Thursday, September 30, 2010

Review - Julius Caesar (The Queens Players)

By Byrne Harrison

I would much rather see a passionate production of a play with a few flaws, than a technically precise one with no soul. Richard Mazda's "gangland" version of Shakespeare's Julius Caesar is definitely a passionate production, and one that is not without its flaws. However, it is exciting and inventive, so the flaws leave less of an impression than they might.

Julius Caesar marks the third installment in the Queens Players' "gangland" Shakespeare series. Rather than evoking the marble glory of Rome, this Caesar has a burnt-out, urban feel. Kind of like the Hollywood versions of 1970s New York - "The Warriors" meets Shakespeare.

Mazda's Caesar is an environmental and interactive piece. From their entrance into the Secret Theatre's loading dock area, the audience members are surrounded by the cast - all in character. Guided by the Soothsayer (Kaitlyn McGuire Huczko), the audience moves from location to location - at times merely observing the action, at others invited to join in as part of the Roman citizenry. The most effective use of this conceit is in a scene set in Brutus' house where the conspiritors are meeting to plan the bloody deed. Set in a bare basement room of the warehouse complex, with the audience standing around Brutus' table, it was easy to imagine oneself as part of the conspiracy, something that doesn't often happen in a standard "fourth wall" production. It is pretty exciting.

Unfortunately, the movement from location to location also has its downside. Primarily the time it takes to move a theatre full of people and get them in place for the next scene. It pulls the audience out of the moment, and effectively stops any tension that the play is building. But this minor irritation aside, the use of the unusual spaces really works.

One of the other issues will not really matter to everyone. I'm a bit of a purist when it comes to Shakespeare's language; I want to hear his words and not much else. Given the interactive nature of this production, there is quite a bit of extra dialogue added to the play. The Soothsayer addresses the audience several times, the crowd ad libs lines in their scenes (especially at Caesar's arrival in the beginning of the play and during Brutus and Antony's funeral orations). This added dialogue, modern and prosaic, is jarring when placed against Shakespeare's poetry.

Julius Caesar features a large, talented cast. Among the standouts are Gil Ron as Caesar, Alex Cape as Brutus, Sarah Bonner as Portia, and Suzanne Lenz as Calpurnia. Anthony Martinez' Cassius has the requisite lean and hungry look, but there isn't a lot of nuance in his portrayal. His Cassius is all action and power, which is fine, but he doesn't demonstrate much of the silent danger that leads Caesar to comment, "He thinks too much, such men are dangerous." Oddly, this is the exact approach that David J. Fink takes in his portrayal of Mark Antony. He's quiet, vigilant, and seems to speak only grudgingly. Not the best choice for a man whose oration is going to turn a city against Brutus and Cassius. His famous speech is presented without any irony, and this makes it fall flat.

Those issues aside, there is a lot to like about this production. Mazda's direction is solid throughout and his vision is clear. There is also a nice use of multi-media during the final scenes that really brings the battle to life.

The costumes are terrific, particularly in the use of white robes for Caesar in his death scenes. This robe is so different than what the rest of the cast is wearing that is really emphasizes that this man is one who not only wants to be emperor, but sees himself as almost a god.

Overall, this is a production worth experiencing, and one that will be different from most of the other Shakespeare being presented right now. If you've never been to the Secret Theatre in Long Island City, be adventurous and visit. You'll enjoy this production, but more importantly, you'll see that not all of the inventive theatre in NYC takes place in Manhattan.

The Secret Theatre
44-02 23rd St.
Long Island City, Queens

Through October 2nd

Monday, September 27, 2010

Boring Little Update

"Who night and day must scramble for a living, feed a wife and children, say his daily prayers?"

Well technically, not me, since I don't have the wife and children and am not too keen on the daily prayers. But scrambling for a living? Oh, yeah. I know about that.

The day job that supports this site and my theatre habit has been rather busy lately. My tendency when this happens is retreat from the site and my reviewing responsibilities, since I'd rather not do a half-assed job on a review.

This time, however, I'm taking that risk, and writing what will likely be very short reviews so something at least gets published. They may not be as in-depth as I would like, but c'est la vie. I apologize in advance to any of the publicists or theatre folk who would prefer a more detailed review. I'm more than happy to discuss any of the plays with in detail (as I always am . . . frankly, I'm never happier than when I'm talking about theatre, especially over martinis) once work slows down a bit.

