A Few of My Favorite Things
Jeroen Bouwhuis
When the first thing a performer does is to shoot every audience member one at a time with a mime handgun, you know you are in for a wild ride!
This mad, yet precise, physical storyteller takes us on a journey through his day. His boring job transforms into a rock concert, a basketball game ends in shooting, he finds his girl with another lover, a date with an audience volunteer leaves our hero disheveled and distraught. You would think this hoodlum would be repulsive, but he is charming, his contact with the audience is intense and personal. The world Jeroen creates is a chaotic and violent place--even the cutlery can be cutthroat--he must be proactive, take control.
Synchronized with his sound track, Jeroen moves lithely, his movement and mime are crisp and crystal clear. It is impressive that he comfortably commands the stage while just walking it in a circle, feeling no need to DO anything, as long as it is in time with the soundtrack. That walking takes on many meanings, for all that it seems so simple. I left questioning my own response to the violence--why did I laugh?
A strong, high-energy show. I wish it were playing another time so you can go see it.
Saturday, September 20, 2014
Locked Up
Locked Up
Sophia Knox-Williams and Cara McClendon
SEE IT!
Sunday Sept 21 7 pm
You will thank me later.
What a rollicking clown show. Our two heroines are convicts. They don't let the bars of their prison contain their imaginations. They create their whole world with their bodies and voices, using two oven racks and two milk crates, they evoke a prison with intimidating guards, a flood, and a prison break.
Tiny (Sophia) is tough and angry. Tall (Cara) is not so smart and not so tough, and very pleased with herself. Their clear relationship gives their play a great dimension. Cara and Sophia joyfully shared their sorrows, fears and triumphs with the audience. They also shared their pleasure in discovering that they could create outlandish private parts by sticking their hands in special places in their orange jump suits.
With a bit of editing and more performances, this show will really shine.
Sophia Knox-Williams and Cara McClendon
SEE IT!
Sunday Sept 21 7 pm
You will thank me later.
What a rollicking clown show. Our two heroines are convicts. They don't let the bars of their prison contain their imaginations. They create their whole world with their bodies and voices, using two oven racks and two milk crates, they evoke a prison with intimidating guards, a flood, and a prison break.
Tiny (Sophia) is tough and angry. Tall (Cara) is not so smart and not so tough, and very pleased with herself. Their clear relationship gives their play a great dimension. Cara and Sophia joyfully shared their sorrows, fears and triumphs with the audience. They also shared their pleasure in discovering that they could create outlandish private parts by sticking their hands in special places in their orange jump suits.
With a bit of editing and more performances, this show will really shine.
Cabaret Hosted by Deenie Nast
Cabaret Hosted by Deenie Nast
She is self absorbed, selfish and superior. Deenie is not shy of telling the truth as she sees it or sneerily demanding what she believes is her due. She may be mean, but I love her.
Punctuating this evening with musical numbers from her long-past hit movies and a medley of hits from the American Songbook, Deenie kept us laughing between the Cabaret acts. Why do I find this so funny? Perhaps it is the total commitment to this picture of the aging celebrity, complete with alcohol and prescription drug abuse and intense desire to win and keep our adoration.
Deenie did not mince words with the Big Boy with a lollipop who was the stagehand--she sent him offstage as fast as she could.
A conscript from the audience served as a stand in for her missing nurse, Minnie. Deenie treated her with the same dismissive and demanding attitude that probably sent the real Minnie packing. The "new Minnie" was adorable--helpful and cooperative, even accepting Deenie's offer to partake of the intoxicants.
Yes, the acts in the Cabaret were memorable too:
Locked Up--a fun excerpt of the upcoming show. Two convicts proudly creating indiscreet body parts by inserting their hands in their orange jump suits.
Jeroen Bouwhuis--one man's mad, intense and fatal battle with cutlery. I am eager to see his entire show: some of my favorite things.
Animal Crackers--three charming and quirky chorus girls dancing a tightly choreographed number inspired by the animal kingdom. I would love to see them develop the relationship amongst the trio.
