NYClownTheatreFestivalStanley

Brilliant! David Zen Mansley & Charles Dickens’ - A Christmas Carol:

2010-12-20T16:45:00.000-08:00

A Christmas Carol
By Charles Dickens’
Adapted for the stage by David Zen Mansley
Directed, Produced and Designed by David Zen Mansley
Presented by Crystal Field and Theater for the New City

Many people tend to avoid Christmas and Holiday shows because of the quality of the shows and/or seasonal reasons. But when I saw the cast of A Christmas Carol at Theater for the New City, I did not want to miss this. You have David Zen Mansley a wonderful actor, Mark Marcante known for building sets at TNC, directing and his love of Commedia dell’Arte. Then a surprise actress not known for her acting but she should be, or known for appearing at Theater for the New City but who is known for her excellent clown, buffoon and creative work, Audrey Crabtree. To top off reasons not to miss it was the addition of Crystal Field to the cast.

This show only ran one week - next year I would hope TNC runs it for a month. David Zen Mansley casting was excellent, using almost all TNC in house talent but also bringing in the very talented Audrey Crabtree, a very wise and effective choice.

David Zen Mansley’s, Scrooge took us into his world of stingy, greedy, cold inhuman treatment of his fellow man – but also took us into Scrooge’s own personal hell he was living with, from his lonely cold childhood, being blamed by his father for the death of his mother at child birth, to the later death of his sister and more. Once you felt David Zen Mansley could not possibly take us any deeper or lower into hell – he managed to takes us further and deeper into the darkness of the sufferings, which haunts Scrooge and made him into the cold creator of other peoples hell. Bob Homeyer plays a wonderful Bob Cratchit – the timid clerk. It was a good counter balance to David Zen Mansley’s, Scrooge. Bob Homeyer, Cratchit gave a perfect sense of living on the edge of survival for him and his family being so poor, because of Scrooges miserliness and the two of them brought a sense of those suffering times of Charles Dickens’.

Bob Cratchit going home for Christmas dinner is a priceless scene – Mrs. Cratchit played brilliantly by Audrey Crabtree – bringing a deeper balance of a strong woman that loves her children and husband, a perfect mother. When Mrs. Cratchit walked on stage, you knew this was her loving home. Audrey Crabtree turns a cherished day in a starvation situation bright. At the same time brings a sense of suffering because of greed and has the spine to say so. Serving Christmas dinner with no food what-so-ever but the whole family eating a complete dinner with every detail all with “mime food” because there was no money to buy real food – with the whole family truly enjoying it was funny, tragic and heart breaking. The two Cratchit children Katherine Santangelo as big sister Martha Cratchit and Briannna Bartenieff as Tiny Tim played along perfectly with their mom and dad joyfully eating nothing and enjoying it. It was all so hearts breaking that more than several people in the audience were brought to quiet tears. Several women in the audience as they were exiting the theater after the show, said how they could not help but cry during a few of the family scenes. The men in the audience did not talk about the tears. What made the moment so great was the setup by David Zen Mansley the adaptor and director of this piece.

Michael Laporta, the Solicitor was on the mark as the hopeful community person collecting funds for charity, showing the horror and loss of not helping humanity and driving Scrooges wrath deeper as did Justin Wisniewski - Nephew Fred the nauseatingly happy son of Scrooge’s sister. The multi-media film was effetely done with Caitlyn Williams as Christmas Past playing a very kind loving ghost. Mark Marcante – Fezziwig ghost drove Scrooge to dance with joy, again a nice touch of playing joy and hell at the same time. Susie Perkins – Sister Fan to Scrooge was yet another very touching moment where we all received a deeper sense of why Scrooge became Scrooge. Luke Robishaw and Caitlyn Willams played Debtor Husband and Wife to Scrooge in a scene that could be taking place in today’s time by today’s cold Scrooge bankers, management companies and landlords. Candice Burridge – Belle, Scrooge’s lost love brought out the possible love of this Scrooge making him very human all this showing all the scabs on Scrooges poor soul. David F. Slone, Esq – Christmas Present ghost helped in the torture of Scrooge. Bob Homeyer also played Ghost of Christmas Yet To Come with great movement on film – turning Scrooges final breaking point.

As part of all the ghost scenes into the future of the unchanged Scrooge was a brilliant three some of Michael Laporta – Old Joe, Crystal Field – Mrs Dilbur and Lissa Moira – the Laundress. Lissa and Crystal were brilliant in the roles of thieves making off with the possible dead Scrooge’s belongings. Having seen Crystal in a few times, this is one of her best characters I have seen her perform. All three play these wonderful characters beautifully. And the scene with Crystal and David, Mrs. Dilbur and the changed Scrooge was touchingly funny bringing joy to everyone.

This show drives ones emotion and once you think you have gone all the way David Zen Mansley bring you deeper into joy with his directing, staging and casting. Scrooge, coming in disguised as Santa was a perfect transition to help us and Scrooge’s surprise visit to the home of Bob and Mrs. Cratchit to give them food and joy. The lovely Tiny Tim Cratchit was the brave one of the family that would have none of this non-sense of hiding behind a false bearded Santa. Ripping away Santa’s false garments to reveal the changed Scrooge. The joy of giving – sharing – helping comes through this wonderful piece. Charles Dickens’ would be extremely proud of this production.

Knowing this was a very tight budgeted shows the simple set by Dave Zen Mansley worked well, light by William Giraldo and Sound Design by Joy Linscheid was excellent.

CAST: (in order of appearance)
David Zen Mansley - Scrooge
Bob Homeyer - Bob Cratchit
Justin Wisniewski - Nephew Fred
Michael Laporta – the Solicitor
David Zen Mansley – Jacob Marley
Caitlyn Williams – Christmas Past
Mark Marcante - Fezziwig
Susie Perkins – Sister Fan
Luke Robishaw – Debtor Husband (Belle flashback)
Caitlyn Williams - Debtor Wife (Belle flashback)
Candice Burridge - Belle (Scrooge's lost love)
David F. Slone, Esq. – Christmas Present
Audrey Crabtree – Mrs. Cratchit
Katherine Santangelo – Martha Cratchit
Brianna Bartenieff as Tiny Tim
Bob Homeyer - Ghost of Christmas Yet To Come (Death)
Michael Laporta – Old Joe
Crystal Field – Mrs. Dilbur
Lissa Moira – the Laundress

Light Design by William Giraldo
Sound Design by Joy Linscheid

Mime Class - Tuesday Mornings & Sunday Afternoons

2010-10-15T08:49:00.000-07:00

Starting in 2011 there will be two mime classes in NYC at pierStudios.

Tuesday Mornings from 10:15 to 11:30 AM
Sunday Afternoons from 2:10 to 3:25 PM

Classes will be $20 a class or $15 per class if you prepay for 10 classes in advance. Contact Stanley at stanley@maskarts.com or go to www.maskarts.com for more information.

This is an open on going class so you can come in at any point. If you are passing through NYC feel free to stop by for a class. This class covers many kinds of mime techniques. Mime is one of those basic tools that clowns need to brush up on and recharging your mime batteries is a good idea. Part of the motivation for teaching these classes is much of the mime technique I have seen as part of clown theater festivals has been pour to sloppy. You do not need to be a white face mime to have great effective technique. Having good mime muscles can have a positive effect on the over all quality of your show.

"Channel One" Extended through November 1st, 2010

2010-10-07T12:53:00.000-07:00

Here is a second show, also one of the better shows of the 2010 NY Clown Theater Festival having a surprise extension. It will be presented Triskelion Arts on Monday Nights at 8 PM. It is great to see theaters and art centers in NYC picking up some of these better shows from the festival. It shows great initiative and resourcefulness on the part of performers to make the connections and figure out how to extend their shows. “Channel One” is a fun, somewhat outrageous evening, plus they are developing their original pieces, bringing in new material and will even have some guest stars. This is one show that will be good to see how it grows. Congratulation to these two performers, creators and now co-producers of this run, Emly James & Ishah Janssen-Faith.

Triskelion Arts (118 N. 11th St. 3rd fl. between Berry & Wythe in Brooklyn,NY) Tickets ($10) may be reserved by calling 718-599-3577 or
info@triskelionarts.org
www.triskelionarts.org

"LEGS AND ALL" - NYC Extension - 6 more shows!

2010-09-30T11:38:00.000-07:00

It is great to see a show from the Clown Theater Festival complete its run at the festival and move on to another theatre. It makes financial sense for these performers whom I believe are from California and they take advantage of their successful run, building their audience from the festival. Here one of the better shows at the festival has extended and you can catch them in Manhattan. LegsandAll goes very much towards the area of Clown Dance Theater. This is an excellent physical theater piece.

The Kraine Theater
85 E 4th St. between 2nd & 3rd Ave.
Manhattan, NY

Saturday Oct. 2nd @ 2PM + interactive talk-back
Sunday Oct. 10th @ 2PM + interactive talk-back
Thursday Oct. 14th @ 8PM
Friday Oct. 15th @ 8PM
Saturday Oct. 16th @ 3PM and 8PM

It also looks like they are doing a workshop
Sunday Oct. 17th @ 1-4PM - "Devising Physical Theater" workshop

For more information go to more info:
http://www.facebook.com/pages/LEGS-ALL/198638996407

How many people have read this blog

2010-09-26T21:29:00.001-07:00

Always wonder how many people read this blog. Found the stats page for the blog and 948 people have read this blog during this 2010 NY Clown Theater Festival.

The Last 2010 Clown Theatre Festival Cabaret

2010-09-24T08:48:00.001-07:00

It was a joy lining up outside to see this last Clown Festival Cabaret. There where many people including directors and friends that helped some of the performers refine or put together their acts. Hilary Chaplain and Audrey Cabtree hosted this last Cabaret and it was a sell out. In fact many people that wanted to by tickets could not get in. Of course that left many people wanting to by tickets out side with the just past full moon with all of these festival participants, directors, friends and bloggers including me outside.

For about an hour or more everyone joked with each out, net worked. I passed out a few of my flyers about “Creating Original Material” Clown Theater Lab I am teaching starting October 5 going every Tuesday (except election night November 2), until November 30th, contact me at stanley@maskarts.com if you want to sign up or for more information about this workshop or rather lab. I was handed a post card about the National Puppetry Conference and the show Puppet Pandemic taking place at The Tank October 2nd at 7:30 and 9:30 and October 3rd 7:30 and 9:30. People were joking and clowning around, one person whom will remain nameless said, “Lets lock them all in so they cannot get out.” This received a very quick response from inside with Robert bolting out saying, “that is not funny!” Taking a little prop action removal. Of course he came out to explain how city inspectors had come by twice making sure everything was safe and fire laws where up to snuff. A few small changes where made. That was the height of the drama outside.

Tanya finally said let go to a bar and most people left for the bar to party on. I stuck around just incase someone left. Hilary Chaplin suck her head out at one point for air saying, “Eeeeeeeryone is going long. They don’t understand that shorter is better. Going overly long does not help.” Standing outside and seeing many of these in the past, I agree. The Cabaret does need a hook for those selfish performers who go way too long. A warning to the performer on stage – then the bottom drops out of the theater and a fresh act comes on. Finally two people left and I got to come in. It was the final piece of the Cabaret. (Jonathan Kaplan it turns out I missed as I was outside during his turn on stage. Watson is not Kaplan.) Watson Kawecki’s 8 Minutes of Wonder, it was fantastic and from what people tell me was the best piece of the night. Of course they could have said that just to make me feel good. It was original, different, funny as hell, unique, and shows this performers true talent, which I am looking forwards to seeing more of. He used his props very well, creating and building his own time machine and had a great ending. From what I saw it was a great Cabaret inside and out. The bar report I will have to leave for other people comment on.