Sunday, September 26, 2010

Broadway Flea Market

By Byrne Harrison

Great time today at the 24th Annual Broadway Flea Market and Grand Auction benefitting Broadway Cares/Equity Fights AIDS. In addition to browsing all of the amazing theatre memorabilia - playbills, posters, window cards, cast albums (CDs and vinyl), props, costumes, etc. - I saw several celebrities (Susan Blackwell, Heidi Blickenstaff, Pete Scolari, Bryan Batt, Christine Pedi), talked to a few (Stephen Wallem from "Nurse Jackie" - holy crap, he's tall!, Mary Stout from "Remember WENN"), and saw some of the theatre bloggers - Kevin from Theatre Aficionado at Large, Linda from Pataphysical Science, Steve from Steve on Broadway, and a brief glimpse of Ken Davenport.

As is always the case, I bought more than I intended. This year's haul - a drum head signed by the cast of American Idiot, Rue McClanahan's autobiography ("My First Five Husbands . . . And the Ones Who Got Away"), the cast albums for The Toxic Avenger and Cabaret, a CD of Corin Redgrave reading Oscar Wilde's "De Profundis," an A Little Night Music window card signed by Elaine Stritch and Bernadette Peters, and a copy of Oedipus for Kids (which Gil Varod will need to sign for me the next time I see him).

This is always an amazing event, so if you're in NYC next year at this time, you should make a point to attend.

Tuesday, September 21, 2010

Want to Dance Like a Broadway Star?

By Byrne Harrsion

Calling all wannabe Broadway dancers! In celebration of Back2Broadway Month, the cast of Broadway hit Mamma Mia! will be teaching their moves to all the Broadway dance fans in the middle of Times Square tomorrow night at 5 PM. Meet at Father Duffy Square (Broadway and 46th) for Broadway Dance Studio. Where better to show off your moves than in the middle of Times Square for all to see? If that's not public enough for you, participants will be featured on the ClearChannel Screen at 47th Street and Broadway.

Participants are eligible for raffles for free tickets to the hottest Broadway shows.

WHAT: Broadway Dance Studio in Times Square – FREE for the public.

WHEN: Wednesday, September 22nd at 5pm

WHERE: Father Duffy Square (Broadway and 46th Street)

For the second year, Back2Broadway Month (www.ILoveNYTheater.com) will celebrate the entire Broadway community, highlight the new season, plus free events, great ticket offers, special dining deals, concerts, interactive activities and more! Upcoming events include Broadway Open House Theatre Tours, SIRIUS XM Radio “Live on Broadway” Lunchtime Concerts, Talent Panels, and Broadway Happy Hour.

About THE BROADWAY LEAGUE
The Broadway League, founded in 1930, is the national trade association for the Broadway industry. The League’s 600-plus members include theatre owners and operators, producers, presenters, and general managers in over 240 North American cities, as well as suppliers of goods and services to the theatre industry. Each year, League members bring Broadway to nearly 30 million people in New York and on tour across the U.S. and Canada. Visit Visit www.BroadwayLeague.com. Follow on Twitter @TheBwayLeague or on www.Facebook.com/BroadwayLeague.


To get more information and a full calendar of Back2Broadway events, visit ILoveNYTheater.com

Monday, September 20, 2010

Another Great Event Tonight

What if you could hear--

Victoria Clark of "The Light in the Piazza" sing a song called, "Go Light on the Pizza" or Capathia Jenkins of "Caroline, or Change" sing that "Chamomile is Strange"
or Ryan Duncan of "Shrek" and "Altar Boyz" sing about being "All for Boyz(enberry)"

Could it happen? Definitely. Will it happen? You'll have to join us to see what's really on the menu at Emerging Artists Theatre's first annual benefit, Broadway Sings for EAT's Supper.

Emerging Artists Theatre (EAT), the acclaimed Off-Broadway company dedicated to fostering new work and artist development, is pairing up award-winning Broadway voices with EAT playwrights - the stars suggest the songs, the playwrights make them playful (in a nod to their company name) with food-centric rewrites, and our supporters get an evening of delicious entertainment.