The Donovan Ensemble--brining us a refreshing Carmen peppered with popular song. See their show later in the Festival.
Flash Rosenberg drawing her "rationalizations" of our suggestion. Taking the concepts and transforming them into cartoons that push the boundaries of imagination.
Dimitri Hatton--a feckless fellow from France in epic slapstick struggles with darkness and a lightbulb.
Fun times for all.
Pompo and Pipo
Pompo and Pipo
Z Smith
Directed by Jenni Kallo
Z Smith
Directed by Jenni Kallo
Pompo's inhabits a trash heap. Her wistful desire to make a home from her world filled with trash, compels her to create rituals and systems. Her announcements of, "to the kitchen," or "to the bedroom," send her tiny distances in reality but far into fantasy. Each place has a particular set of junk and a series of actions that define it. About a third of the way into the show she began to really include us and I was drawn into this world and empathized with her yearning.
The importance of Pipo, a silver urn, in the life of Pompo and the arc of the show only becomes clear about midway through. I wish she had addressed the object more clearly right from the start.
I loved her escalating series of fantasy meals, the newspaper folded into airplanes ridden by finger families, and into birthday hats, the creative use of bottle caps, all lovely, traditional ways that a clown transforms her environment.
Z has made a courageous choice to address longing and grief. Pompo and Pipo is a tender and moving show. It needs only more performances and some difficult editing.
Bathtub Jen and the Henchman
Bathtub Jen and the Henchman
Jennifer Harder, Charlie Layton, Glen Heroy
This is a musical romp through the dirty, lawless underworld. A bitch, whore, amputee murderess and her hateful, larcenous, Russian mobster husband are in a "love" triangle with a bitter, corrupt Irish policeman.
Some really good music ensues! Between monologues about their dissipated lives and criminal skullduggery, they play musical standards and Black Eyed Peas numbers on trumpet, accordion, ukulele and spoons. A traffic cone is transformed into a megaphone for that "Rudi Vallee" sound.
They are constantly forming and reforming this love triangle, sending the odd man (or woman) off stage in a rage. I wonder, what makes any of them come back? Are they desperately in love? Are they under a contract or threat of death that requires them to complete a concert? They have said they are hiding from the police, but the police are part of the game.
There is some very clever writing in the monologues--good storytelling. For this show to work completely, we need love these despicable people. But there are not many instances where the characters are connecting with the audience, that is when we would love them despite their "evil ways."
Jennifer Harder, Charlie Layton, Glen Heroy
This is a musical romp through the dirty, lawless underworld. A bitch, whore, amputee murderess and her hateful, larcenous, Russian mobster husband are in a "love" triangle with a bitter, corrupt Irish policeman.
Some really good music ensues! Between monologues about their dissipated lives and criminal skullduggery, they play musical standards and Black Eyed Peas numbers on trumpet, accordion, ukulele and spoons. A traffic cone is transformed into a megaphone for that "Rudi Vallee" sound.
They are constantly forming and reforming this love triangle, sending the odd man (or woman) off stage in a rage. I wonder, what makes any of them come back? Are they desperately in love? Are they under a contract or threat of death that requires them to complete a concert? They have said they are hiding from the police, but the police are part of the game.
There is some very clever writing in the monologues--good storytelling. For this show to work completely, we need love these despicable people. But there are not many instances where the characters are connecting with the audience, that is when we would love them despite their "evil ways."
Giovanni!
Giovanni!
Hew Parham
Giovanni, our Italian waiter, is a dizzying collection of different people: an Italian-born fellow, an Australian born in Italy, Hew himself, and others. Their stories of how they came to be working as a waiter in this Italian restaurant are all different, yet all the same and at the same time.
Don't ask, it does not really matter.
What does matter is that Hew blends and separates them with enormous energy, eloquent physicality, and madcap verbal acrobatics. He tells tall tales and true tales. His Italian gibberish and Australian accents blend and separate wildly as he regales us with his passion to serve and to make "rapporio" with us, his clientele.
