Archive for the Clown Category

It’s International Commedia dell’Arte Day

Posted in Clown, Comedy, Italian, LEGIT, EXPERIMENTAL & MUSICAL THEATRE, PLUGS with tags on February 25, 2017 by travsd

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February 25 is International Commedia dell’Arte Day! Commedia is the root of everything, and I’m thinking it’s no accident the planners hold this annual event so close to Carnival, the festival season of masks and mayhem. To learn more about it, I’ll connect you with a number of handy links. Nothing happening in New York or Washington (home of Faction of Fools, organizers) this year it appears, I’m afraid. The flagship event is being held in Sydney, although it looks like the Pazzi Lazzi Troupe is doing a free event in Boston:

http://www.incommedia.org/

https://www.commediadellarteday.org/default.asp

http://www.factionoffools.org/cdaday

http://foolsinprogress.com/international-commedia-dellarte-day-2017/

Stars of Vaudeville #1032: Pepito and Joanne

Posted in Clown, Comedy, Dance, Vaudeville etc. with tags , , , , , , , , , , , , , , on February 16, 2017 by travsd

OF PEPITO AND JOANNE

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Today is the birthday of Jose Escobar “Pepito” Perez (1896-1975). Originally from Barcelona, Pepito got his start as a clown in Spain in 1914. He came to the U.S. in 1922 and performed on the Keith and Orpheum circuits.

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In 1928 he met dancer and contortionist Margaret Janet Zetteler (or Zettler, 1908-2004) at Grauman’s Chinese Theatre, when both were booked to perform before screenings of Charlie Chaplin’s The Circus. They teamed up, both onstage and off, and Zetteler’s name became Joanne Perez.

As vaudeville dried up they began performing at night clubs in the late 1930s an 1940s. Over the years, Pepito got various small roles on film and television, including several shots on I Love Lucy. They opened the Pepito and Joanne Academy of Dance, which Joanne continued to run for decades after Pepito passed away. Pepito also ran a charter fishing business.

The keeper of all things Pepito and Joanne is Melani Carty, who runs the Pepito and Joanna tribute website. The photos above are from that site. Check it out here.

For more on vaudeville historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

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Barry Lubin Becomes the First Clown to Clown on Seven Continents

Posted in Circus, Clown, Contemporary Variety, Travel/ Tourism with tags , , , , on January 14, 2017 by travsd

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In the midst of so many horrible precedents, and history being made in so many undesirable ways, something truly amazing happened. The great Barry Lubin, best known as the Big Apple Circus’s “Grandma”, became the first clown in history to have performed on all 7 continents. I want to be able to claim that he was also the first professional clown to perform in Antarctica but I’m not certain if that’s true (hundreds of people go down there annually to work now, and thousands of tourists visit annually on cruises). But I’m certain Lubin’s the first clown of such major stature to do so. The word “wonder” gets thrown around too much in the circus game, but this for once is a novelty that will put a spring in my step for some time. Thanks, Barry! This is in the great Houdini tradition, just going out in the world and doing something plum amazing to give the public a boost — just when we needed it the most.

Repose en Paix, Pierre Étaix

Posted in Clown, Comedy, Frenchy, Movies (Contemporary), OBITS with tags , , , , , , on October 14, 2016 by travsd

Something fitting about Dario Fo and Pierre Etaix passing away within hours of each other. French clown, actor and comedy film-maker Etaix (1928-2016) was one of the happy discoveries I learned about when researching my book Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to YoutubeI seem to recall first hearing about the artist from Steve Massa, and there was a big screening of his films (which had long been unavailable) at the Film Forum a couple of years ago.

Etaix is often associated with Jacques Tati (for whom he assistant directed, and with whom he got his start) but his character and his style are very different. He was also in the Jerry Lewis movie The Day the Clown Cried (1972), which it looks like we’ll all finally get to see at some point in the not too distant future. Etaix had many more screen credits as an actor than as a director. He only directed a few films; most of them are available on Youtube. I watched ’em all. This one is probably my favorite, and how perfectly timed for Hallowe’en (there’s more than a little Hammer Horror parody in the fantasy sequences here–very well done) . The film is called Insomnia (1961).  Even so, I hope you sleep well, grand-père drôle!

Groucho Marx: Bouffon

Posted in Clown, Comedians, Comedy, Comedy Teams, Marx Brothers with tags , , , , , , , on October 2, 2016 by travsd
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“No Matter what it is or who commenced it — I’m against it!”

Today is the birthday of Groucho Marx. I’ve done over a hundred blogposts on the Marx Brothers as a team; but very rarely focusing solely on my favorite comedian (okay, he vies for the top spot with a short list of others). This one was prompted by a query I got from a young comedian named Darius Emadi a few months ago. His question was quite simple, but so revolutionary and new and unprecedented, I was taken quite aback and thought about it for days. I have been planning this post ever since then.

