Amsterdam
The miming of shooting his audience right at the top of the show was a bold and funny way to begin. It was a signal for the recurring theme of violence throughout the evening. His penetrating eye contact with the audience kept us involved. When he took a member of the audience on a date, there was a suggestion of violence in the implied (only with sound) sex they engaged in--we see the aftermath wherein Jeroen was clearly ravaged. The finale was baton-conducted orchestrated violence. It resonated deeply with current events unfolding in the world, evoking for me, an image of the horrific violence being perpetrated by ruthless, oppressive operators on innocent people. A graceful and nimble physical performer, Jeroen moves in splendid synchronization with his self-recorded soundtrack.
The miming of shooting his audience right at the top of the show was a bold and funny way to begin. It was a signal for the recurring theme of violence throughout the evening. His penetrating eye contact with the audience kept us involved. When he took a member of the audience on a date, there was a suggestion of violence in the implied (only with sound) sex they engaged in--we see the aftermath wherein Jeroen was clearly ravaged. The finale was baton-conducted orchestrated violence. It resonated deeply with current events unfolding in the world, evoking for me, an image of the horrific violence being perpetrated by ruthless, oppressive operators on innocent people. A graceful and nimble physical performer, Jeroen moves in splendid synchronization with his self-recorded soundtrack.
POMPO AND PIPO
POMPO AND PIPO Z Smith, Performer, directed by Jenni Kallo, NY & La Grave, France
Here is a beautifully conceived idea of a homeless clown with a traumatic history. Pompo is extremely hopeful and cheery, considering her plight. That contradiction is powerful. The moments when she realizes her fantasies are nothing more than just that, we are moved. However, when Pompo left behind that upbeat aspect of her personality entirely, and fell into deep pathos, I missed it. A few times I had a little trouble hearing clearly what was being said, and seeing some of the smaller props. The show will definitely ripen with repetition. The more the audience is let in on the pleasure of the clown, the more we will empathize, and laugh.
Here is a beautifully conceived idea of a homeless clown with a traumatic history. Pompo is extremely hopeful and cheery, considering her plight. That contradiction is powerful. The moments when she realizes her fantasies are nothing more than just that, we are moved. However, when Pompo left behind that upbeat aspect of her personality entirely, and fell into deep pathos, I missed it. A few times I had a little trouble hearing clearly what was being said, and seeing some of the smaller props. The show will definitely ripen with repetition. The more the audience is let in on the pleasure of the clown, the more we will empathize, and laugh.
Saturday, September 20, 2014
LOCKED UP
LOCKED UP, Sophia Knox-Miller and Cara McClendon, performers, San Francisco. I have more to say about this show, but not the time right now--except to say--go see them! You have one more chance Sunday 9/21 at 7pm! These are two stupid clowns having a lot of fun. More to come...
As promised...Two crazy clowns, made even more insane by their confinement. Tiny and Tall, prisoners in some sort of jail, play beautifully off each other, demonstrating their indispensable need for one another. There is plenty of great play and clown logic--that is to say--things that could only happen in their kooky world that we accept as fact, and happily go along for the comical ride. Props have multiple uses in that way that only clowns have of transforming them. I wonder what crimes they had committed to warrant their incarceration, but in the end it doesn't really matter at all. The world they create through uncomplicated and cockamamie clowning emanates from a generosity of spirit that makes us laugh from beginning to end.
As promised...Two crazy clowns, made even more insane by their confinement. Tiny and Tall, prisoners in some sort of jail, play beautifully off each other, demonstrating their indispensable need for one another. There is plenty of great play and clown logic--that is to say--things that could only happen in their kooky world that we accept as fact, and happily go along for the comical ride. Props have multiple uses in that way that only clowns have of transforming them. I wonder what crimes they had committed to warrant their incarceration, but in the end it doesn't really matter at all. The world they create through uncomplicated and cockamamie clowning emanates from a generosity of spirit that makes us laugh from beginning to end.