Join EAT for food, drinks, and theatrical diversions on Monday, September 20th at the Prince George Ballroom, 15 East 27th Street between Fifth and Madison Avenues. Tickets range from $100 to $300. All tickets are tax-deductible and benefit, not only Emerging Artists, but the nonprofits the Actors Fund of America, which addresses the needs of entertainment professionals, and Common Ground, which finds housing for the homeless.

Come see Broadway veterans Victoria Clark, Capathia Jenkins, Ryan Duncan, Chad Kimball, and many more (subject to change). Guests also get a sneak peek at EAT's Off-Broadway smash comedy Penny Penniworth, plus the chance to win fabulous goodies in our raffle and auctions.

Broadway Sings for EAT's Supper
Monday, September 20, 2010; 6-9pm
Prince George Ballroom at the Prince George Hotel
15 East 27th Street, New York, NY 10016

Food provided by Of Course Catering.

Sponsors include Honest Tea, Izze Beverage Company, Glaceau Smart Water and Fizzy Lizzy.

EMERGING ARTISTS THEATRE provides a dynamic home for playwrights and theatre artists to cultivate creative ideas from initial inspiration to fully realized productions. In the past 18 years, Emerging Artists has premiered over 300 new works and has garnered several honors, among them a Drama Desk Nomination, an American Theatre Wing Award for Consistent Commitment to Excellence in Theatre, and recognition as Best Off-Off-Broadway Theatre Company in NYC for Actors to Work With by Backstage Magazine.

NYIT Awards Tonight

2010 New York Innovative Theatre Awards Ceremony

HOSTED BY LISA KRON

Monday, September 20, 2010

begins at 7:00 pm

Cooper Union’s Great Hall, located at 51 Astor Place

Tickets are available at the door - $30

PRESENTERS INCLUDE:
Geraldine Hughes, Debra Monk, Jill DuBoff, Basil Twist, Christian Parker, Abby Marcus, Tim Errickson, Matt Opatrny, Jessica Burr and many other fabulous people.

Don't miss all the excitement, the entertainment and the chance to celebrate OOB's 2009-2010 season with your fellow artists.

Can't make it to the ceremony tonight? Check it out live.

Friday, September 17, 2010

$8 Tickets to "The Deep Throat Sex Scandal"

8coupons and The Deep Throat Sex Scandal offer tickets for $8 (reg. $79.50) NOW through October 17th.


Who: http://www.8coupons.com & www.deepthroattheplay.com

What: 8coupons OCHO LOCO! See The Deep Throat Sex Scandal for as little as $8!

When: $8 tickets available for performances on 9/17-10/3, 10/9 at 11PM, and 10/12-10/17. Performances: Tue - Fri @ 8pm | Sat @ 7:30 & 11pm | Sun @ 4 & 7:30pm.

Where: Bleecker Street Theatre (45 Bleecker Street just east of Lafayette Street)

Why: Because we’re “Scandalous!” Warning! There is nudity.

How: OCHO LOCO! Tickets now on sale. 2 Ways To Order:
1. Text yourself the special OCHO LOCO! coupon from 8coupons.com and show your phone to the box office to redeem. Use promo code: OCHODEEP.

2. Visit www.broadwayoffers.com or call 212-947-8844 and use promo code: OCHODEEP.

Link: http://www.8coupons.com/discounts/Bleecker-Street-Theatre-NYC#14581

The Conditions: $1.50 facility fee will be added to each ticket. Limit 8 tickets per order! Additional service fees may apply to phone/online orders. This offer is subject to availability and can be revoked at anytime.

About The Show: Who gets to decide what’s obscene in America? In 1976, it was 12 jurors in a Tennessee courtroom. Finally the true story will be revealed: In 1972, a hairdresser from Queens made a little movie that grossed over $600 Million (possibly the most profitable film of all time) and ignited the sexual revolution. The Deep Throat Sex Scandal takes you behind the scenes, into the secret world of adult filmmaking and introduces you to the legendary Linda Lovelace and Harry Reems. Follow the bizarre journey from the creation of the movie, through the raids, arrests and the banning of the film, to the political fallout of the ensuing courtroom drama, which launched the career of Allen Dershowitz. Com see the play about the movie that the government didn’t want you to see.