The question was this: “Groucho Marx: Clown or Bouffon”? The answer is immediately apparent. No rumination required. Groucho is a bouffon. And that realization came as such a delightful thunderbolt. The idea of bouffon is the perfect frame for thinking and talking about Groucho. And yet this conceptual tool is so new that it’s only recently become available. And the misconception that Groucho is a clown in the conventional sense has driven so much that’s been so misguided, including his casting in films, and criticisms and appreciations by fans and writers.

I’ve written a bit about bouffon here and here. (I urge you to follow the links and explore. It will provide much background and insight and relieve me from having to remake the wheel here). Bouffon certainly grew out of clowning, much as Lucifer fell out of the choirs of heaven. It has much in common with that ancient art on the outside: exaggeration, costume, make-up and the goal of making people laugh. What it does not share with clown however, and this is crucial, is a need for SYMPATHY. In fact, bouffons are profoundly UN-sympathetic. It is what they are there for. They are nasty. They are the nasty parts of us made manifest. Groucho exists to confuse, lacerate, run rings around, fuck with, tweak, rattle, undermine and muss up the people around him. He exists to break things down, not build them up. The essence of his character is not to help people, and neither does he want nor deserve help. On those occasions in his early vehicles where he does assist the perfunctory ingenue or some stuffed shirt of a leading man, it is because it is part of the conventions of the format, which he subverts with every breath he draws. He has no “heart”. The attempts to impose one on his character in his later movies are like trying to graft an elephant’s trunk onto an octopus. This organ does not belong here! It is useless and irrelevant to this character. This is not to rail against goodness and emotion and altruism. My point is that everyone else has those. Some characters do not. Groucho does not. Thus Charlie Chaplin is a clown. Groucho Marx is a bouffon.

Mr. Emadi gave me great hope with his question by even asking it. By even thinking to ask it. By even knowing to ask it. Not for some egghead reason, though you’ll probably think so if you’re a complete philistine, as most people are. But, the fact remains that I myself am not a scholar. I have no degree, I am not affiliated with any institution, I contribute to no scholarly journals, I do not speak at symposia. I consider myself first and foremost a theatrical practitioner. Sometimes I write it, sometimes I direct it, sometimes I perform it, sometimes I produce it, sometimes I review it. And part of living that life, according to my philosophy, is mastering its history. So sometimes I write about it. That’s just part of the gig. I’ve always felt that way. Have you ever met a magician? I know quite a few of them. And one thing I’ve observed ACROSS THE BOARD is that they are absolute geeks about the history of their art form — back to EGYPT! — and they’ve always been that way.  And I really feel actors and comedians should aspire to the same level of awareness. They certainly used to. That was the vaudeville way. Sometime around the 1960s, I think many began to cut loose from the moorings.

And contemporary Hollywood has so much to do with that,I think, this severing ties with tradition. And it happened in the same time frame, when “the business” became disconnected from its mother art, the theatre, and when self-respect became secondary to the bottom-line — a bottom line in a culture where everyone is racing to the bottom. The kind of thing that’s always bothered me: brilliant comic geniuses like Steve Martin (a philosopher and art collector) and Robin Williams (a Julliard grad) churning out the worst crappy movies for decade after decade…and then throw the art form a bone when they do Waiting for Godot in private for two weeks at Lincoln Center with Bill Irwin. I feel like you have a responsibility to the public, man. A great quote from the late Edward Albee (thanks Yvonne Roen!): “Don’t GIVE the people what they want. TELL them what they want.” Be a leader — LEAD. Make the culture better. Don’t degrade yourself. Especially when you’re a Hollywood player with wealth, power and fame at your disposal.

So what I love about Emadi is not that he’s an egghead — he’s actually a stand-up comedian. And he’s also studying clown in France. It won’t ruin him. So did Sacha Baron Cohen, whom I also admire. And really ultimately, in their way, so did Mack Sennett and Charlie Chaplin. Know whereof you speak and speak it. Anything else is to be a worm. You know what Groucho was doing when he wasn’t lampooning academia in Horsefeathers? He was compulsively reading books.

Tonight! See “Old Hats” Streaming Online!

Posted in Broadway, Clown with tags , , , , , , on April 2, 2016 by travsd

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Tonight (April 2, 2016)!  BroadwayHD will be streaming live Signature Theatre’s production of Old Hats with Bill Irwin and David Shiner so you can see it from the convenience of your own home! And they also have several other shows on tap and on demand. I noticed the current production of Sam Shepard’s Buried Child ; that would be high on my list. This is an idea whose time has come and I think the possibilities are limitless.   Tonight’s show streams at 8pm at https://www.broadwayhd.com/.