2010-09-24T08:48:00.000-07:00

Channel One

2010-09-24T07:04:00.000-07:00

James & JF Presents
Created and Performed by: Emily James & Ishah Janssen-Faith

Wonderful opening of the show and these two young talented women where totally in character throughout the show, alive from beginning to end with fresh excellent movement going all the way with everything they did. The Emily James piece with a love song was original and showed. It is such a joy to see an original song in the clown festival. It was edgy material through out the show. This is the only show that used stage combat with a leg kick to the face that worked. Emily who gave the kick and Ishah who received it where spot on. The audience interaction and play was good and you could tell these two performers are use to improvising with in their set show. The dream catcher piece by Emily was very enjoyable with peacefulness, power with surprises. There rhythm of their show was very good. The only thing that did now work for me was the phony accent by Ishah. There was beautiful sick warped material throughout this show. This was there last show of the festival but I do recommend you catch these two performers that partner well. You can follow them on:
www.facebook.com/jamesandif
www.twitter.com/jamesandif
www.jamesandif.blogspot.com

Carmen…The Mopera

2010-09-24T06:49:00.000-07:00

Written & Performed by Julie Goell
Directed by: Avner Eisenberg
Original Concept and Directions by Mark Ross

About 5 years ago or more I saw the original direction by Mark Ross here in NYC. Which from the program this show looks to be redirected by Avner Eisenberg. One important lesson we can learn from is what happens with long running Broadway and Off Broadway shows. Every 3 to 6 months sometimes a year or more the original director of the show comes back and takes a look at the show and puts back all of the original direction, because actors will make small changes that can evolve into big ones. They rarely bring in a new director unless the old director dies. When you have a show that has been directed and works, go back to your original director to put back all of the wonderful fresh elements that have been lost everyone once in a while. You know what they say about cooking; to many cooks spoil the broth. Having seen the show before – it looks like all life was sucked out of this new direction of the show. Julie is a wonderful musician – we saw none of her musicianship in the show. She plays I believe the base fiddle, which I recall, was in the show, it is not now. Everything was discovered in the old show… not now. I could not follow the show. Maybe if I was an opera fan I could have. Oh a note for everyone. Please do not do phony foreign accents. They rarely work and usually are insulting to the group you are doing the accent of. Julie knows foreign languages; if you know a foreign language and you need to use it use, do it if it works.

This new direction of the show starts with a toilet flushing sound effect, not once but three times. It was not funny any of these times. Scatology is great but it can burn you. Another thing is you have a toilet in the theater that when it flushes people in the house can hear it. There is a sign on the door – do not flush during the show or something like that – the theater toilet may have made this bit work.

The direction by Mark Ross – everything was discovered by Julie and you could easily follow the story. The Avner Eisenberg direction I could not follow the story and bits that did not work where stuck in littered through out the show that seemed to have nothing to do with the show. In the clown world almost any material can work – but one’s clown must be there totally. I have seen Julie teach wonderful prop manipulation classes – bringing props alive. In the Mark Ross verison all the prop where alive. Here all the props seemed to be just props. Solo shows are tough, really tough. You can have an off night and no one is there to help rescues you but you. Maybe Julie just had an off night. I know I have had a few. If one does not warm-up it can kill you. No matter what the setup one finds a place and time to warm-up. Shows can get tired, one can get tired of their own show. I have seen this with a few great performering friends. What you need to do to keep your show fresh and alive every show. You must do whatever that is, because people are honoring us with their time and money to see us entertain them. If you have a great director and the show is working. Keep your great director and go back to him or her every so often to help keep your show fresh.

The Last Show You’ll Ever See

2010-09-22T07:11:00.000-07:00

The Nomadic Theatre Co’s
A Woman. A Trombone. Apocalypse.

Petroleum Jane played by: Sarah Liane Foster
Lights by: Cynthia Jankowski
Created by: Sharah Liane Foster
Coaching by: Giovanni Fusetti
Directed by: Elizabeth Baron

I see Sarah Liane Foster as a wonderfully talented woman. She is doing many thing right as her concept for the show is great, she uses her props well, her vast knowledge of facts, philosophy which she shows off is a pleasure and her very tiny spot of improvisation during her show was a breath of fresh air. Seeing Sarah in a short 10 minutes in the Clown Cabaret I was excited to see her full show, which is something like a hour and 15 minutes. “The Last Show You’ll Ever See” has a lack of a theatrical arch. Nothing in the show hanging us the audience, at the edge of our seats. There is a lack of drama. This problem I lay at the foot of the director Elizabeth Baron and coach Giovanni Fusetti. Sarah Liane Foster seems to play at being a clown, putting on a set frozen expressions, which she repeated throughout the show, rather the being the clown with real moments throughout. It almost felt like she was a cartoon, which is never clown live theatre. Felt very little fresh and at the moment was going on, on stage because of how her clown was playing or not playing. Except the small section where Sarah interacted with the audience, their Sarah excelled and the audience came alive.

There were several things she did right. Playing each part of her trombone piece by piece. No piece escaped her investigation until she put the last piece together. She just screwed the last piece on like she was preparing to go on stage. Rather than her clown discovering the screw and playing with that too. It is a very small moment and may appear to be nit picking but it goes to the state of her clown. She uses mime throughout the show as well, but her mime technique in this show needs a little work.

It was good to hear her credit most of her music as part of the show and it was fun and funny but failed to credit popular music piece, one that I have heard in about 6 different shows in this festival. But wonderful to hear it played live. Her clown name in the program “Petroleum Jane” seemed to have nothing to do with this show and petroleum or that issue. It feels like a very safe show with almost everything set which results in very little risk going on stage. The lighting by Cynthia Jankowski seem complicated for a festival as there were many moments where lighting cues seemed to be catching up to the rest of the show. The use of shadows was very good and people really enjoyed it. One thing I wonder is what would happen if Sarah Liane Foster had one or two other clowns to work with in a different show or this show altered. Most of these faults of this show are the director and the coach; Sarah Liane Foster has no shortage of talent and ideas. Look forward to see what she does in the future.

LEGANDALL

2010-09-17T13:55:00.000-07:00

Conceived by: Summer Shapiro
Created and performed with Peter Musante

Sound Design by: Peter Musante & Jeremy Shapiro
Lighting: Ian W Hill
Sound & Lighting Technician: Zea Barker
Music Contributions by:
Jordan Woods-Robinson – strings
Kalen Allmanginger – Bird’s Eye Theme
Brandi Brandes – original score

“Lazy Lover” by: Brazilian Girls
“Prendi Una Matita” by: Mina
“Sun will Set” by: Zoe Keating

Wonderful piece of physical clown theatre, which really moves it into this new area of “Clown Dance Theatre,” which it seems a few people, are moving towards. Legsandall brings it home really defining and refining this new area very well. Peter Musante sets the mood, creating their strange world and with great simple funny original physical clown theatre bits. When Summer Shapiro appears the relationships and conflicts between these two clowns is set and they take us on an experience of a journey, growing the conflicts and difficulties. Big hand to the sound designer Peter Musante & Jeremy Shapiro, the sound and music was wonderfully built into the piece. It is great that they are using an original score for the piece, the music never taking over the piece but helping it, being part of Legsandall. Lighting by Ian W. Hill was also excellent – simple and very effective allowing the performers to work with the lighting enabling the lighting to be part of the show in ways we usually do not see it used. An important point the lighting was simple enough to do in a festival setting where one has very little rehearsal time to work with lighting.

There were original genius little moments working with the props, which I am not going to mention because I do not want to spoil the surprises. You can tell they spent wonderful fun time working with, discovering and playing with. Nit picking a little there were a few moments in the beginning where Summer I felt was playing at being her clown rather than being her clown. Peter was always totally his clown from the first moment on stage. This is a great show and for those who first saw Summer at the first Brooklyn Clown Theater Festival she has shown wonderful creative growth. Go see Legsandall.
Next shows Saturday September 18th at 10 PM and Friday September 24th at 11 PM.

Cabaret of September 16th

2010-09-17T13:37:00.000-07:00

Hosted by: The Leroy Sister

“The Leroy Sister” Amy German and Jenny Sargent any time you get a chance to see these to gymnastic clowns, do. They did an excellent job hosting moving things along very well. Giving us all a taste of them complete with many costume changes. They moved the show along fast with great timing; short of coming out with a hook for one performer that it looked like she was told to she was suppose to do her whole sole show rather than 5 or 10 minutes. During this long piece I counted at least three people sleeping and one looked like he was praying for her to leave the stage soon.

Now to what was great other than “The Leroy Sisters” and not to miss, as this is a teaser for show.
“The Last Show You’ll Ever See” Performed by: Sarah Liane Foster, this is funny and she is fun and personable. Sarah is a very lively real clown using witty wisdom and gusty material while having a unique and original bent. Her main prop is her trombone. She is from my hometown Portland, Oregon that is generally a great place to develop and create.
Her shows are September 17th @ 7 PM, Saturday 18th at 6 PM, Tuesday 21st @ 7 PM, Friday 24th @ 7 PM and Saturday 25th @ 10 PM.

“Harlan the Magnificent”
Performed by Quince Marcum, Tanya Solomon and Deborah Kaufman
Quince makes a great setup for Tanya and she plays the innocent very well. It will be good to see what these two do next. Tanya’s techniques worked very well using and abusing magic props.

“How to give up without really trying”
Performed by Zea Barker
Zea’s sample was great. Saw very much of a clown philosopher and what she did was effective.

“Misery in B Flat”
Created and Performed by Dreagn Foltz and Carol Lee Serugo
Directed by Peter Daniel Straus
This was a good sample and taste of these two performers well directed by Peter. Dreagna and Carol are great physical clown characters playing with the theme of love and very physical. Having seen Carol in many things over the last few years, she is a unique talent and seems to keep on growing and looking forwards to whatever she does next. Dreagn is also very good, both juggling emotions well.

Send in the Angels
Performed by Denni Dennis and Clare Parry-Jones.
What can I say, they are fun to watch and the audience is always alive when they are on stage. They have one of the more creative uses and play with audience participation getting the audience more involve on a deeper level than most performers.

Hula Hell is Miss Saturn

2010-09-17T13:35:00.000-07:00

It is always great seeing Miss Saturn perform. Here she is developing “Hula Hell is Miss Saturn” and it is new show. Seeing her work her hoops is always like watching magic happening before your eyes. Miss Saturn seems to be always pushing her envelope and trying new things. The audience participation is fun in how she works with the audience. Of course it would be nice to see her give credit to music she uses and a few piece I have now heard four times in this festival.

If you like seeing excellent prop manipulation of the hula-hoop taken further than most people take it, do not miss “Hula Hell is Miss Saturn.”

Neon Lights

2010-09-14T07:48:00.000-07:00

Performed by: Jeff Seal & Chris Manley
Directed by: Danny Manley

This show is so stupid it is good. You do get a feeling they spent way to much time looking on the Internet for jokes and they could do more or play with there musical interments better, not that anyone actually expects they can really play them. There mime technique is very poor which could be part of the show. Their gymnastic technique is excellent. The over all rhythm of the total show needs work, but it is a new show. At moments it gets to be all the same joke. They do put in surprises now and them. The film or slide moments in the show worked to a point. The bottom line… we where laughing and had a good time.

Send In the Angles

2010-09-14T07:45:00.000-07:00

Created and Performed by: Denni Dennis & Clare Perry-Jones

One thing about Denni that people have learned from past festivals, he is always doing something different and interesting. It is a joy to see Denni and Clare working together. Lecoq said, “A sole clown is always looking for his partner which is why so many go into the audience. They are looking in the audience for their partner.” Here Denni and Clare have found their partner and they work well together, the result something different, wonderful and interesting.

Their flying scene starts out with wonderful music. Not sure if they orchestrated the music themselves or if some orchestra played it and they just used it as there was no credit for any of the music and no program insert. One of the first jobs of clown theatre is for the clowns to create and take their audience into their magical world, which these two clown did very successfully. There opening was wonderful, but I would have like to see a little more going on while they were flying to the music or fly without music so more can happen. This is one problem with music – performers often let the music do things for them so they do not have to. Denni and Clare also used music well at times in their show. But the world they created was wonderful.

They also play with the audience in a very none abusive way. Yes, you can hit the audience with pillows and not be abusive. The show did have an arch and build. The pillow fight was wonderful. I did see the Denni open the one pillow just before everything started flying. It looked like a small technical glitch.

It looks like they have only one more show Wed September 15, 2010 – but have noticed they tend to pop up in surprise places here and there. Do try to see these wonderful unique clowns. All the audience was laughing and smiling.

Ferdinand The Magnificent!

