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.
Thursday, September 18, 2008
Sunday, September 14, 2008
The Russian Office
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.
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
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.
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!
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.
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.
Wednesday, September 10, 2008
The Birdmann
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.
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.
Tuesday, September 9, 2008
Four Shows mostly by women Sunday Night the 7th
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.
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.
Saturday, September 6, 2008
Ten West (2008 Clown theatre Festival)
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
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
Thursday, November 1, 2007
Where to study based on the shows of the 2007 Clown Theatre Festival?
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
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
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
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
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