His arguments, in Italo-gibberish with his off-stage mother always end in a sheepish, "Si Mama, si Mama." We feel as humbled by her I audible tirades as he does
Giovanni has big appetites--for food, for sex, for connection, for life. He does not shy away from expressing his desires and disappointments. He propositions the entire audience. He is bemoans the state of the world,where people would choose a "piece of shit on a sugary bun" rather than good Italian "a-free-range-a" food. For all his ridiculous antics and diatribes, Giovanni touches many sore spots and leaves us pondering a world where a delicious homemade Italian meal, served with honor and pride, is a swiftly dwindling possibility.
Hew Parham
Giovanni, our Italian waiter, is a dizzying collection of different people: an Italian-born fellow, an Australian born in Italy, Hew himself, and others. Their stories of how they came to be working as a waiter in this Italian restaurant are all different, yet all the same and at the same time.
Don't ask, it does not really matter.
What does matter is that Hew blends and separates them with enormous energy, eloquent physicality, and madcap verbal acrobatics. He tells tall tales and true tales. His Italian gibberish and Australian accents blend and separate wildly as he regales us with his passion to serve and to make "rapporio" with us, his clientele.
His arguments, in Italo-gibberish with his off-stage mother always end in a sheepish, "Si Mama, si Mama." We feel as humbled by her I audible tirades as he does
Giovanni has big appetites--for food, for sex, for connection, for life. He does not shy away from expressing his desires and disappointments. He propositions the entire audience. He is bemoans the state of the world,where people would choose a "piece of shit on a sugary bun" rather than good Italian "a-free-range-a" food. For all his ridiculous antics and diatribes, Giovanni touches many sore spots and leaves us pondering a world where a delicious homemade Italian meal, served with honor and pride, is a swiftly dwindling possibility.
Friday, September 19, 2014
Red Bastard
Red Bastard
Eric Davis
Red Bastard really is a comedy monster. The form of Boufon (buffoon), a deformed outcast who ridicules his audience and society, is seldom played well; they usually come in groups; almost never is that creature found solo. That he is alone and scary and funny makes Red Bastard unique.
He capers elegantly and nimbly around the stage as "bon mots" trip lightly off his tongue. Yet he is monstrously deformed: a huge buttocks, bulbous thighs and belly, all covered in a red union suit and hood. We initially find him charming and funny as he takes us through theater exercises--"work thru the feet," "suspend," "displace." He is actually training us to cooperate--creating a "yes set" with the whole audience.
When we are truly ready to go along with him, he might shame us for our eager participation. He asks us to all shout out our fondest dreams, and then something that we always wanted to say to someone. He singles out people to tell what they shouted and challenges them to do something about it. Red Bastard treads the line of our comfort and often stomps right over it. Luckily, he usually stays strangely lovable.
For me, the unmasking of the character at the end, combined with what becomes a polemic to live an authentic life, dilutes the power of the mirror that Red Bastard holds up to us. He has already shown us our weaknesses and the compromises we make to live comfortably in a complex world. We do not need Eric, himself, to tell us that again.
Eric Davis
Red Bastard really is a comedy monster. The form of Boufon (buffoon), a deformed outcast who ridicules his audience and society, is seldom played well; they usually come in groups; almost never is that creature found solo. That he is alone and scary and funny makes Red Bastard unique.
He capers elegantly and nimbly around the stage as "bon mots" trip lightly off his tongue. Yet he is monstrously deformed: a huge buttocks, bulbous thighs and belly, all covered in a red union suit and hood. We initially find him charming and funny as he takes us through theater exercises--"work thru the feet," "suspend," "displace." He is actually training us to cooperate--creating a "yes set" with the whole audience.
When we are truly ready to go along with him, he might shame us for our eager participation. He asks us to all shout out our fondest dreams, and then something that we always wanted to say to someone. He singles out people to tell what they shouted and challenges them to do something about it. Red Bastard treads the line of our comfort and often stomps right over it. Luckily, he usually stays strangely lovable.