2010-09-14T07:42:00.000-07:00

Ferdinand The Magnificent!
Created and performed by: Nick Trotter

This seems like a wonderful character in search of a show. Not sure if Ferdinand really cares that much about that point. He does play well with himself. There were several good moments. The best when he discovered the previous show Denni Dennis & Clare Perry-Jones from “Send In the Angles” sleeping behind the black drop backstage waiting for him to finish as there was no exit back stage. Ferdinand exposed them sleeping which caused them to wake up and there was this wonderful chase scene with the three of them. This was the best moment of the show when everyone in the audience was laughing and smiling.

The only music Ferdinand used is music he created himself and he does put everything on himself for what happens on stage, which is great. Playing the hose was very good and he is exploring his props well. The audience seemed to have more of a worried look on their faces with moments of laughter. There was a bit of abusing the audience going back to the same young woman in the front whom Ferdinand was attracted to. Who he ended up exiting with and this does prove Jacque Lecoq’s point. “A sole clown is always looking for his partner which is why so many go into the audience. They are looking in the audience for their partner.” This is one show where it was a nice exploration. It is up to Ferdinand The Magnificent which road into the future he chooses to take with his character.

THE WOW SHOW

2010-09-13T09:48:00.000-07:00

Performed and Written by: Vincenzo Tortorici

This is a young children’s show that uses many standard prop manipulation elements. Children did laugh. Start with the opening wow. Wow is one of my favorite words because it can describe so many wonderful things and emotions. Vincenzo’s first wow off stage seemed forced. This may seem picky but the opening moment is important in any show. About 5 minutes into the show his clown seemed warmed up and the wow’s where genuine.

Most of this wow clowns technique with props was very good and seemed to get better the more he performed. His first hat trick of putting the hat on his head and the hat popping off needs some more practice. By the third of fourth time he got it working. This hat trick needs to look magical. The final time he did it. But because of the botched attempts before hand no one laughed. Need to get that first trick right on. Then it is funny. These small problems are usually caused by three different things, lack of a good warm-up before your show, lack of practice or lack of good strong rehearsals the days before your show. This show has many good elements and can pass as a good show. There are things I believe need work. There is not much of an arch in the show. It goes from one trick to the next trick. Would like to see more of a build somehow. The cleaning up premise is fine and it looks like there is more to explore their as a performer. After the show I noticed one of his main props was borrowed from the theatre. This special but common prop should be a prop you know and work with.

There were really two show in this show. The prop show and the story telling show, which relied on a little too much audience participation for my taste. Somehow it would be great to combine these two shows into one.

One great thing about his show, no pre recorded popular music. This allowed the wow clown to really explore all the emotions going on at the time and free him to improvise with the audience taking advantage of opportunities that came up. Which he did well. After the show Vincenzo comes out and gives a short lecture about “Do Not Open” and following all warning signs. This relates to his trunk, which says “Do Not Open” which he opens. Of course this was no surprise to anyone. If you must give a lecture after your show about something in your show, “Change the Sign” to words that do not concern you or give the warning in your show as part of the show.

In general looking forwards to seeing The Wow Show and Vincenzo grow, he is doing many things right.

Diz and Izzy Aster Vaudeville’s Late Bloomers

2010-09-07T19:26:00.000-07:00

Diz and Izzy Aster
Vaudeville’s Late Bloomers
Happenstance Theater in Rockville, MD

Wow – what a pleasure to see these two perform. They have one more show Thursday September 9th at 7 PM. Do not miss these two pro performers. Every moment on stage is filled. Play their own music – all popular music from Vaudeville era. My father played Jazz Piano and recall him playing all these tune when I was a little tiny kid. Diz and Izzy work well together, going through different emotions and physical feats. We have excellent acrobatics that one does not notice. Meaning the situation begs that Izzy uses his skill without looking like ‘OK I am doing an acrobatic trick”. There was none of that. All the tricks used need skill, talent to be performed well and Izzy did. Diz character play very well and the audience was laughing with these two almost through the whole show. One thing would love to see them add if they could work it in is credit to some of these old passed composers of this wonderful music. Talk about prop manipulation – it is masterful prop manipulation that they do. You can tell they have taken the time to explore and play these moments to look fresh and new when ever they perform. Every moment they are totally involved with every detail and played the whole time.

Excellent!
One more show Thursday September 9th at 7 PM
Website: www.happenstancetheater.com

Clowns With Gowns

2010-09-07T19:08:00.000-07:00

Clowns With Gowns
Performed by:
Adiana Chavez as Carmen Francesca Maria Frida Ophelia De La Rosas
and
Heidi Rider as Gertrude

Written & Directed by: Adiana Chavez & Heidi Rider
Ernestine and Lighting Design, Tech: Cynthia Jankowski
Music by: Andrew Bird, Connie Francis, Lady Gaga, Henry Mancini, Carl Orff, Gran Banda Taurina, Woody Herman and Evan Lurie

Opening music was really wonderful and I enjoyed it, but not much happened on stage. The Clowns first moment was disappointing. What did happen was not moving or dramatic, it was simple but simple must be played well. The costumes and props were wonderful and it was a nice visual, all except for the white sheet backdrop. Really enjoyed the next piece of music. We did not experience the wonderful clown - I believe Adriana the clown with the big hair and lots of flower in it. It felt like she was going through the show technically. Third piece of music was also excellent. But the clown I believe Carmen played by Adriana all of her moves where predictable and felt like she was posing. Of course there are times when we have a bad night and this could be the case.

The next moment with I believe Clown Gertrude, Heidie was a breath of fresh air and a surprise. But the moment between the two clowns was not built on and it was like, ok we did that trick now on to the next trick or movement. Clown Gertrude is a joy to watch. Her movements are clean and crisp. She is totally involved with every moment full of intent and passion whenever she is on stage. Carmen was playing only one note, which can be justified and very funny in some cases but there were missed moments through out the whole show when they were working together. Missed by both of them.

Effort in everything one does on stage matters. It is the little things that count. Especially off stage noise, it must be exactly what you need to assist your actions. In this case the back stage noise was poorly executed and felt like it needed more attention, investigation and play. That effort in detail is vital, especially with clown theatre. It needs to be investigated, planned and played. Through out their piece there was just a lot of posing and posturing with not much play. But I did enjoy listening to all of their recorded music.

Some of their prop/costume piece where brilliant but we really wanted to see some investigation and development. So much more can be done with just a little more play. It is almost like they were afraid to risk. The whole piece is very safe. When on stage there is no need to rush. All of the music in there show I enjoyed listening to. The music is through out their show. It is possible the recorded music is locking them in so they cannot play. So far the only performer I have seen use recorded music well in the festival is Coney Island Chris who only uses about three bars of any recorded music.

It also seemed they did not know if they wanted to do a dance piece or a clown piece. In the festival two years ago there was a woman who did a very successful “Clown Dance Theatre” piece and Jenny Sargent and Aimee German use clown music and dance very well and is a total joy to watch. If they want to do Clown Dance Theatre they should go all the way with it. I do not believe the term Clown Dance Theatre was used before the clown festival two years ago. It is one form, which many of these new young female clowns seem to be developing. Congratulations to these two women for giving their musicians credit. Who made their costumes? If they did they did an excellent job. It is visually wonderful piece, but more needs to happen on stage. Look forward to seeing where these two young women go especially Gertrude the one with the thin piece of hair going up on top of her head.

Puberty or Menstruation a Bloody Funny Female Clown Event

2010-09-05T21:28:00.000-07:00

Puberty
Created and Performed by: Heather Marie Annis and Amy Lee
Directed & dramaturged by Byron Laviolette
Associate Producer: Avery Pearson
Lighting Design: Robin A Paterson
Costume & Props: Heather Marie Annis
Sound Editing: Amy Lee
Stage Manager: Byron Laviolette

The opening is wonderful, going into the theatre and it sets a good mood for the show. Puberty for women looks to be a very different experience for women than men. With the main theme Menstruation I definitely missed a lot of the Menstruation jokes, but it was fun to look around the audience at all the women laughing and the men having puzzled looks and like they wanted to flee the theatre of this bloody funny female clown event. They seem to hit many important points about Menstruation for young women that many women in the house seemed to relate to. The men well…we enjoyed the clowning. This is the performers and directors choice but I would have like to see more of a varied tempo from Clown Morro, after a while it was the same bit and reaction over and over again. Towards the end of the show Clown Morro showed more depth moving in different directions. Clown Jasp showed an excellent depth going through all kinds of problems using different levels of emotions and change. In clown theatre it is always wonderful to see the clowns grow and change which both of these clowns do. The prop manipulation in the show is good. Mainly different types of equipment used by women during Menstruation, but would love to see more investigation in playing with all of these different props.

Music I found did more to limit the performers than enhance the piece and experience. It stopped us from being involved in the piece and we were involved in these pieces of music taking us out of their Puberty Clown World into the world of these pieces of music and films they were from. Without most of the music the performers would have had a chance to play the emotions that the music was filling in. We the audience can do that and would love to see the performers take us there. Of course no musician, orchestra received any credit, which is a major problem for all of the shows using music. Especially if they want to move onto the next professional level and they find they cannot get permission to use any of the music. A few selections of music I had heard in two or three other shows in the last 24 hours. One piece of music is used so often in so many bad show over the years, it is just sad and shows weakness to use it. Performers trust yourselves and risk, you are good enough to carry your shows with canned popular music.

It is good to see these clowns tackle an issue they can really be involved with and care about, which makes for a good show. Bottom line Puberty is a show to see – I do have some problem with over all tempo of the show, which can be a little better. But it is one clown show not be missed especially women wanting women issue clowning and men liking to watch women laugh at their issues.

Next shows
Thursday, September 9th @ 8:30pm
Friday, September 10th @ 9pm
Sunday, September 12th @ 9pm
Their website: http://www.morroandjasp.com

PERHAPS, PERHAPS, QUIZÁS …

2010-09-05T20:32:00.000-07:00

PERHAPS, PERHAPS, QUIZÁS …
Clown Me In
Mexico City, Mexico
By: Gabriela Muñoz

This is one of those odd uncomfortable funny shows. It opens with the use of a plate lent to Grabriela by the man who is very responsible for the first and second NY Clown Theatre Festival John Towsen. Her character with its own odd charm is eating food off of John’s plate. There is nothing special about the plate, it just happens to be owned by John Towsen. This food opening moment is good and would love to see Gabriela enjoy her food taking even more time with it. At points she seemed rushed. This looks to be a good beginning to a more complete show and looking forward to seeing Quizas and Gabriela Munoz develop.

MS. PRETTY SMART, SECRET AGENT

2010-09-05T19:35:00.000-07:00

MS. PRETTY SMART, SECRET AGENT
Created and Performed by: Olivia Lehrman

MS. PRETTY SMART, SECRET AGENT is a very young show by a very talented woman. Really like how she uses music in the show because it is all her own. Which is a breath of fresh air after only two days of the festival hearing one famous musicians work in three different shows? Where is this coming from? It would be great to see Olivia come up with her own music for secret agent rather than 007’s theme music. It seems like Olivia has all the skill tools to do that. Olivia knows how to move, play music and use her other skills. Her handstand and picking up the box was very good. There are many parts I cannot comment on because I was chosen as the audience participant. The concept for the show is fine and seems like her show is just beginning to grow, now would love to see her forget everything she has learned, told to do and enjoy her show, have fun. Olivia will be one performer to watching grow as an entertainer. Olivia credits a whole list of people helping her put this show together. It seems like Brain Foley and Peter Musante had a lot to do with it as a director or directors, with Artwork by Mike Mena.
Next shows:
Monday, September 6th @ 8pm
Tuesday, September 7th @ 9pm
Saturday, September 11th @ 8pm
Sunday, September 12th @ 7pm

Coney Island Chris

2010-09-05T18:38:00.000-07:00

One cannot say enough good things about this show. Chris is a pro entertainer loving the geek sideshow world and making it totally come alive from the moment you step into the theatre. His set is simple but bold and elaborate and all the technical elements are in his hands. He will make the most out of the simplest moment with any blue comedy well hidden within the shows general theme. At least until one point which kind of becomes somewhat adult but yes kids will love it. His warning about not doing this at home plays comedy and is a real warning. How he looses weight is funny on multiple levels as well as in many other moments in his show. Something went wrong in the show and he uses it for humor. I am not giving details so not to give away jokes for those going to see Coney Island Chris.