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Big Apple Circus: Grand Tour

Posted in Acrobats and Daredevils, AMUSEMENTS, Animal Acts, Circus, Clown, Contemporary Variety, CRITICISM/ REVIEWS with tags , , , , , , , on December 14, 2015 by travsd

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I’ve been attending the Big Apple Circus nearly every season for 20 years now…and lately every time I go I feel like the show I’ve just seen was the best ever. I’ve wondered aloud whether current artistic director Guilliaume Dufresnoy is one of the reasons I love it so much more now than I did in the ’90s. Now that I’ve seen several editions generated under his watch by various creators and directors I think I can say with some confidence that, yes, Guilliame has something to do with it. I simply prefer the aesthetics of the BAC as it is today….every artistic choice, from the music, to the script, to the costume design, to the scenery and lighting, all speak to me a great deal more than it used to. The show is rendered with more discretion, taste, and (ironically) more tradition. (The acts themselves have always been great of course. Their scouts go to Monte Carlo and other showcases and bring back some of the best circus acts in the world. I’ve never had any complaints about the jewels at BAC; I just never dug the settings).

We were proud to see our homeboys from Parallel Exit sign on to create this show (with Mark Lonergan as director, and Joel Jeske as writer/creator, and director of the clown bits). Downtown representin’! (Except they’ve also performed at the New Victory; they’ve enjoyed legit success for a while now). If you doubt my objectivity, you needn’t. If anything, as someone who also presents vaudeville, I have incentive NOT to be complimentary, and for that matter I have certainly written downright savage reviews of shows containing friends. So you’ll get fair dealing here.

And you can believe me when I say the show is flipping awesome, and I’ll probably go back to see it a second time (maybe on New Year’s Eve; it’s our favorite way to ring in the new year). This year’s show is lean and mean and moves along briskly — so efficiently and economically that perhaps for the first time at a circus I never looked at my watch. As I’ve written here many times, circus isn’t at the top of my list for theatrical forms. My orientation is vaudeville, and ya know what an acrobat is in vaudeville? The opening act. In the circus, acrobats comprise the bulk of the show — even more so now that larger animals are being pushed out. (I have very politically incorrect opinions on that subject, btw). The current show is not only well-curated and full of fast-paced acts, but (as should surprise no one who’s familiar with Parallel Exit’s work) chock full of fast and funny clowning by the duo of Joel Jeske (“Mr. Joel”) and Brent McBeth, (also of Parallel Exit, here billed as “Skip”). The theme of the show is a Grand Tour in the great age of travel (early twentieth century), so the pair are frequently cast as waiters, flight attendants, baggage handlers and so forth. Jeske’s precision, focus and bag of tricks are to die for. As with many great comedians (Oliver Hardy is my favorite example), you love him more for doing what’s expected, rather than surprises. The man is steeped in the ritual of comedy. Favorite moments included a slop act through a porthole, in which Mr. Joel gets doused with bucket after bucket of water — no matter how he tries to avoid it. And then there was a great game of musical chairs. Mr. Joel has rigged it to win, and he still loses. Also he and McBeth do a musical number, the old song “Istanbul (Not Constantinople)” — this might be the very first time I’ve witnessed singing in the Big Apple Circus, and it was highly welcome.

As was the dancing — the whole cast performed a Charleston in the charivari and in a closing number. As for the acts: Italy’s Chiara Anastasini performed a beautifully lit hula hoop act — the metal hoops acquiring a slinky-like visual effect the more and more she added. Alexander Koblikov juggled in a sailor suit, at one point keeping the impressive number of ten balls (by my count) in the air. International atmosphere was brought by China’s Energy Trio, an acrobalance outfit who looked very young; and the Zuma Zuma African Acrobats. The Belarussian Dosov Troupe did a fairly standard teeterboard act. Muscovite Sergey Akimov did a graceful, beautiful flight on aerial straps (with no safety wire or net from what I could tell).

Jenny Vidbel brought her critters back; dogs for the first act and horses for the second. The dogs fared better (my favorite gag was when they did a restaurant routine, the clown-waiters brought over some wine, and the dog covered his eyes with his paws when he didn’t like the vintage.) Dogs are smart and funny and you get the sense that they are actually performing. Horses are tougher. Originally the entire raison d’etre for the American circus, horses are not very bright and can only learn the simplest of tricks. Their presence under the big top (I feel) is best justified when it’s about the riders. So in this respect, I miss Katja Schumman’s outfit (and even so — the only time I have REALLY been excited watching equestrians has been at the Moscow Circus or at a western rodeo.) But for very small children, for whom the presence of horses is enough — they have horses. I would be more excited by giraffes (Barnum used to have ’em) but at least they have horses.

Lastly — the show closes the first half (as always) with their most exciting act, in this case, the Dominquez Brothers on The Wheel of Wonder (as opposed to the Wonder Wheel) . This act all by itself is worth the price of admission — and I made a lot of noises (yelps, cries, nervous laughter) as these two guys did their death-defying thing on this cray-cray apparatus. Can’t describe it , looks like this:

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As I say, a great show and it flew by. We hope to catch it again before they blow town for their annual tour. Tickets and info here. 

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