Monday, September 13, 2010

14th Annual Broadway Blessing

Tonight, the 14th Annual Broadway Blessing will be dedicated to Lynn Redgrave - 7:00PM at the Cathedral of St. John the Divine.

Restaurant Review - Goods

By Byrne Harrison

If you are heading to the Brick Theatre (for the Clown Theatre Festival, for instance), you may notice that where there was formerly a vacant lot at the corner of Lorimer and Metropolitan, there is now a bright, shiny 1940s vintage trailer. And in that trailer is Goods.

Goods serves classic American food with ingredients from local farms and vendors. The basic menu and information about the restaurant can be found here, but you can keep up-to-date on the daily specials through Twitter.

I went with a traditional Southern meal - a fried green tomato sandwich, curly fries, and beignets and coffee for dessert. It was like a visit back home, or at least a visit to New Orleans. The fried green tomatoes were light and delicate, and the sandwich was topped with a red cabbage slaw that had just enough mayonaise to make the sandwich a little messy (as a good sandwich should be). The beignets were small by Cafe Du Monde standards, but remarkably tasty. They were served piping hot, and were not oily or greasy. Just really delicious.

Despite the rainy day, I sat out on the restaurant's partially-covered outdoor space. The waiter was attentive and the food was out in a flash. With the beautiful plants and handsome wood patio, it was a lovely place to have a meal and pass some time between shows.

There are plenty of reasons to head to the Brick Theatre, but build in a little time on your next visit to try out Goods.

Sunday, September 12, 2010

Clown Fest Interview - Heidi Rider and Adriana Chavez of Clowns With Gowns

By Byrne Harrison
Photo by Carol Eckstein


Name: Heidi Rider and Adriana Chavez
Show: Clowns With Gowns
Relationship to show: Actor and Creator
Website: www.clownswithgowns.weebly.com and on Facebook

Tell me a little bit about Clowns With Gowns.

Well, see, there are these two female clowns, and they both are really pretty, well, maybe they just think they are really pretty and maybe they really aren't so pretty but they reallyreallyreally want to be the prettiest. And the best at everything. Our show is about rivalry - specifically playing with the "feminine" stereotype, the ridiculous lengths we go to for attention, for adoration. Our clowns, Carmen Francesca Maria Frida Ophelia de la Rosa and Gertrude, attempt to perform an extraordinary act together but they just can't seem to get out of their own ways. We have been inspired to explore that feminine cliche in our clown work - to really scratch our nails into how ridiculous it all can be.

What inspired you to create it?

We both started working with these clown characters while we were studying at Dell'Arte International and found that they stuck to us. There are aspects of clown that are so nakedly human, with attributes that are fascinatingly close to who we truly are as individuals. I love the way that a clown can access things that are embarrassing, uncomfortable and ridiculous and reveal the delightful and wondrous sides of it. And, for me, there is something delicious about a feminine stereotype that I want to investigate- to open it up and see what's inside of it... My character in this particular show is revealing herself to be more ridiculous and awkward than "feminine", but that rivalry and wanting attention to be paid- it runs deep inside of her. I guess what it all really boils down to is laughter. I love to laugh and I want to inspire laughter in others. It unites us as humans and it can be done without words and build bridges across cultural differences, so we can reach each other. Is that idealistic? Probably. But I still believe it.

Adriana wanted to deeply delve into dramatic extremes- exploring how delightful it can be to see a clown drive herself from one extreme emotion to the next and discovering that particular satisfaction in seeing the diva fall flat on her face. She is drawing from her own personal Latina attributes, and those of the women she grew up with- to find that side of her that is outlandish and bigger than herself. Actually, she has an Aunt Lily that is the real-life inspiration for this character. Lily's obsessions with beauty pageants, performing with fervent conviction around the house for anyone that would pay attention, her preoccupation with her physical appearance and her sincerity in it all - it made her funny, ridiculous and delightful to be around. Deep inside, Adriana's character believes that she is an opera singer. And Adriana would just die to sing opera.

What is your clowning background?