In most cases I really hate pre recorded popular music in shows for many reason. But also no musician ever seems gets credit for their music. One does not know the title or singer. Chris uses a lot of music – but only two to three bars. Which is perfect. Sometime he does use a little too much and to often for my taste. I would like to see him add credits to the music if he can work it in. Now to be a little picky, at the beginning of the show Coney Island Chris listed several things, all-relating to the sideshow world. Would have like to see him be a little more involved with this list at every moment, imaging each one and play with his timing just a little. He can also play just a little with the over all arches timing of the whole shows tempo.

Coney Island Chris has two more shows in the festival, do not miss this show it is too much fun and one of the best and most polished shows in the festival from what I have seen up to this point.
Next shows
Friday, September 17th @ 10:30pm
Saturday, September 25th @ 3pm
Coney Island Chris website is http://www.coneyislandchris.com/ and love the pr touch of leaving small boxes of pretzel sticks.

Manchego: The Birth of Cheese, by Ambrose Martos

2010-09-04T23:16:00.001-07:00

Manchego: The Birth of Cheese
Written and performed by Ambrose Martos
Lighting Designer Berit Johnson

Manchego is definitely a great children’s show! Actually no – it is slated more towards adults. But kids would most likely love Ambrose’s humor and he does bring out the adult kid with his audience. Ambrose is an excellent entertainer and can most likely make almost any material funny. Ambrose’s usual self-indulgent character takes the audience on a fun ride of his life full of Ambrose sexuality and he even changes and grows a little bit. His audience interaction is playful – with lots of somewhat edgy material. One piece of advice and this is from personal experience; there was a pregnant lady in the audience, which he mentioned and had a nice moment with. Never, no matter how pregnant the woman is, how sure you are that the woman is pregnant, talk about her being pregnant. Why? Because there will come a time when you will be so sure and you will be wrong about her being pregnant. Yes, it should only take one instance for a performer to learn this lesson – sometimes it takes twice.

Ambrose’s use of lighting, sound and film was great. Berit Johnson lighting designer deserves big hand for simple and effective light in a festival show, which is not easy. A film credit would have been good to see in his program along with the dancers in his film. Ambrose makes use of a lot of music, but gives no credit to the musicians who recorded the music. Using pre recorded music, which many people do can be a major problem, if you want to move your show to that next professional level and suddenly need to get permission to use all the music. Personally I do not believe it is a good thing to depend on popular recorded music to support a show. If you are going to use music, work with musicians to come up with your own music or do the music yourself. It is so often just a crutch limiting your growth and creativity. Someone told me after the show, in festivals in Europe they make you list all your music and show you have permission to use it.

Outrageousness is throughout the show combined with some good technique. The puppet work is fun and effective as well as this hula-hoops work. The roller-skating one is never really sure if he can skate. At some point it could be nice to see a flash of some great skating. Nit picking, his grandma could be filled with more age from the beginning and playing with the level and timing of some of his entrances and exits could help it become an even more effective show. Manchego will not be everyone’s cup of tea but this audience had a great time and so did I. Of course there is Ambrose’s trademark and people that know him as a performer know what that is. From the last solo show Ambrose did a few years ago – Manchego: The Birth of Cheese, shows real growth as a creator. Keep on going and pushing the limits.

2010-09-04T23:16:00.000-07:00

One Red Sponge Ball

2010-09-03T15:39:00.000-07:00

The big parade at Union Square, I missed. In 2008 I recalled the clowns being there for over an hour. This year getting to Union Square at 5:40 PM the only sign of a clown was one red sponge ball on a guys ears. After walking around the park a few times I also noticed one crumpled up clown flyer in a guys hand.

This year getting ready for the clown festival, reviewing applications, seeing shows. Fellas --assume nothing-the ladies are seriously rockin' it!

2010-09-02T11:12:00.000-07:00

"This year getting ready for the clown festival, reviewing applications, seeing shows. Fellas --assume nothing-the ladies are seriously rockin' it! As writers, directors and performers!!" Audrey Cabtree Director of the festival on facebook August 10, 2010.

Looking at the breakdown of shows in this years festival - here is the breakdown from what I can tell from the descriptions of male or all male companies, women solo and duo and men and women working together.
All Male Shows 4
All Female Shows 9 (just been informed they found some more males working with a female so change the number to 8)
All Mixed Shows 3; (this changes to)
Not sure if it is a male or female 1

Off Site Shows, Brick shows and other events
All male 7
All female 12(this changes to 11)
Mixed 4 (this changes to 5)

What does all this mean - nothing as long as we are laughing. But it does show a very real change in what women are doing in the entertainment world in North America. In the mid 80's I came very close to producing an off Bwy vaudeville show in a 299 seat theatre. One problem we had a was finding excellent female performers with great original material. There were some which where amazing and they were slated to be in the show. Since the 1980's this does show real change in what women are choosing to do in our entertaiment world. As another example I was just in San Francisco visiting Judy Finelli and met one of her assistants Milissa Arleth who besides having all of the normal skills in our clown world she has developed a very unique act called "Cirque du Sewer" working with "Rats" that she trained. It takes about a year plus to train a rat and she seems to be performing a good part of the year. Her web site is http://www.melissaarleth.com/.

Just as a note:
John Towsen is very much responsible for bring the first and second clown theatre festival to light. He is doing a workshop at the festival - if you are planning to take a workshop John workshop is one not to miss.

Closing Weekend Cabaret

2008-09-28T06:20:00.000-07:00

First a note: comparison between this Closing Weekend Cabaret and Thursday Nights Cabaret. From Thursday Nights Cabaret with almost all the exact same acts doing the same things, what a breath of fresh funny air and great time. The difference between the two Cabarets was the host. Where Renaldo who tortured and abuse everyone going on for eternity, hosts Lord Oxford and Patty O’Pattiecake (again no program to tell who anyone was – but I think Patty O’Pattiecake is Audrey Crabtree) they where great moving the show along. Not staying on stage longer than the needed. We all left feeling we had great evening and maybe even wanting more. Leaving them wanting more is something extremely important to learn from the Thursday Night Cabaret disaster created by host Renaldo for reasons listed in Thursday night’s blog. The only thing I would add is – seeing Renaldo’s band without Renaldo would be interesting. If you are going to host Lord Oxford and Patty O’Pattiecake is a lesson in how to do it right. The result all the act where much better as well.

Red Bastard – was funny as &%#! - his usual. Dodi Disanto was in the audience one of the experts in Bouffon and she loved the Red Bastard saying some exceptionally complementary thing about him to me. Which I will not repeat for fear of it going to Red Bastard’s head or bouncing ass.

John Leo and his star Peanuckle where excellent. John’s movements in his dance where crisper than in his first show in the festival, which resulted in a much better performance. Liked his energy. His piece did start to drag in the middle a little. Over all it was great and Peanuckle the star was excellent. 3.5 Heads where great it will be nice to see how this group develops this beginning piece. Coo No More were effective in us not understanding – but I think I did understand some. There was a fellow that did a great thing with his back as a face. Very affective use of a back as a puppet. The story I would like to hear is how he developed that piece.

Great Closing Cabaret.

Kill Me Loudly: A Clown Noir: Friday September 26, 2008 Tonight at 10:30

2008-09-26T14:55:00.000-07:00

Congratulations to Deanna Fleysher star clown of Kill Me Loudly. I was listening to NPR and suddenly I hear a story about clowns. To my surprise it was about our NY Clown Theatre Festival and there was a short interview of Deanna Fleysher and she sounded great. She plugged the Festival and her show. Great job.

Concluding Comment

2008-09-26T10:19:00.000-07:00

Concluding – every little and big thing one does on stage matters. In this art and business that most of us struggle to make a living at - competition to make that living can be very tough. So everything you do on stage is important. After all we want people in these tough economic times to take their hard earned money and pay to see us perform to move them emotionally, put a smile joy through out there bodies and souls and in some cases or many take them away from their daily life. We make that magic that happens in the theatre wherever we create it come to be. This is why every moment on stage matters.

Clown Cabaret - a great lesson

2008-09-25T22:55:00.000-07:00

Clown Cabarets
Host: The Renaldo The Ensemble
Graspy McTakeitall – Audrey Cabtree
3.5 Heads
Coo No More
Dog Ski

This was a great lesson in what turns an audience on so every person in the audience is totally engaged. Of course a lesson also covers the other side of that. You know the side where you look around the audience and no one is laughing just sitting there with blank looks on faces.

The totally engaged lesson… Graspy McTakeitall – Audrey Cabtree, every person in the theatre was alive involved … also awake. She was topical – had a great time and was totally involved in every moment she was on stage and she really did wake people up. She was also funny as hell - and all the laughs in the audience where real and not forced.

3.5 Heads has some nice moments and the dancer was great. There has been a lot more dances in this clown festival by women combining clown, theatre and dance - it has been great.

Dog Ski was interesting and Coo No More I have no idea if they went on or not because the Host really did not introduce anyone so people could understand who was coming on.

The Host … it was not the members of the group it was the leader of the host. There is a type of entertainment where the entertainers torture the audience, and some people enjoy this. The leader of the Host was this type of performer. Maybe it is just me, but it seems like the host is responsible for feeling the energy of the audience and making sure the evening is moving along. When the energy goes down and needs a pick me up the Host comes in and pulls something out of his or her bag of tricks to get the energy of the audience up for the next act. Also making sure everyone knows everything about the act coming on that the performers want the audience to know. Especially when there is no program. The leader of the Host was into abuse torture the audience theatre. If you looked around the audience you saw lots of totally blank looks on peoples faces or the uncomfortable ugly laugh once in a... He did more than that; he started preaching about god - nothing to do with his act. He just wanted to tell people what to think and how to think about god. It does not matter if you’re pro or anti god. You want to start preaching about religion– go start your own religious house of worship or un-worship as the case maybe – but please keep it out of the clown festival. Especially when you are there to move the evening along and introduce the acts. If you want to do political theatre, great – clown political theatre even better - but first it must be theatre, if we wanted to hear preaching about god - we would go someplace else. Some other members of the band had some nice moments – but the leader often stepped on their moments when he could get away with it. Instead of moving the show along – we got everything this entertainer has ever created – or at least it seemed like it. Now if you are into abuse and torture of the audience theatre you really missed a great show. After the Cabaret went past its second hour with no break and it looked like this guy was coming on for another ??? hours - a member of the audience bolted for toilet – I followed. The sad part of all this – the host did a great disservice to the performers of the evening.

The Soiree

2008-09-24T19:54:00.000-07:00

By: Amanda Huotari

Amanda or I know her a Mandy – is a superb performer and she can do almost anything on stage and it would be great. The characters I have seen before and each time she does them they get better. It is a nice evening of entertainment. How she engages with her audience is wonderful. Mandy has a full plate as she also runs the Theatre Barn in South Paris Maine. Soiree holds together as a show. It looks like Mandy is trying to move on to another level and I look forward to her taking chances that she is not thinking of both solo and working completely new material with new faces and new blood.

The next performances of Soiree are Friday the 26th at 9 PM and Saturday at 8:30.

Number’s Up!

2008-09-24T07:01:00.000-07:00

Written and Performed by: John Leo
Director (or Directorial Consultation {depending if you read the Festival Program or John’s Post Card}): Audrey Crabtree
John’s Co-Star: Machopeachu or Pinochle (Not Credited: in the festival program or John’s post card.)

Knowing that Audrey Crabtree – also one of the main festival directors, directed John Leo and from seeing John last year and concluding with an excellent director this performer and John’s show can really be spectacular, I was prepared for a treat. With Audrey’s hands directing – all of those dead moments would be alive and active. John has the possibility of achieving greatness with his show – and it is a nice show. John has the ability of achieving much, much, much more than this audience saw. His ideas are excellent – but the performance lacks a punch, pushing of the envelope, at moment’s quietness that is needed and a further extension of this physicality. There was an over all feeling that part of the show seemed lost and undirected. There were magical but it was spotty moments that happened through out the show. Of course the best moment and part of the show that got the most laughs was with John’s co-star Pinochle. Pinochle is always 100% in the moments. Pinochle doing what Pinochle does best. Pinochle spends the right amount of time on stage and would love to see more of Pinochle. For me one of the important things for a performer is to believe that they are 100% there. Pinochle achieved this, Pinochle’s co-star did not. In the show “Party Of One” with Noël Williams in her Saturday night late show she left everything on stage. When she finished she was totally drained. Would love to see John come off stage like that, leaving everything on stage. That does not mean he must run around as fast as he can to get tired. You can pour out all your energy just standing on stage being very still.