Friday, September 19, 2014
RED BASTARD
RED BASTARD ERIC DAVIS, Performer, Los Angeles, CA
Have seen Red Bastard a number of times over the years. Essentially the same show, with a different audience, and it still puts me on edge. Even when I knew what was coming, I still got caught up in the panic to get away when he threatened to come after those of us sitting in the back row. This is an extreme form of clowning--that is to say it is funny, and the definition of edgy. Everyone should see him at least once. One note--there were a few times when the exchanges between RB and audience members were inaudible.
Have seen Red Bastard a number of times over the years. Essentially the same show, with a different audience, and it still puts me on edge. Even when I knew what was coming, I still got caught up in the panic to get away when he threatened to come after those of us sitting in the back row. This is an extreme form of clowning--that is to say it is funny, and the definition of edgy. Everyone should see him at least once. One note--there were a few times when the exchanges between RB and audience members were inaudible.
Thursday, September 18, 2014
(ALMOST DEFINITELY) QUESTIONABLE ACTS
(ALMOST DEFINITELY) QUESTIONABLE ACTS CB Goodman and Josh Rice, Performers, New York City. This show covered a lot of ground from personal histories of the performers, to notorious characters who once made headlines, all under the label of "neo-vaudeville". The nudity almost seemed as though it was done on a dare--the motivation behind it was not otherwise clear--and that made it less funny than it might have been. Maybe it wasn't supposed to be funny--I guess I'm not sure. The performers brought a lot of energy and intention to their well-rehearsed material. Only there were many lost opportunities for connection with the audience and each other.
See it September 20th at 8:30 pm
See it September 20th at 8:30 pm
Saturday, September 13, 2014
LA CITA (THE DATE)
9/12 8:30 pm: LA CITA (THE DATE) Felipe Ortiz, Performer, Music by Sebastian Sero, Bogota, Columbia
A show like this is the very reason I love the festival--to see clowns from around the globe all in one place. They get to be both performers and audiences for each other. We observe universal themes of loneliness, hopes and dreams, death and suicide, played out again and again, from different parts of the world. In this show, the performer and the musician accompanying him are already on stage when the house opens. He makes eye contact with his audience as they enter and look for seats. He is present, open and engaging before the official start of the show. His preparations for a date are the focus of his actions, utilizing circus skills, silly jokes, puppetry and us. The clown was silent, yet we understood everything. The few instances when he slipped while climbing on a ladder, we immediately winced. His delayed reaction to the pain struck me as a macho attempt to appear unscathed, stoic, and it simply failed--the discomfort overtook him--making us laugh. The red ball skill, performed with effortless precision to a Louis Armstrong song, had an impressive acrobatic finale. Both sides of the clown are well-represented: bumbling idiot and accomplished artist. The live music enhanced the show--as good live music always does. The interaction between musician and clown had the right measure of playfulness. I am sorry to say that this show has no more performances in this festival.
A show like this is the very reason I love the festival--to see clowns from around the globe all in one place. They get to be both performers and audiences for each other. We observe universal themes of loneliness, hopes and dreams, death and suicide, played out again and again, from different parts of the world. In this show, the performer and the musician accompanying him are already on stage when the house opens. He makes eye contact with his audience as they enter and look for seats. He is present, open and engaging before the official start of the show. His preparations for a date are the focus of his actions, utilizing circus skills, silly jokes, puppetry and us. The clown was silent, yet we understood everything. The few instances when he slipped while climbing on a ladder, we immediately winced. His delayed reaction to the pain struck me as a macho attempt to appear unscathed, stoic, and it simply failed--the discomfort overtook him--making us laugh. The red ball skill, performed with effortless precision to a Louis Armstrong song, had an impressive acrobatic finale. Both sides of the clown are well-represented: bumbling idiot and accomplished artist. The live music enhanced the show--as good live music always does. The interaction between musician and clown had the right measure of playfulness. I am sorry to say that this show has no more performances in this festival.