We both studied at Dell'Arte International where we had a focus on clown with Ronlin Forman. We also both grew up watching the classic clowns- Lucy, the Marx Brothers, Dick Van Dyke. My parents loved Lucy, Red Skelton and the Three Stooges. Some of my favorite memories involve us watching these performers and laughing together. My first glimpse of the love I have for clown began when I played Harpo Marx in a college production when I was nineteen years old... I was in awe of his ability to communicate so much and to provoke so much laughter... and without verbally saying a single thing, he said everything.

What would you tell someone who is afraid of clowns to get them to come to your show?

Clowns are the vulnerable beings that are able to express themselves and see the world in the open and honest way that we as adults have forgotten how to do. They are made up of both the beautifully raw naivete and the absolute knowing and understanding. We can laugh at the clowns and with the clowns because we see ourselves in everything that they do.

What is next for you after the New York Clown Theatre Festival?

We have both very recently moved back to New York City and are still trying to put our feet back on the ground! Right now we are developing a contemporary commedia dell'arte piece, working on a maskmaking/ mask performance workshop and taking in the beauty of finally returning home to this messy, glorious city.

CLOWNS WITH GOWNS
Clowns with Gowns Productions: Adriana Chavez and Heidi Rider
Blue Lake, CA

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

DOUBLE BILL WITH FERDINAND THE MAGNIFICENT!
Saturday, September 4th @ 5pm
Saturday, September 11th @ 10pm
Sunday, September 12th @ 5pm

DOUBLE BILL WITH DIZ AND IZZY ASTER
Tuesday, September 7th @ 7pm

DOUBLE BILL WITH SEND IN THE ANGELS
Wednesday, September 15th @ 7pm

Clown Fest Interview - Clare Parry-Jones and Denni Dennis of Send in the Angels

By Byrne Harrison

Name: CddC Productions (Clare Parry-Jones and Denni Dennis)
Show: Send in the Angels
Relationship to show: Creators and performers
Website: www.cddcproductions.com

Tell me a little bit about Send in the Angels.

When two angels are sent to Earth to bring love, comfort and joy, you might imagine that harmony would radiate throughout the world. But this is their first time away from home, with so much to explore and mysteries to unravel. Will you get caught up in the situations that arise, or drawn into the irresistible temptations that appear?

What inspired you to create it?

The creation of this performance emerged from our personal experiences of life and losses, and their subsequent transformation. Our work with Sue Morrison in Canada greatly inspired us.

What is your clowning background?

CddC Productions is the collaboration of Denni Dennis and Clare Parry-Jones. We first met at a Clown Convention in the UK, where neither of us had intended to be. We continue to find ourselves in unexpected places, exploring the life and art of Clown, from Canada to Russia, Europe, even Newport (Wales) to New York. We combine our experiences of working and living in clown, our training in the European style of Jacques Lecoq and Philippe Gaulier, the Russian character clown and the Pochinko method (as taught by Sue Morrison in Canada).

What would you tell someone who is afraid of clowns to get them to come to your show?

Take your fear in one hand and a soft, downy pillow in the other. Seat them beside you and enjoy the warmth that radiates from these two angels. Allow yourself to be comforted and transformed, so that you can leave with the fear clinging to your little finger and a big smile on your face.

What is next for you after the New York Clown Theatre Festival?

CddC Productions are performing in Denmark, leading clown workshops in Stockholm and rehearsing our newest show Babochka, conceived during our visit to St. Petersburg, Russia earlier this year. Babochka will be performed at the Chapiteau de ‘lEspace Fontveille in Monaco (France) in December.

SEND IN THE ANGELS
CddC Productions
Wales, UK

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

DOUBLE BILL WITH FERDINAND THE MAGNIFICENT!
Monday, September 13th @ 7pm

DOUBLE BILL WITH CLOWNS WITH GOWNS
Wednesday, September 15th @ 7pm

AND PRE-SHOW TO ALL FAMILY SHOWS

Thursday, September 9, 2010

Clown Fest Interview - Nick Trotter of Ferdinand the Magnificent!

By Byrne Harrison
Photo by Zuzka Sabata


Name: Nick Trotter
Show: Ferdinand the Magnificent!
Relationship to show: Actor/creator
Website: Facebook

Tell me a little bit about Ferdinand the Magnificent!