As to the direction – from speaking with Audrey after the show - she was surprised that she was credited. She did do some directing of John Leo but from what I understand not that much and they have not worked together in something like 2 months. If you choose to have a director or a director/developer/co-creator of your show, it is someone that you should trust and you should put your show in their hands, trusting what they say and follow their direction or at least try it out in performance, developing your working relationship between you. Finding the right director for you is important. Do one or two sessions to see if you like working together. I have no idea the details of this performer creator and director relationship - but with strong direction John and his show or a new show can be a great powerful show. I look forwards to seeing the developement of John Leo and Pinochle's show but only if there is real direction.

John and Pinochle has two more shows. (Thursday 9/25 at 7 PM and Saturday 9/27 at 7 PM) but sometimes the program is wrong so check the web site or call the box office

Contact list and communication

2008-09-22T06:52:00.000-07:00

Would you like to post your web site or contact information to keep in contact with other performers at this festival or post a show or a run your doing somewhere else? Who knows it could lead to a paying gig. There are people that read this blog in other countries as well. So post your contact information to the world here and tell us what show your were doing and a little about yourself. Or if you did a show in the past or planning on doing a show, post it here.

Bury My Heart At Dumbass Cowboy - hope you caught this show

2008-09-22T04:36:00.000-07:00

Bury My Heart At Dumbass Cowboy
Jon Ferguson Theatre

Jason Ballweber – Luck the Horse, Sheriff Carl Sbadcavers
Noah Bremer – Leslie Peppercock
Lisa Rafaela Clair – The Catus
Dario Tangelson – Jose Del Rio
Sara Richardson – Darlene Sugar-Bottom, The Dumb Ass Deputy
Kimberly Richardson – Cookie
Amy Stockhaus – Shirley Gonnafightcha
John Ferguson – Director

Wow a real theatre company that is working together and doing great things. This is the closet thing in the festival to Commedia dell’Arte. From speaking with the director after the show I discovered 25% of the show was improvised – which in my book is on the road to how it should be. It is a great use of using aspects of Commedia dell’Arte and Clowning and why they are both vital if your doing Clown Theatre. (Of course I encourage people to study Commedia dell’Arte because I teach it.) This is Clown Theatre – not straight clowning or mime or just juggling shows. It is combining all the talents into a theatrical piece. Jon Ferguson Theatre does it well.

This company knows their show is not perfect and it is still growing. Some thing that is important for all shows to know. They are never perfect. There is always room for growth. It is one of the most important show to see at the festival. Jon Ferguson’s leadership in directing and pulling together a company like this is great. These clowns/actors/etc all use their voices very well. Performers at the festival if you’re using your voice – your voices should be trained or be good enough to look trained so you can do anything you need to do with it. This company does that and does it well. They work together not against each other. They know how to share the focus on stage and give there fellow actors on stage what they need to work with to make the show better.

The show is the bluest raunchiest shows in the festival in a very positive way with a lot of verbal with some physical scatology.

Guess what one of the members of this great company – the woman that played The Catus, Lisa Rafaela Clair is planning on staying in NYC. I do now know her plans but performers in NYC should take note of that. (Just hope I got that right - if it is wrong post a comment and if I am right Lisa feel free to post your web site.)

Why are these people only doing three shows and they come all the way from Minneapolis with this many people? The festival needs to give people at least a chance of breaking even financially! Hay who is doing all the press? Are there members of the producers that are handing out this great Clown Festival Program to people in Time Square or Wall Street? Wall Street needs us clowns now more than ever!

Performers – from seeing the sizes of the audiences at this festival – it looks like you need to do your own PR gathering your own audiences. Try phone calls to friends of friends of friends or flyering Wall Street and Time Square in costume.
???
WHAT IS GOING ON WITH THIS FULL COLOR PROGAM is anything in it correct this final week and a half?

According to the program their last show was on Sunday Night - but you never know - with this program because more and more information in it seems wrong.
??????????

Last night I went to see “Brazilian Hulk Show” with a show from Maine, “The Crows Funeral”. “The Crows Funeral” canceled which most of the people in the audience did not know and most of us had no idea what the $#% was going on. I was planning on see the last performance of KILL ME LOUDLY: A CLOWN NOIR on Saturday September 26th at 10:30. Two of the performers asked me if I was going to their last show on Friday night – which is a problem for me. Looking at the program their doing their last show on Saturday Night not Friday Night. But maybe this may have changed and the festival producers are keeping it a secret. I also found out that “THE CANCAN DEW" is doing two more shows this week I believe on Wednesday and Thursday night. If the schedule has changed I suggest that performers start telling people because I have heard nothing about it except from performers that are not telling anyone unless they are asked.

“A Car Ride” Sunday Night September 21, 2008 Late Show

2008-09-21T22:28:00.000-07:00

Went to see the “Brazlian Hulk Show” double billed with “The Crow’s Funeral” There was no programs for either show, in fact “The Crow’s Funeral” did not even show up. After walking out, I found out “The Crow’s Funeral” had canceled. There was no announcement made or if there was I missed it. Of course I was going by the main Stage Shows Program, which it looks like is not always accurate. So you might call ahead of time to make sure what you are planning to see is really going to be there.

I was told by one of the producers not to miss “Brazlian Hulk Show”. Three member of a great troop of six members agreed to fill in at the last minute for the missing show. The “Brazlian Hulk did showed up and did some things which I did not enjoy and then left the stage and these great performers came on again and told us they were stalling for time for “Brazlian Hulk Show” again. I escaped when the fill in performers left and with me and an old friend of mine Mike Seliger. There is reason for everything and I found out why I ended up going to this show and walking out. When Mike and I left we ran into members of “Bury My Heart At Dumbass Cowboy” cast sitting out side the theatre with a lot of their props and costumes. By the way “Bury My Heart At Dumbass Cowboy” is worth seeing. They had been waiting for a Taxicab to come along which does not happen to often at the Brick Theatre. In fact I believe a Messiah (of any religion) is more likely to come by the Brick Theatre before a taxicab will come by the Brick Theatre. After talking and joking around we found out they were waiting for a cab. Now Mike has a car. He loaded up all their props and costumes they had with them in his car and took them to where they were staying. In the spirit of making the world a better place it was great to see an audience member treating these wonderful performers with respect and a car ride with all there equipment to where they were staying.

“Party of One” – One of the best solo shows of the NY Clown Theatre Festival

2008-09-20T21:20:00.000-07:00

Performer: Noel Williams as Captain Melisande Blue
Written by: Noel Williams and Sue Morrison
Directed by: Sue Morrison
Original Music by: Mike Datz
Sound Effects by: Mike Datz & Miles Polaski
Props Design & Construction by: Douglaas Jarard & Simon Lashford
Lighting Design Assistance Tabitha Rodman
Costume Consultation: Tamara Mullen
Technician: Richard Keyser
Produced by: Noel Williams

Noel Williams is an excellent performer and you feel like anything can happen at any moment and she will go with it. Her little journey deals with real universal issues (or issue) that one feels and is moved by and is funny, sad, sexy, erotic, crazy and insane. Here again we find another strong female clown in the festival doing great work. The transitions in the show between clown and bouffoon are seamless and it works beautifully. She uses all of her props and costumes on stage completely. The people and places she studied with shows in how she performs and plays with the audience and takes that wonderful theatrical leap into the void. Which so many performers do not do. If there is one reason to see this show and there are many - it is seeing Noel Williams jump into that theatrical void. She was lucky enough to study with the late master Carlo Mazzone-Clementi, as well as do work with the respected Chicago’s Second City Conservatory.

Sue Morrison directed and is a co-writer of “Party of One”. This is the best directorial work by Sue that I have seen. It is leaps and bounds over anything she did last year and is a pleasure to see her growth as a director. Talking with Sue after show she agrees it is one of her best-directed shows and talked about how wonderful it is to work with Noel Williams. Seeing Noel Williams after she was completely finished – she looks like you should look after a show. Completely drained of all energy. That is how a performer should leave the theatre completely drained. She left everything on stage.

Only one show left!!! Sunday September 21st at 3:30 PM

*****

One criticism of this 2008 Clown Theatre Festival is most show are only doing three show that are packed together and not spaced out. This results in little chance of building a word of mouth, audience, press reviews or for shows to be picked up. Next year where possible, (and yes we know some performers can only be here for a few days), it would be good to space shows out and the shows that will be around all month have them do one show a week for the four weeks or something in that spirit. This will be good for the shows, performers, audience and the festival.

One more criticism: On another note I found out, what I consider one of the worst shows of the festival "Chalk it Up" flew here and put their show together in two days and it looked like it. Why are they in the festival on the same night as three other well rehearsed polished shows? If your going to do that have a night of shows that people threw together at the last minute. But I would rather have the time dedicated to shows like "Party of One".

"The Nosdrahcir Sisters" ...breath of fresh air of the evening of the shows September 17th

2008-09-18T17:27:00.000-07:00

The Nosdrahcir Sisters
Created and Performed by: Kimberly Richardson & Sara Richardson
Lighting Technician: Richard Keyser
Sound Technician: Jason Ballweber

Music: Herb Alpert, David Bowie performed by Ulu and Vitamin String Quartet, Vangelis as Performed by BBC Concert Orchestra, Heaven 17, The Hitmaker, Journey, Patty Smyth, Leonel Richie as covered by ProSound Studio Band, Barry de Vorzon as performed by Ronnie Aldrich, and clips from Plan 9 From Outer Space.

Choreography: Kimberly Richardson with contributions from Sara Richardson and reference to Kathy Smith Videos of the 80’s & 90’s

Three show on the night of September 17th 2008 and this is the only show with a program and it gives credits. “The Nosdrahcir Sisters” get 25 extra bonus points! One way I tell if a show is good is if I DO NOT start counting lighting instruments in the theatre. I counted no lighting instruments during their show.

“The Nosdrahcir Sisters” were the breath of fresh air of the evening shows. They were original, incorporated many of their personal talents and training. The music they used, which is often used as a crutch in many other shows “The Nosdrahcir Sisters” used very well. The dance moments of the show were refreshing and add and developed their characters moving their story and show to a higher theatrical level. The elderly lady dance you have to see. Some of the dances did not even look like dance they were incorporated into the show so well. There costume elements and quick changes in the show were fun. If you want a lesson in how to use props well see “The Nosdrahcir Sisters”. They used everything on stage and more than once all in their own style and some objects for totally different theatrical reasons. Many moments in the show touched me. The working relationships between them was excellent and I look forwards to seeing what these two do in the future. Kimberly Richardson earned a BFA in Modern Dance from University of Utah and Sara Richardson was trained at Sarah Lawrence College in NY and at Ecole Jacque Lecoq in Paris, France.

These two wonderful performers are also in “Bury My Heart At Dumbass Cowboy” Saturday September 20th at 4 PM and Sunday September 21st at 7:30 PM.

“The Nosdrahcir Sisters” have two more shows Friday September 19 at 7 PM and Saturday September 20 at 6 PM

****************************************************************************

The other two shows “Glass of Wine” & “The Big Bang” used lots of famous artists music – wonderful musical creations that drove most of the emotions of theirs shows, but there was no credit as to whom these musicians where and of course no small note in a program about these wonderful musicians that “Glass of Wine” & “The Big Bang” used. Of course using the music and rights to use music is for a lawyer to talk about. “Glass of Wine” was a juggle and object manipulation show with a good object manipulator. The other show “The Big Bang” was a mime show that had some nice moments and both of these had some theatrical problems plus no program.

The Russian Office

2008-09-14T19:44:00.000-07:00

The Russian Office
Created and Performed by: Denni Dennis
From: Copenhagen, Denmark

This is a 30-minute theatrical experience and so much fun, an experience not to be missed. This show is every 30 minutes through the 27th from 6:30 to 8:30. Yes bring your passport. I would say more about this show/experience but I do not want to give anything away and spoil it for you.
Oh this Russian beer is really good.
Thank you Denni Dennis for a 30 minute good time.