For me, the unmasking of the character at the end, combined with what becomes a polemic to live an authentic life, dilutes the power of the mirror that Red Bastard holds up to us. He has already shown us our weaknesses and the compromises we make to live comfortably in a complex world. We do not need Eric, himself, to tell us that again.
Monday, September 15, 2014
(Almost Definitely) Questionable Acts
(Almost Definitely) Questionable Acts
CB Goodman and Josh Rice
These two performers each have a strong and charming stage presence. They are both good storytellers. They take us through a series of moments that are almost, definitely connected very loosely.
Though they address the audience, and even engage in conversation, they seldom allow themselves to be affected. Because of this, it is hard to match Almost Definitely to my notion of clown.
The most clown-like moment was when Josh discovered that he really did not have his underpants. He played this moment beautifully, allowing us to share his embarrassment.
CB Goodman and Josh Rice
These two performers each have a strong and charming stage presence. They are both good storytellers. They take us through a series of moments that are almost, definitely connected very loosely.
Though they address the audience, and even engage in conversation, they seldom allow themselves to be affected. Because of this, it is hard to match Almost Definitely to my notion of clown.
The most clown-like moment was when Josh discovered that he really did not have his underpants. He played this moment beautifully, allowing us to share his embarrassment.
Saturday, September 13, 2014
Cabaret Number 1 Hosted by Adira Amram and Becky Yamamoto
Cabaret
Our funny, smart and seductive Hostesses were decked out in my favorite clown colors--black and white.
The variety evening included new and seasoned performers:
Eleanor, who tried mightily to take her books back to the library.
The NJ String Ensemble, who pulled more things out of her cello than is physically possible
Lucie B who relived the Sleeping Beauty legend.
A risque song from our hostess, Adira.
A spirited song in Spanish from Sebastian Sera
The Pink Lady flaunting her baby bump
Felipe Ortiz (of La Cita) having devastating difficulty with the ashes of a loved one.
And The Red Bastard challenging the audience to out do him with his own material.
A good time was had by all.
Our funny, smart and seductive Hostesses were decked out in my favorite clown colors--black and white.
The variety evening included new and seasoned performers:
Eleanor, who tried mightily to take her books back to the library.
The NJ String Ensemble, who pulled more things out of her cello than is physically possible
Lucie B who relived the Sleeping Beauty legend.
A risque song from our hostess, Adira.
A spirited song in Spanish from Sebastian Sera
The Pink Lady flaunting her baby bump
Felipe Ortiz (of La Cita) having devastating difficulty with the ashes of a loved one.
And The Red Bastard challenging the audience to out do him with his own material.
A good time was had by all.
Ein Tod kommt selten allein (Death seldom comes alone)
Ein Tod Kommt Selten Allein
Death Seldom Comes Alone
Kersten and Sepp Egerer,
These two young clowns have bitten off a big subject. They approached it with energy and made a good effort at connecting with the audience. The first scene where Death and his companion get ready for their working day promised a macabre evening.
What followed was a series of short vignettes based around mourning the loss of a beloved balloon. They both tried multiple unsuccessful ways to kill themselves because of their grief. My favorite moment was the contest to see who could cry the loudest and biggest, each one topping the other and asking the audience to cheer them on. Do more!
This show will grow with a deeper love for the balloon and more connection with the audience throughout.
La Cita
La Cita (the Date)
La Gata Cirko
Felipe Ortiz
Sebastian Sero
La Cita has an unusual delicacy for a clown show. The main character has a sweet and gentle manner. His moves are small, but his emotions are deep. He has the simple task of preparing his home for a visitor. Setting the table, fixing the lights. Each time his own awkwardness got in his way or his inner mischief took over and made a mess.
The relationship between the musician and the actor was was so playful. When Felipe started his walk exactly with the first note of the music, it was delightful, I wanted it to happen more!!! I was disappointed when they used recorded music, and sound effects, as the live music was so right for the direct and subtle spirit of this show.
I hope Felipe can find ways to keep the "still waters (running deep)" in all the parts of the show--even in the traditional skill parts, because that is where he is unique and lovable.