Tuesday, September 9, 2014
PINOT & AUGUSTINE
9/8 7pm: PINOT & AUGUSTINE Mark Jaster and Sabrina Mandell, Performers
The show description in the festival brochure is spot on. I would add that the performers are proficient clowns, highly skilled in physical comedy. Their relationship is clear, and beautifully interdependent, expressing their dreams of greatness. There is rivalry, role-reversal, creative problem-solving, cheating, mischief and stupidity. Each and every task is given proper importance, raising the stakes. The audience loves when Pinot, the boss clown, is knocked off his self-important pedestal by forces beyond his control (Augustine, the audience, and his own stupidity), and Augustine, admirably devoted to her service, gives in to her rebellious tendencies. They have accomplished a difficult task: a fully-realized, well-executed clown show. Without spoiling anything, there is a musical duet that is sweet, heartfelt, and makes a lovely theatrical picture. I was moved by its simplicity. It gave the audience an opportunity to sit back and enjoy a quiet moment. Audiences need those moments to breathe and absorb, as much as the performers need them. I have seen many clown shows that move at such a high energy level without breaks in rhythm, that it can be exhausting for the audience. This is pure, funny, and successful clowning.
See it Wednesday,September 10th, 7pm
The show description in the festival brochure is spot on. I would add that the performers are proficient clowns, highly skilled in physical comedy. Their relationship is clear, and beautifully interdependent, expressing their dreams of greatness. There is rivalry, role-reversal, creative problem-solving, cheating, mischief and stupidity. Each and every task is given proper importance, raising the stakes. The audience loves when Pinot, the boss clown, is knocked off his self-important pedestal by forces beyond his control (Augustine, the audience, and his own stupidity), and Augustine, admirably devoted to her service, gives in to her rebellious tendencies. They have accomplished a difficult task: a fully-realized, well-executed clown show. Without spoiling anything, there is a musical duet that is sweet, heartfelt, and makes a lovely theatrical picture. I was moved by its simplicity. It gave the audience an opportunity to sit back and enjoy a quiet moment. Audiences need those moments to breathe and absorb, as much as the performers need them. I have seen many clown shows that move at such a high energy level without breaks in rhythm, that it can be exhausting for the audience. This is pure, funny, and successful clowning.
See it Wednesday,September 10th, 7pm
Sunday, September 7, 2014
2014 CLOWN FESTIVAL BEGINS...FIRST SHOWS...
Hello again and thanks for reading...
My favorite time of year has rolled around and here we are at another Clown Festival. The Brick Theater is the focal point of clowning in New York for the month of September, and well worth the trip to Williamsburg, Brooklyn (if you don't already live there). I live in Queens--the other, cooler Brooklyn &:0)
I always try to see as many shows as possible during the course of the Festival. However, I will have to miss some due to scheduling conflicts. That's my advance apology to the performers whose shows I will not be able to attend. It kills me to miss anything in the Festival! A couple of other notes: Unless otherwise indicated, all performers are also creators of their shows. Showtimes listed will only convey next possible date to be seen--my posts sometimes come out too late for same day attendance.
For those performers new to New York, welcome! To those returning, welcome back! We are fortunate to have all of you right in our own backyard.
To the audience--you are the lucky recipients and patrons of this unique, offbeat, and funny theatrical form with a long tradition of various styles. Be prepared--many clowns interact with the audience and even make them part of the onstage antics.
"EVERYBODY DANCE NOW !"
******************************************************************************
POOFY DU VEY in "BURDEN OF POOF", Courtney Cunningham, performer,
Los Angeles, CA
9/6 7pm: First official show of the festival (Opening parade, pie fight and cabaret, notwithstanding) is not an easy spot to be in--the opening act of the entire festival! Poofy is a perfect way to begin. She is a charming clown who draws us in right from the top of the show. Well-attuned to the audience, her improvised interactions were sharp--she never missed a beat. Audience members new to clowning will have a wonderful first exposure to a clown's personal journey that is mystically intertwined with theirs, and employs many traditional elements of the form.
You can see it Wed. 9/10 @ 8:30 pm.
EIN TOD KOMMT (DEATH SELDOM COMES ALONE) Kerstin and Sepp Egerer, performers, Bavaria Germany
9/6 8:30 pm: As the title suggests, this show confronts a heavy subject, told on a very simple scale. We are not sure exactly who or where these two clowns are in the world, but their emotional life is very clear. Their story is a dark tale centered around a red balloon. This is not a laugh riot type of clowning. Kerstin and Sepp work well off of one another, and do not approach the audience directly. We are witness to a very personal story of suffering.
You can see it Thursday Sept. 11 at 9:30 pm
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