C’est La Nuit Qui’il Faut Attraper La Lumiere

2008-09-14T19:27:00.000-07:00

C’est La Nuit Qui’il Faut Attraper La Lumiere
Clown: Orianne Bernard
Director: Giovanni Fusetti
From: Strasbourg, France

With what we do in clown theatre some shows live on a very fine edge and if the performer in a solo show is off the show can just suck. It is impossible to be on every night and we have all had nights where it does not matter what we do – nothing works. This might be the case here. Speaking with other people that saw the same show, one person had friend that told him to come and his friend who was not there on this night loved this show on another night. The three people I spoke with felt the pretty much felt the same as me.

Orianne Bernard looks like a very talented performer that is well trained. The show was developed with Giovanni Fusetti who directed it. There were a few nice moments… but only moments in this show where Orianne pays great attention to detail and really enjoys what she is doing. Many small moments where thrown away. Details lost and props used very little, not completely explored or just basic uses. If you have a prop or costume element it must be used and used well. Orianne vocals were annoying – which can work… but I just did not believe they were real. Did not believe Orianne it seemed like she was pretending instead of being honest. A few people I spoke with after the show had the same problem I had – we were falling asleep and could not wait for this show to be over. Repeating the same thing over and over again can be one of the funniest things in the world. Here it did not work. I lay most of the problems with this show not on Orianne but the director Giovanni Fusetti who also helped develop this show. The director Giovanni Fusetti should have caught most of the main problems with this show. The most important one… being real, if Orianne would have believed in what she was doing this show might have worked. That is a director’s job. It did have some of the very basic lofty ideas of avant-garde theatre but nothing new. There were lots of ideas in this show and lots of statements - lots of cleverness, which resulted in a very cluttered show, again the director is sitting on the outside and needs to see these things and redirect them. The story it looks like they have just started to flush out and find. For me they have not found the story yet. It did not take me into her world… that clown magic of theatre did not happen for me – the number of times the audience laughed were few. Three people walk out before the show was half over. The show seemed to have about three different endings.

Again maybe she just had an off night. We all have nights that suck. If you saw this show on a night that you loved it please post your comments - because we can all have an off night.

YOU CALL THIS A #%*! PROGRAM!

2008-09-14T10:52:00.000-07:00

I was asked by two of the producers to blog about this Clown Theatre Festival again this year. About anything that is happening at this festival that I feel is important or interested besides writing about the shows. I never dreamed I would be blogging about this issue but I feel this is an important issue for the performers in the festival. It is the second blog that is not about a show and the first blog that does not please me to write, but as a festival blogger it is part of what I agreed to do. Also another blogger also mentioned this issue in one of his blogs.

Producers of the NY Clown Theatre Festival receive a grade of F for programs. Maybe there is not a budget for printing up programs inserts for each show, or maybe there is no staff for this. We know two of the main producers of the festival are performing for a few weeks on the other side of the Atlantic at the moment. But I see no real programs for the performers and companies as a loss for this festival.

Lets say you have a major or minor theatre reviewer, producer or someone that could be vital for the performers or companies come to see a show and they are handed the current program. The reviewer will have no idea who is in what show if it is a show with three or four different companies. One blogger guessed at who was in what company for one evening with four different companies and got two names put in the wrong company. I left all the names out that I did not know and put “???” Thank you to the performer who blogged who she was and I was able to edit my blog and add her name. If I was a professional reviewer … I don’t know what I would have done. For performers not be credited in a write up or be placed in the wrong company would really piss me off. That error is not on the writer but the producers.

What are the profits for performer at this festival? Publicity, interacting with other performers, possible review, having people that see you or your company perform, know what you have done, where you have studied and anything else you want to them to know in a short bio. These little bio’s are very important for performers. One never knows who is in an audience and what important bit of information will help that person contact you so you can get your next gig or lead to a gig or new working relationship. Performers have come from the other side of the earth, across the country or ocean to perform in this festival and their name on the current program is in something like the smallest 4 point type on the back and it is not even circled or underlined for the show. Personally I would love to have seen a bio for The Birdmann … I feel like I was robbed of that small joy to get a little information as to whom The Birdmann is and what he has done.

Performers – I would strongly suggest you kindly ask the producers of this festival to print up inserts for the programs for your shows. If they do not, I recommend you print up your own inserts having them inserted or have a friend pass them out to the audience.

Do you think I am making too much of a deal about this or is this little program thing important? I would like to hear your comments.

The Birdmann

2008-09-10T21:12:00.000-07:00

The Birdmann
From: Melbourne, Austraila
With: The Birdmann

It is refreshing to see someone on stage with the confidence to do very little and make the most out so many little moments and take his time in the spotlight. It is the opposite of the high-energy shows. Birdmann’s show is very much about timing and if you want to see some excellent timing see The Birdman. He does a little geek in the show and you can tell he is enjoying what he’s doing.

His use of objects is very good. Personally I would have liked to see a little more use of some of the objects, taking it a little further. Birdmann pushes his theatrical envelope a little on many fronts, he is an excellent perform and would love to see him push his theatrical envelope even more. Which would make The Birdmann’s show even stranger than it is already.

One thought I had after seeing the show is how important it is for a performer when they feels safe to push further to a higher level to where they no longer feel safe theatrically.

Coming all the way from Australia to NYC for this festival. The Birdmann only has two more shows, one on Saturday September 13th at 9 PM the last one September 16 at 7 PM. Buy tickets before they are sold out.

Four Shows mostly by women Sunday Night the 7th

2008-09-09T21:50:00.000-07:00

Sunday Night 8:30 Shows on the 7th

There were 4 different groups of mainly women except for the first group which which had one guy. I know the producers are burning their candles at both ends and the middle – but I do miss the bio’s of the performers in the programs of the shows we are seeing.

Chalk it Up
With ?
The first group Chalk it Up had a lot going on at the same time with lots of scatology happening. Scatology seemed to be the main theme of the show. Often the show for me seemed unfocused. They did a few nice things with chalk on the boxes creating different buttons that made the other clowns do thing, which were the spots that seemed to work the best for me. The use of chalk on the floor creating safe zones for these clowns seemed a forced dramatic situation. These clown all have unique characters, which was good, now it would be good to see them focus on the theater of their clown theatre.

Two chairs
Monica Moreau & Adriana Chavez

This was their only show and it is good seeing the festival giving slots to up and coming performers like this. The two performers in Two Chairs were Monica Moreau (I only know this because I know her) and the second clown it is hard to tell from the program. Their piece was very much Clown Dance Theatre with more concentration on the dance. There clown characters were believable and real on stage at all time and they developed one simple theme that worked really well. It was enjoyable seeing them work together to their hip-hop clown dance and incorporating some nice gymnastics. I know they have not been working together long but what they are doing is good and I look forwards to seeing how they develop in the future. They have an excellent working relationship.

The CanCan Dew
Jenny Sargent and Aimee German
Jenny Sargent was in one of the best shows of the festival last year Under the Skiff with her brilliant partner Maja Bieler. And I am very sorry not to see Maja listed among this year performers - but have high hopes to see her next year. Jenny Sargent is an amazing powerful performer and with her new partner Aimee German in this beginning show theirs. There is no way what they do is going to be anything but great. Aimee of course is in the other hit show of past clown theatre festivals Bouffon Glass Menajoree. Together these two performers are amazing … combining a classy style, dance, gymnastics, theatre, drama and clown theatre with total use of their talents. It is very refreshing to see these two women in the short piece that they did. This does look like a beginning new team, which works. Part of the key you will see with great shows is a wonderful working sharing relationship. That is one thing you will often find in great show – the people are working well together and using their unique talents. Sunday was the only show and you are lucky if you saw it… I am looking forwards to seeing more of these two and The CanCan Dew developing into a full theatrical show.

Pants! The Best Show Ever
Summer Shapiro and April Wagner
I cannot talk about Pants without talking about Summer Shapiro’s experience at last years Clown Theatre Festival. Obviously a very talented well trained woman…lets just say last year was a real learning and growing experience that we all experience once in while; but hopefully not to often. As one person in the audience said, "I cannot believe its the same person!" With Summer’s new partner April Wagner – these two found their own unique style of clown theatre that really works. Sexy – yes and they play and make fun of so many sexy, shy thing along with, men, love/lusty plus more on so many different levels. These two women do let everything go and they reach that level of theatre where anything can happen and just might. They have a good clown piece now, I look forward to these two women as well as some of the others in the festival taking their great talent between the two of them to the next level of theatre – clown theatre.
Pants has one more show Friday September 12th at 8:30 … if you want to see these two get tickets now.

As a last note the best shows last year had a real strong story lines with a beginning, middle and end. Yes we want to see great clean technique that we do not notice, strong freeing characters, wonderful costumes, positive working relationships, theatre that puts you on the edge of your seat laughing and being moved so much it hurts. Put all that in with a strong story and you have a great show that has a shot at running and doing well. This is after all CLOWN THEATRE. The theatre must always be a major part of the total package.

Ten West (2008 Clown theatre Festival)

2008-09-06T21:06:00.000-07:00

Ten West
With Jon Monastero & Stephen Simon
Directed by Bryan Coffee

This is a new show for these two veteran performers having performed it very few times before bringing it to the NY Clown Festival and it is a nice little journey, having some very strong traditional/non-traditional images they work with. These two performers have excellent technique using mime, juggle, voice, movement and props. They breakaway from the famous rule of three a little when performing various bits and I would love to see them breakaway more from that rule. As some people know I am not a fan of that rule. All the bits are integrated and not forced into the show. One thing that I always like to see is performers taking one theme and going with it rather than a show made up of lots of little bits.

When they previewed on the opening night they did not do a piece from their show but rather a piece that they did many times which was excellent and one of the best piece of the night. They used music multidimensionally, rather than as a crutch, which is often with many performers and usually not needed or used to fill up space. In Ten West their new shows use of music is used more traditionally rather than multidimensional, but as this show grows I am sure that will as well. Ten West is a growing show and it has a lot of potential.

Speaking with Jon and Stephen they told me that they study with John Achorn in LA. John is an old friend of mine from when I was running my solo show in LA for 6 months many decades ago. John was mentored by the famous Carlo Mazzone-Clementi and I personally believe John has more Carlo knowledge than anyone I know. So if you are in the LA area check out John Achorn as he has Commedia dell’Arte classes that are starting up. John is also a director, writer and actor.

Ten West has one more show Sunday September 7th at 7 PM

Where to study based on the shows of the 2007 Clown Theatre Festival?

2007-11-01T18:11:00.000-07:00

November 1, 2007

This is by no means a complete survey – but talking to many of the performers in the shows that I thought were the best of the 2007 NY Festival of Clown Theatre and a few performers that I felt their shows needed more development time; I asked them where they studied. These are the schools and ways of studying that from just seeing the shows I would recommend.

Ecole Jacque Lecoq Theatre Mime Movement

People that graduated from good University Theatre Programs and took lots of smaller workshops from various people mostly – students of Ecole Jacque Lecoq.

Philip Gaulier (Student of Lecoq)

Enjoy,
Stanley Allan Sherman

The Maestrosities

2007-11-01T17:56:00.000-07:00

November 1, 2007

The Coolest Band Ever
Created and Performed by: David Gochfeld, Glen Heroy, Roderick Kimball, Jenny Lee Mitchell, Gina Samardge and Andy Sapora

Yes I know the festival is over but I wanted to blog about this wonderful group of performers that are becoming a great performance entity. I have seen many straightjacket routines but only one that really worked theatrically as part of the show and that was with The Maestrosities as part of the 2007 Clown Theatre Festival – it was hysterically funny. It also had the right amount of emphasis – which was very little. Because of that combination it worked very well. The music, theatre and physical comedy had the right amount of balance. I had seen them about 6 to 8 months ago and they have grown and are much better.

Just looking at the photograph of the combination of talent in The Maestrosities is funny. They all do great routines in their show and work together very well. I hope you did not miss them at the festival.

This is there web site www.maestrositis.com go to their web site and catch their show.

By: Stanley Allan Sherman

Maestrosities & Festival Comments

2007-10-28T19:30:00.001-07:00

October 28, 2007
Look for the Maestrosities blog towards the end of the week and other comments about the festival.
Enjoy,
Stanley

Tapate/Cover Yourself

2007-10-26T14:34:00.001-07:00

October 26, 2007

Tapate/Cover Yourself
From: Catalonia/Andalusia
Created & Performed by: Cristina Medina & Joan Estrader
Directed by: David Sant

There is so much great work at this festival. This piece employs so much, which includes–dance, gymnastic, stage combat (and yippy it is done very well), great use of simple props, voice, funny dialogue, costume changes and lots of them.