Poofy DuVey in Burden of Poof
Courtney Cunningham is Poofey duVey a very tense and conflicted woman, in the middle of an existential crisis. She is struggling with her need for love of all kinds--love of self, of friends and of course for that one true love. Something we all seek.
Even her entrance is conflicted--she peeks out at us, and decides not to come out at first. She keeps going back off stage to get more and more stuff until she has a pile of things. She speaks in clipped sentences, sometimes so staccato that I could not quite understand--and I did want to understand.
There are many wonderfully funny moments in our time with Poofey. There are bits of fantastic writing--both of action and language. I loved when she said, "I'm not bitter, I'm just tired." The "To Do" list was a terrific device, as was her courting of audience members for friendship, and her puppet scenario.
My favorite part was at the end of the show--Poofey asks her volunteer to say "Yes" to everything she says and then proceeds to ask him. "Are you going to leave me for another girl?" "Will you ignore me on the street?"
Notes for Poofey:
--It was an enormous relief when your list said "Exhale!" You, (and therefore I) were not breathing much in the first part of the show.
--What about the sleeping bag?
Even her entrance is conflicted--she peeks out at us, and decides not to come out at first. She keeps going back off stage to get more and more stuff until she has a pile of things. She speaks in clipped sentences, sometimes so staccato that I could not quite understand--and I did want to understand.
There are many wonderfully funny moments in our time with Poofey. There are bits of fantastic writing--both of action and language. I loved when she said, "I'm not bitter, I'm just tired." The "To Do" list was a terrific device, as was her courting of audience members for friendship, and her puppet scenario.
My favorite part was at the end of the show--Poofey asks her volunteer to say "Yes" to everything she says and then proceeds to ask him. "Are you going to leave me for another girl?" "Will you ignore me on the street?"
Notes for Poofey:
--It was an enormous relief when your list said "Exhale!" You, (and therefore I) were not breathing much in the first part of the show.
--What about the sleeping bag?
Friday, September 12, 2014
Pinot & Augustine
Mark Jaster (Pinot) and Sabrina Mandell (Augustine) of Happenstance Theatre have brought a very traditional form to sparkling life. Pinot is the classic white face clown, with elegant garb and cone shaped hat; he is clearly in charge. Augustine is his slightly rebellious, somewhat inept, yet enthusiastic helper. It is Pinot's show, but he needs Augustine to translate his French titles and announcements. She wants very badly to take the spotlight.
This is an age-old structure. The show is full of circus entrees and lazzi that (hopefully) you all know: "Dead or Alive," "Musical Interruption, " mime impressions, etc.
YET, the strength of the characters makes it all new and funny. Their relationship is clear, their needs and desires are transparent without being false. We love Augustine's bumbling efforts to help and her mischievous attempts to sabotage her imperious boss. Pinot's need for perfection makes him vulnerable despite his strict and demanding attitudes.
It is wonderful to watch a show that is clearly well written and rehearsed. The timing of much of the physical business is precise, but there is still room for them to play with the audience's reactions.
Both of these performers are physically eloquent, there is little wasted or extraneous movement. Mark's mime is elegant and flawless without feeling formal. He became a lion at one point; as he faced the audience, he brought his leg up behind and waved it as his tail--a deliciously satisfying addition to the big cat impression. And the turtle! The turtle was so funny and so true!!
At this point in the development of the show, I would love to see them let themselves loose inside the very tight structure they have created. Allow Augustine to make more mistakes and compound them in her efforts to fix them. A moment where everything completely breaks down for Pinot so he can be steam-from-the-ears furious or ashamed, and one where Augustine could have a sublime moment of perfection, would make us love them even more and give a chance for chaos to upset this perfect gem. It would give us a clear glimpse of the humanity of Pinot & Augustine.
This is a brilliant choice of the festival producers, as Mark and Sabrina's have built a charming and funny show using our clown traditions. This is a history lesson, AND a joy to watch.
This is an age-old structure. The show is full of circus entrees and lazzi that (hopefully) you all know: "Dead or Alive," "Musical Interruption, " mime impressions, etc.