You want to see this show and there are several reasons for clowns and performers to see Tapate; how to do stage combat well, how to do lots of costume changes well. Next year Joan and Cristina could give a workshop in how to do quick costume changes. It is wonderful to see lots of costume changes done so quickly and the show flows well as well. Enjoyed the story line – it was simple, but it is not the story line that makes this show Tapate/Cover Yourself it is the artistry of Cristina Medina & Joan Estrader. How about this they not only perform their show in English but in Spanish as well. Or I should say they perform their show in Spanish as well as English.
\
Two shows left: October 26 at 7 PM and Saturday 27 at 6 PM
(This final show on Saturday 27 at 6 PM will be performed in Spanish. If you have seen it in English try experiencing it in Spanish.)

By: Stanley Allan Sherman

2007-10-26T14:34:00.000-07:00

Savage Amusements

2007-10-21T22:53:00.000-07:00

October 21, 2007
Created and Performed by: Ann Goldman

Wonderful simple show that had me from beginning to end. I had a great time, it was fun. Ann’s use of props was very complete; everything you see was used well. It a great lesson in how to work well with an audience and audience participants. Getting involved in the details of this show I am not going to do because I do not want to spoil it for those who are going to see it. One of the goals in our art form is to use all of your talents and turn everything even one’s perceived negatives into a positive. Ann used her talents well and you know you are seeing a well-seasoned fresh performer. Her clown was fun and she quickly wins everyone’s trust. She is true and real with everything she does…her clown world is all real. She is on from beginning to end.

You Want To Catch This Show:
One show left Tuesday night October 23 at 7 PM
By: Stanley Allan Sherman

Ridiculosity

2007-10-21T22:52:00.000-07:00

October 21, 2007
Created by the Ensemble: Kate Down, Rober Grant, Any Grotelueschin, Piper Harrel, Catherine Mueller, Justine Williams and Director Virginia Scoot.

Ensemble, Ensemble, Ensemble, Great Ensemble, all of the clowns where always in character and I believe every action they took. They created their own special world…you were involved with the show and what would happen. They used many of their personal talents – which included tap dancing, singing and excellent clowning. Would like to see more risk taking by this ensemble in terms of what happens on stage and story. I think this is a good ensemble and that has a great future as long as they keep pushing their envelope.

This was there final show.
By:Stanley Allan Sherman

Lester & Louis Save The World

2007-10-21T22:51:00.000-07:00

October 21, 2007
Created and performed by: Justin and Rachael Dobring
Directed by: Rachael Dobring

I like Justin Dobring as a performer and talent. His show is very intense and so is his characters Lester and Louis and the preacher that appears in the end. As an audience you get the feeling Justin really does want to save the world with his message. Lets face it most of us would like to save the world. Lester and Lewis brings this point out. This show looks well rehearsed – Justin shows us his power as a performer. There are many kinds of rhythm in a show and one kind is the intensity rhythm of the show. A certain level intensity of the show for me was the same throughout the show—this tired me out. One must breath here and there as a performer and audience. A little more oxygen would help. As times the story lost me here and there. The third character seemed to come out of nowhere and I was sorry to see Justin’s clown leave us. If you like intense theatre you will find this piece interesting. This is a solo show all except one moment. Solo shows can be tough – because most solo show performers want to deliver a profound message. The thing I find most interesting about this show is Justin Dobring as a talent and it will be good to see if he takes different kinds of risks in the future and what will happen when he adds more joy to his performances.

This was Lester and Louis Save the World final show at the festival.

What do you think?By: Stanley Allan Sherman.

The Glories of Gloria Revue

2007-10-21T22:49:00.000-07:00

By: Mooky Cornish
(Who created the show and directed it is not given.)
From: Canada ( Guest teacher at the Clown Conservatory and worked with Cirque du Soleil .)

Clowns first of all must always be there in the world they create and be there totally. I want to be taken into their world, which is totally real for them, and believe everything they are doing. With the show that I saw it missed that element. The funniest part was an audience volunteer that Mooky knew whose first language was not English trying to read words in English. He was wonderful and totally real. Yes sometimes an audience member can turn a show around at least for a moment – but one needs to know how to carry that new energy on. But there were a few major obstacles that caused problems for the show. They were the set and costumes, which is a major part of the show.

Costumes looked big and expensive and there were countless costume changes. The changes took so long Mooky played dvd’s of old performers, great veteran vaudevillians. Many times she announced their names like they were part of her show– she also used modern era television show dancers. This was to fill in time during her costume changes. Having costume changes in a show is great, many costume changes can be wonderful and great performers can do these changes in seconds. Because the changes took so long it would be good to see something more creative done with the problem. The set looked very nice and looked was very complicated as well and to deal with.

Once I did Saturday Night Live; there is twice as much material as needed for the show. The piece I was in was complicated big set. Funny but complicated and someone that had done several shows told me we will be cut. I asked why. Because the complicated set pieces always get cut. They were right. Simple can be a very hard place to get to.

The clown show Burnt Umber did one thing very right which I love to see…and shows appreciation for everything that was done and thanking all of the people and companies that have been involved in any way to create the show. They had a great program; half of a piece of paper that credits everyone. I wanted to see a program with credits for The Glories of Gloria Revue for who made the costumes, who made the sets, credit for all the film clips and the names of everyone in the films, music credits etc. When you use other people’s talents to create a show – give them credit it goes a long way. Give yourself credit for what you did. People want to know. This is not only for this show but several shows can used a simple program to give credit to people involved.

Next show: Wednesday October 24 at 9PM, Saturday October 27 at 8 PM and Sunday October 28 at 3:30 PM
By Stanley Allan Sherman

Clown Olympics

2007-10-19T13:50:00.000-07:00

October 19, 2007

Lets give a tip of the hat to Chris and Amanda (Monday Night Downtown Clown) for organizing a new and hopefully regular event at the Clown Theatre Festival. It was silly and taken very serious by all participants. The judges, Hovey, Mark and Deborah—(Deborah who was bribed) and advertised that fact that she was willing to be bribed and thank you, one clown did bribe her with a dollar and he got a score of 11 points out of a maximum of 10 point. Of course he dissevered at least +3 point for taking advantage of bribing a judge. Lot of fun acts on all levels – judges were booed and prized, as were the clowns. It would have been nice to see more people in slapstick; one of the highlights for me was the swimming in the kiddy pool. My favorite part was The Gold Metal Winners who tied for the Gold Metal swimming in the kiddy pool they deserved to win. They used the water well and with theatrics’ and drama – we has some highlights of true Clown Theatre here.

On with the festival…

What do you think?
By Stanley Allan Sherman

Violence Horror by Clowns & Mimes

2007-10-19T11:38:00.001-07:00

October 19, 2007

Over the course of the festival I have seen a lot of Mime-Clown Violence – complete with blood, gore, and mime-clown horror. Most of this mime-clown gory bloody violence is in bad taste and a mark that the show is in trouble. This bloody, gore, and mime-clown horror has been in solo shows and group shows through out the festival. Is this influence from bad television or our clown society dealing and making fun of all the insane violence in our world today? If it is the later they need to do a much better job. It is most likely that they do not know what else to do so they find it easy to fall back on to violence. Often with shows and not all shows go into this state - often the clowns loose that clown essence and being in the moment and go into this kids playing bloody violence, gore, mime-clown horror because they do not know what else to do. In the creative process when you fall into this you must push beyond this to get to the truth of what you're really saying.

If you look at the successful shows you will not see this kind of mime-clown – gore – bloody violence. There our shows in our festival that are cruel and they are in good taste with any violence or cruelty being supported by clown theatre piece. When you find yourself doing violence check to see if it is supported and if there is a real reason for it. As Jacque Lecoq said about clown and theatre in general if the moment calls for it, “Because is a reason.” You will find shows are on a higher level, stronger, funnier and have a longer life where the violence is supported. This goes for scatology as well.

What do you think?
by: Stanley Allan Sherman

Patatrac (Crash, Crack, Bang) From: Italy

2007-10-17T00:21:00.000-07:00

October 17, 2007

Patatrac (Crash, Crack, Bang)
Created and Performed by: Moreno Raspanti and Christina Glogowsky
From: Italy
Childen of All Ages Friendly

What a simple breath of fresh air this show is. Yes there are more theatre elements I would love to see, but what a good time I had. The 11-month year old baby in the audience said it all as she lead the audience clapping and yelping. This is a musical clown show by two wonderful Italian musicians. You can tell Moreno and Christina have been performing and entertaining for a while. You want to know a very children of all ages friendly clown show in the festival, this is it.

The creative use of instruments, found and hand make instruments is profound. They play professional made instruments as well. Musically they know how to work the crowd. This show is a lesson for all clowns that want to use music in their shows or they are thinking about it. Not to copy them but to see what thinking out side of the clown box and musically can do and where it can take you. They built and found most everything they played on our New York City streets. You will be surprised what you can play. I would tell you but that would spoil the surprise.

Yes sometimes I did feel they were pretending rather than really being there in the moment. They were always there musically. I can nit pick about the story line and some of the motivations. But why - I just enjoyed this show to much for all that. Never did I find myself checking out the theatre lights.

Two cheers to the festival for bring show like this from other countries.

Two more shows Friday October 19th a 10 PM and Saturday October 20th at 2 PM
By Stanley Allan Sherman

Burnt Umber

2007-10-17T00:19:00.000-07:00

October 17th 2007

Burnt Umber
Created and Performed by: Anne Sorce and Liza Zapol
Directed by: Rachel Eckerling

This is a new show and I believe I saw the first public performance of it. There are many small elements I liked. The found object props, the concept of the show, the relationship between them and many very emotional moments had me. It shows they have put a lot of work and time into this show. When you have a new show sometimes the hardest thing is to start having fun. It is a very green show and now they need to perform it as much as possible and start to make necessary changes. Would love to see their clowns enjoy themselves more. It is also nice to see two women clowns do a show that is not about cleaning and laundry, but taking on the working modern woman in the corporate world. There build office prop is great and they use it totally. The surprise inside is a surprise.

One thing I loved is the credits in their program. It is worth going to the show just to get a copy of their program to know how to credit properly. They have not hit the mark with Burnt Umber yet but by being open to change they can.
One more show Saturday night at October 20th at 10:30
By: Stanley Allan Sherman

Bouffon Glass Menajoree

2007-10-14T12:29:00.002-07:00

October 8, 2007

Bouffon Glass Menajoree
Produced by Ten Directions
Written & Performed by: Lynn Berg, Audrey Crabtree and Amimee Leigh German
Directed by: Eric Davis

The only thing wrong with “Bouffon Glass Menajoree” is there are only two show of “Bouffon Glass Menajoree” at the 2007 Clown Theatre Festival. Granted one of the directors of the festival is in the show. The director of the show is also one of the directors of the festival. But they should not be so modest, although it is a refreshing sign of a classily run festival by people with their vision in the right place.

I know of a few people that wanted to see this Award Winning show “Bouffon Glass Menajoree”. Did you know that it won the 2007 Innovative Theatre Award for Best Production of a Play and nominated for several other awards? If you missed this show ask the directors of the festival to add one or two more.

Oh yaa and in full discloser I made Laura’s “Little Masks” they are very little mask that you will not see on Laura’s face.

Compared to last year the show has grown… it is sharper… more developed and funnier. The use of the improvised sections with in the show keeps the show fresh. If you go see “Bouffon Glass Menajoree”at different times you will have a different experience each show. I seen a few Bouffon shows – most of them have been long boring experiences – this is the only Bouffon full show that I have seen work. Eric Davis’s “Red Bastard” is a solo Bouffon show that is the only other show I have seen in the Bouffon style that works. Maybe that is why “Bouffon Glass Menajoree” works so well. Because Director of the show Eric Davis understands how Bouffon style works theatrically.

Wantt to see this show – ask them to add one. Oh I missed “Red Bastard” as well and would love to see Eric do another show as well.

Totally Bouffon Bias, Stanley Allan Sherman

Chiche Capon

2007-10-14T12:29:00.000-07:00

Chiche Capon
Performed by: Frederic Blin, Mattheiu, Richard Lo Giudice and Patrick deValette
From France
Future Shows: Sunday October 14th at 3:30, Tuesday October 16th at 10 PM and Wednesday October 17th at 7 PM. The final show will be performed in French.