YET, the strength of the characters makes it all new and funny. Their relationship is clear, their needs and desires are transparent without being false. We love Augustine's bumbling efforts to help and her mischievous attempts to sabotage her imperious boss. Pinot's need for perfection makes him vulnerable despite his strict and demanding attitudes.
It is wonderful to watch a show that is clearly well written and rehearsed. The timing of much of the physical business is precise, but there is still room for them to play with the audience's reactions.
Both of these performers are physically eloquent, there is little wasted or extraneous movement. Mark's mime is elegant and flawless without feeling formal. He became a lion at one point; as he faced the audience, he brought his leg up behind and waved it as his tail--a deliciously satisfying addition to the big cat impression. And the turtle! The turtle was so funny and so true!!
At this point in the development of the show, I would love to see them let themselves loose inside the very tight structure they have created. Allow Augustine to make more mistakes and compound them in her efforts to fix them. A moment where everything completely breaks down for Pinot so he can be steam-from-the-ears furious or ashamed, and one where Augustine could have a sublime moment of perfection, would make us love them even more and give a chance for chaos to upset this perfect gem. It would give us a clear glimpse of the humanity of Pinot & Augustine.
This is a brilliant choice of the festival producers, as Mark and Sabrina's have built a charming and funny show using our clown traditions. This is a history lesson, AND a joy to watch.
Monday, September 8, 2014
Games Clowns Play-- workshop with Caroline Dream
This two day workshop was attended by about 15 people, a mix of experience levels--from veteran clowns with international performing careers to young actors new to clowning. However the focus of all the students was intense so the progress everyone made along the path of their own development was significant. We all played hard and laughed a lot.
The first wonderful job she gave us was to be the buddy of another student. We were to record when they made the group laugh, moments she called "aces." These became tools we could use over and over, when they fit, that were guaranteed to connect us with the audience and elicit laughter.
We played lots of theater games in quick succession to familiarize us with what conditions make a good game. Caroline challenged us to play hard, and to begin to find what emotional states gave each of us pleasure. Some of us had a wonderful time being angry or defiant or sexy, and our enjoyment of playing hard in that state was so funny to the audience.
She gave us simple actions (with built in conflict) to accomplish as clowns which provided the possibility to succeed or fail. For example--six clowns in a line with alloons held between their shoulders must walk forward and back on the stage. If a balloon drops they must start again. Within this structure each clown could find their emotional reaction to the success or failure of the group--they could be ashamed, they could blame the others, they could take charge and boss everyone else.
In a challenge where we were to model a jacket and then have a struggle to take it off, my jacket came off easily, without complications. I then tried to back myself into a false trouble. In the discussion after the game, it dawned on me that I missed the opportunity to savor my success, gloat and perhaps even berate my slower companions-- a much more fun and satisfying play than pretending to be in trouble.
Caroline generously gave extra attention to students who were struggling to find the connection to themselves and the audience.
It was a very productive, playful workshop. I am sorry you missed it.
The first wonderful job she gave us was to be the buddy of another student. We were to record when they made the group laugh, moments she called "aces." These became tools we could use over and over, when they fit, that were guaranteed to connect us with the audience and elicit laughter.
We played lots of theater games in quick succession to familiarize us with what conditions make a good game. Caroline challenged us to play hard, and to begin to find what emotional states gave each of us pleasure. Some of us had a wonderful time being angry or defiant or sexy, and our enjoyment of playing hard in that state was so funny to the audience.
She gave us simple actions (with built in conflict) to accomplish as clowns which provided the possibility to succeed or fail. For example--six clowns in a line with alloons held between their shoulders must walk forward and back on the stage. If a balloon drops they must start again. Within this structure each clown could find their emotional reaction to the success or failure of the group--they could be ashamed, they could blame the others, they could take charge and boss everyone else.
In a challenge where we were to model a jacket and then have a struggle to take it off, my jacket came off easily, without complications. I then tried to back myself into a false trouble. In the discussion after the game, it dawned on me that I missed the opportunity to savor my success, gloat and perhaps even berate my slower companions-- a much more fun and satisfying play than pretending to be in trouble.