Loved the musician in this show – he was strong subtle and funny. The performers are strong and they can go on forever. This is a very high intensity show that is totally out there. At first it took on a feeling of a spoof on a drag queen show – not that I am that familiar with drag queen shows. Then it changed and left the drag queen theme. It is one of those totally irreverent shows. This is not a story line show – but just pure lets have wild fun. After a while parts of the show seemed to get stuck in repeating the same joke which for many people in the audience worked because the characters were so strong. Would love to see this company take on bigger theatrical challenges where they would take different kinds of risks.
Stanley Allan Sherman

Clownifornia

2007-10-14T12:13:00.001-07:00

October 14, 2007
Clownifornia
There are two completely different shows here that have nothing to do with each other. The Damsels is one show and Jeff Seal’s is another show. The only connection is they both studied at the Circus School in San Francisco, California.

Damsels
Created and Performed by: Suzanne Santos and Summer Shapiro
Jeff Seal “A Sudden Gust of Gravity”
Performed by Jeff Seal
Directed and Developed by: (Me) Stanley Allan Sherman

First the “Damsels”
Suzanne and Summer are both very talented women coming out of the Circus School in San Francisco, California. Summer Shapiro goes into classical theatre – song, clown and shows off well trained her talent. Suzanne Santos moves well, has a good voice and knows her clown. Their show needs to take real emotional and theatrical risks. The subject base of their show needs to go much deeper. They have a great potential as long as they push their envelope further than they can imagine with no limits. At times for me they could have gone deeper into their clowns and more in the moment. An excellent outside San Francisco eye of a director could help these two talented women move on to the next level. I look forwards to seeing where they go in the future.

UP DATE October 15, 2007: Just saw Damsels last show and here is the good news and one of the reasons why the 2007 Clown Theatre Festival is so good. They improved their show greatly by changing small things. These two performers listen to reactions and comments from other performers and festivalgoers made the changes that they could and it made real difference. What is great is they were not stuck in what they were doing so much that they could not make these change. Choose your director well and have fun… looking forwards to catching a glimpse of your show next time your in town.

Jeff Seal “A Sudden Gust of Gravity”
This is not a full show yet. It is a preview (work in progress) and from a totally bias place as the director and developer of Jeff’s show – it is funny. Jeff’s clown makes this material about Time and Space funny. It is very different. It is using material that Jeff is really passionate about. So yes it is worth seeing Jeff’s preview – as a glimpse of a beginning of a very good show.

Clownifornia Sunday October 14 10:00 PM

UNDER THE SKIFF (Do not miss this one)

2007-10-10T06:24:00.001-07:00

October 8, 2007

UNDER THE SKIFF
Conception and Scenario by: Maja Bieler & Jennifer Sargent
Devised by: Maja Bieler, Jennifer Sargent, Audrey Lamarque and Iciar Terspaderne
Set, Sound, Costumes & text by: Maja Bieler & Jennifer Sargent
Stage Manager/Sound and Light Board Operator: Jennifer Stokes

Cast: Maja Bieler & Jennifer Sargent

Maja Bieler and Jennifer Sargent have complete clowns. From the moment Maja and Jennifer step on stage they completely transform the brick theatre into their world of an immigration office. The fact they are from two different counties helps this show. What I loved is they took on an issue that is real that many people hear about but never experience. We experienced it. It is a perfect subject for clowns to explore and they explore with great insight and joy pulling you emotionally through out the show. Yes it is hysterical. It is always good to laugh at real life tragic situation and suddenly realize we are all in the same boat or boats.

The use of paper is artistically used and it is used in a very healthy clever positive way, with out being clever but necessary. The show starts when you walk into the theatre before the clowns even take the stage. This is an important show for clowns that are putting together a show to see. I was engaged from beginning to end – it dealt with a real subject, it is theatrically, the theatrical arch is there, movement of the show and clowns was great, their voices and sound are used well an integral part of the show and it was performed with clown joy. Under The Skiff is True Total Clown Theatre.

One side note; often sound and voice is used by us movement clown people - but our bodies and emotional gymnastics are in much better shape than our voice and use of sound. Under The Skiff as well as Zen Cabaret are both good examples of sound used well. Sound is an important part of clown theatre. In workouts do not forget to work on your voice and sound. It needs to be explored in the same way one explores the use of props or gags.

Under The Skiff is another…one of the best shows in the NY Clown Theatre of the festival.

UNDER THE SKIFF has two more shows – Saturday October 13 at 5:30 and Sunday October 14th at 7 PM, you do not want to miss this one.
By: Stanley Allan Sherman

ZEN CABARET: DILL & DIGER: BUBKUS: NO PLACE LIKE HOME

2007-10-08T17:30:00.000-07:00

ZEN CABARET
Performed by: Nina Rolle, Liz Stanton, Davina Cohen, Gleason Bauer,
Ashley Hughes and Jessica Cerullo

This show made my day. It pulled me into their Zen Cabaret world totally. They had me before they even walked on stage. Go see the show to find out why. It is great to see people working together doing fun, on the edge creating engaging theatre.

It is a must see for their total use of sound, visuals, gutsy material, characters, use of props and anything can happen clown theater. Yes I can nick pick on a few details but why bother… this show was too much fun to do that. Oh ya... if you did not notice from their names...all six performers are women.

Go see it. Next ZEN CABARET shows: Thursday October 11, 7 PM and Sunday October 14 at 8:30 PM
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Dill and Diger
Created and Performed by: Camilla Svingen and Margareth Hosoy
Directed by: Peter Daniel Struss
Music by: Lars Sveinung Lid
From: Norway

First the washtub base player, he was wonderful and a great musician. Often time’s performers have recorded music that supports their piece – personally I hate recorded music with clown piece and most of all magic shows. Often times if you take away the music there is nothing there. The music is supporting the whole show because it is great music not because it is great theatre or clowning. Live music with theatre and clown theatre I love. Because it is alive and it gives the performers freedom to do anything and respond to anything and that is the case with this show.

The Washtub base player really made the show for me. He disappeared when the action was taking place and the clowns used him well. The clowning was in their native language. It was wonderful seeing a clown show in a foreign tongue. Their character clowns were strong, the story clear – it was fun. I never checked out the light fixture of the theatre because the show pulled me totally in.

The sad thing is I saw their last show at the NY Clown Theatre Festival. So you now have an excuse to go to Norway to see Dill and Diger. So keep your eyes open and go to those odd shows you know nothing about, especially from foreign countries.
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BUBKUS
Performed by: Jesse Buck
Written by: Jesse Buck and Michael John Dubue
Directed by: Adam Lazaus

High energy – total clowning – nothing is held back by Jesse’s clown. Jesse totally took me into his world totally. I know a good show when I do not start checking out the technical attributes of the theatre. I did not check out the technical attributes. Jesse’s clown totally changed the space with a few pieces of cloth and a toothbrush.

If you want to see the total use of a props see BUBKUS. His story tells is great and different. It is the same vain as many fantasy tale folklore theatre and film piece – only Jesse’s clown does all the parts. He changes to different character but keeping his clown always. I think it is the bloodiest show I have seen in a long time.

If you want to catch this show you’ll have to go to his web site http://www.jessebuck.com/ his last show as part of the NY Clown Theatre Festival was Monday October 8, 2007.
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No Place Like Home
Created and performed by: Rob Torres
Directed by: Avner Eisenberg

Rob has an interesting clown character that really enjoys showing how clever he is using very little. His use of masking tape and simple props is what it seems Rob has concentrated on and he uses props very well. The main thrust of the show is watching how clever Rob’s clown uses his props and how he uses standard bits like the elevator, walking down stairs, turning a towel into a turkey or chicken and various juggling tricks. Rob’s clown creative high points for me was the use of the masking tape. That seemed what he truly enjoyed doing the most.

When using scatology in theatre and especially clowning – you must use it with care. To go through the last half of the show with a big masking tape X over ones privet parts was distracting for me and did not seem to add. Would have like to see a more positive use (or involving) of the audience. Over all it is a clever show.

Would love to see Rob’s clown go beyond being clever. Rob’s clown does it very well, easily and it is totally developed. More personal emotion risk taking would be a joy to see.

Next Shows: Wednesday October 10 at 7 PM

What not to do after a show

2007-10-08T15:18:00.000-07:00

What not to do after a show you feel did not go well & you had a small house.

You have a very small house, in a small house.
The show did not go as well as you wanted it to.
You missed some physical technical elements in your show.
Maybe some cues were off.

The show is over and the audience has had time to standup and is moving towards the exit. Suddenly the performer comes out. I said to myself, “the show is not over” then I understand that it was. The performer starts apologizing for the show to a few people he knows in the audience. Making statements belittling the few audience members that did make the grand effort of time and money to see this performer and did this while the audience was still there. It made me feel like I was a plate of crap. I felt sorry for the people in the audience at that point. We were a good supportive audience.

It is not often I have been criticized with an audience, for being part of a small audience. This audience was. Understand - yes I know we all have had bad shows at times. We’ve all had audience that just do not laugh – respond or do anything else except breath. We all have shows where nothing goes right. But never go and belittle your audience in any way or yourself. Except of course unless that is your clown and that’s what you do.

What do you do? Stay back stage, suck up the experience – change out of your costume, pack your props. Mentally go over your high points and low points in your show and set a few goals to work on for the next show.

Most experienced performers have had packed houses and houses with audiences in the single digits - hopefully more than one person. When I was in the middle of my 6-month run of my solo show in LA doing the AERO SHOW, which was Critics Choice in the LA Times. The president of the Vaudeville Museum told me there are no guarantees in theatre. You can have bad reviews and a full house or great reviews and an empty house. Some nights I had 6 people the next night would be sold out. But when I did have only 6 people I gave those 6 people the best show I could and some of those shows were my best shows. Some of those people came back several times. The fact is that every person tells an average of 10 people about the show they saw. So those 6 people told a total of 60 people – which helped the pack future houses.

Enjoy the small audience – you never know who is sitting in your audience.
If you go out to your audience after the show - praise them for being wonderful and supporting you. They paid to see you with their time or their money or both.
Be positive. It goes a long way.
Stanley Allan Sherman

What are your thoughts?

NY Clown Theatre Festival MOVING TARGET & COPS

2007-10-08T13:22:00.000-07:00

October 6th Saturday Night Shows - 2007
MOVING TARGET & COPS

Moving Target
Created and performed by Erin Bouvey
Directed by Sue Morrison.

I came in late to this show missing the opening so you must put that into the mix when reading this. Erin’s Clown deals with some wonderful tough issue about life that many people will be able to relate to. One always enjoys seeing performers taking on issues they care about or moves them. Erin’s Clown does this.

She is a very talkative clown bridging standup comedy and clown together in her unique style of Clown Theatre or you could say putting the verbal clown back in clowning. I understand this is a new show and it is always good to see new work before it is edited down and honed into a well working machine. So this is fresh.

My favorite part of the show… Erin and Sue please take this in the right way. It was Erin Clown doing her curtain call at the end of the show. There I saw a side of her clown I would love to see more of in her show. She moves great with jumps, twirls, spins – an engaging clown walk - voice and Erin’s Clown had thrilling joy about her.

Moving Target has two more shows, Tuesday night Oct 9th at 7 PM and Thursday Oct 11th at 8:30 PM

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COPS
Created and performed by Ferran Aizala, Jaume Jove and Jordi Huete
Directed by Carolin Dream and Alex Navarro

If you want to see three clowns that work wonderfully together, see COPS. It is an import from Catalonia, Spain. The show is a take-off’s on many US cop shows on television and in movie’s. These three each have very strong clown characters (they are not red nosed clowns). The show includes all kinds of refreshing original gags and takeoffs …even if some of them are old.

It is their play with each other that makes this show special. They know how to make fun of themselves using an element from the Commedia dell’Arte that is a lesson for all performers, how to use your assets as well as your deficits. They use them boldly. I would tell you how - but that would spoil the show.

The over all rhythm is very much like the cop shows on television only its funny. For myself it could use some rhythm changes towards the end … but that I am sure varies from show to show. In the future I would love to see this group come back next year with an original show going into a subject that touches them.

COPS two more shows - Monday October 8 at 8:30 PM and Wednesday October 10th at 9 PM
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What are your thoughs?