Caroline generously gave extra attention to students who were struggling to find the connection to themselves and the audience.
It was a very productive, playful workshop. I am sorry you missed it.
Introduction
Hello Festival go-ers and Clown enthusiasts,
Deborah Kaufmann here.
If you don't know me yet, I hope by the end of the month we will have had a chance to meet and chat about clowning--its scope, its challenges, the joy it can bring, its (still relevant) role in society.
You will know me by my short stature (TooShortToFallOver.com), my curly brown hair, and my unmatched eyes. Don't hesitate to introduce yourself.
From my first workshop with Bob Berky and Fred Garbo (way back in the '80s), clowning has fascinated me. The theater form demands that the actor be truly present, willing to be vulnerable, connected with the audience and play a range of levels truthfully. The form also embraces many varieties and styles.
I have performed my solo works in the US, Europe, Australia and South America. I started out with clown and have recently made work that uses puppetry.
The bulk of my performing experience has been as a member of Big Apple Circus Clown Care, the original hospital clowning program. I started with them in 1986, and have consistently played a minimum of two days a week since then.
At one point about 4 years ago, I could truthfully claim that I had more days on the hospital floors as a clown than anyone in the world! Since then, I have been working as the Associate Creative Director of BAC CC and spend a bit less time on the floors. I am the lead trainer, and am responsible for guiding the ongoing artistic development of 70 clowns in 14 hospitals along the eastern seaboard and in Chicago.
I have studied many aspects of clowning--Le Coq-based, classic circus material, physical comedy, Commedia, buffon, mime. I studied with Richard Pochinko in the '80s and have been inspired to create a curriculum based on his teaching that also includes lessons learned from an understanding of clown vocabulary and years of playing in the hospital.
It excites me to see new work that stretches the boundaries of the form. Great character, a performer who is connected and in the moment, good writing, clear structure, and lots of surprises, this is what I look for in a clown theater show.
Oh and of course--The FUNNY!!!
The NY Clown Theater Festival always serves up a generous helping of great shows. I look forward to seeing this years offerings and sharing my responses with you--either in person or on this blog.
Deborah Kaufmann here.
If you don't know me yet, I hope by the end of the month we will have had a chance to meet and chat about clowning--its scope, its challenges, the joy it can bring, its (still relevant) role in society.
You will know me by my short stature (TooShortToFallOver.com), my curly brown hair, and my unmatched eyes. Don't hesitate to introduce yourself.
From my first workshop with Bob Berky and Fred Garbo (way back in the '80s), clowning has fascinated me. The theater form demands that the actor be truly present, willing to be vulnerable, connected with the audience and play a range of levels truthfully. The form also embraces many varieties and styles.
I have performed my solo works in the US, Europe, Australia and South America. I started out with clown and have recently made work that uses puppetry.
The bulk of my performing experience has been as a member of Big Apple Circus Clown Care, the original hospital clowning program. I started with them in 1986, and have consistently played a minimum of two days a week since then.
At one point about 4 years ago, I could truthfully claim that I had more days on the hospital floors as a clown than anyone in the world! Since then, I have been working as the Associate Creative Director of BAC CC and spend a bit less time on the floors. I am the lead trainer, and am responsible for guiding the ongoing artistic development of 70 clowns in 14 hospitals along the eastern seaboard and in Chicago.
I have studied many aspects of clowning--Le Coq-based, classic circus material, physical comedy, Commedia, buffon, mime. I studied with Richard Pochinko in the '80s and have been inspired to create a curriculum based on his teaching that also includes lessons learned from an understanding of clown vocabulary and years of playing in the hospital.
It excites me to see new work that stretches the boundaries of the form. Great character, a performer who is connected and in the moment, good writing, clear structure, and lots of surprises, this is what I look for in a clown theater show.
Oh and of course--The FUNNY!!!
The NY Clown Theater Festival always serves up a generous helping of great shows. I look forward to seeing this years offerings and sharing my responses with you--either in person or on this blog.
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