What is there to say about a guy wandering through the universe in a diaper and a bright pink Spandex body suit? Ferdinand is a very strange fellow, primarily engaged in exploring the world though engaging his senses, and dealing with the odd responses that his body has. And these responses are very, very odd. His encounter with the audience is one of song, wonder and occasionally, excretion. He excretes wonderful songs. Let's leave it at that.

What inspired you to create it?

My paycheck. Actually I'm self-employed, so the balance is zero. Not very inspiring.

What would inspire a guy to put on a diaper and a bright pink body suit? Do you really want the answer to that question?! Seriously, a person's clown is really an exaggerated and comic version of their own self. It's difficult for me to describe how Ferdinand appears to others, because I only experience him from the inside. The show consists only of the character exploring his world, a passage through space and time. Each performance varies with the character(s) of the audience that shows up. The challenge is for me to respond as honestly and comically as I can.

I created the character while studying at the Dell'Arte International School of Physical Theatre in Blue Lake, California. At our school, the study of Clown is a very personal and challenging one--where we receive the command to "be funny!" The trick is that the emphasis has to be on being, not on doing, and it becomes a journey of self-discovery--which is difficult, confusing, and sometimes humiliating. The school also emphasizes ensemble work, and Ferdinand slowly developed as a result of work with other students and dialog with the instructors--finding what made us all laugh in the here-and-now.

Ferdinand has also developed on his own, outside the school, as a solo clown in the show Myths of the Plastic Age which I created and produced with my partner Jerry Lee Wallace in our comedy duo THIRD BASE!

What is your clowning background?

Background: I used to use fall foliage and a blue sky, until grad school when I learned that the cool colors of spring contrast better with pink Spandex.

I started doing clown work with David Leicht, another actor and musician, when we both lived in New York about ten years ago, as a comedy and music duo called Bonejesters. We then developed work on our own and in collaboration with other theatre artists, including Harold Lehman, Lake Simons and Eric Davis. As it became clear that the world of clown, mask and puppetry was really inspiring to me, I moved out to Blue Lake to study at Dell'Arte, and I received my MFA there in 2008. since then I've worked sporadically as a comedy teacher, clown and puppeteer. I tend to specialize in shadow puppets. They bring out my dark side.

What would you tell someone who is afraid of clowns to get them to
come to your show?


I tell them exactly what my mother told me about spiders (which terrify me): Ferdinand is just as afraid of you as you are of him! So we're all in this together. Might as well laugh...

What is next for you after the New York Clown Theatre Festival?

In October, I'm moving back to my hometown of Denver, Colorado, to be closer to my mother (and because Blue Lake has too many spiders). For 2011, THIRD BASE! is planning a winter production of Myths of the Plastic Age and a summer tour, probably at fringe festivals, and I'll be developing a shadow-puppetry adaptation of the Book of Jonah. And Bonejesters may head into the studio to do some recording...

FERDINAND THE MAGNIFICENT!
Third Base!
Blue Lake, CA

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

DOUBLE BILL WITH CLOWNS WITH GOWNS
Saturday, September 4th @ 5pm
Saturday, September 11th @ 10pm
Sunday, September 12th @ 5pm

DOUBLE BILL WITH DIZ AND IZZY ASTER
Thursday, September 9th @ 7pm

DOUBLE BILL WITH SEND IN THE ANGELS
Monday, September 13th @ 7pm

Clown Fest Interview - Deborah Kaufmann of Shorty and Fatty's Half Century Extravaganza

By Byrne Harrison

Name: Deborah Kaufmann
Show: Shorty and Fatty's Half Century Extravaganza
Relationship to show: Curator and co-host
Website: www.tooshorttofallover.com

Tell me a little bit about your cabaret.

This Cabaret evening presents all clowns who are all over fifty. It will be a variety night including mime, juggling, music, and dance hilariously presented in an evening full of fun!

What inspired you to put it together?

A friend made an off the cuff remark, when we were discussing the upcoming festival, "We should do an evening of clowns over fifty!" I took it as a joke at first. But the more I thought about it, the more it made sense - often, most of the performers in the festival are young, at the beginning of their careers. It would be great for them to see that one can have a lifelong investigation in this art form. I wanted to showcase vital, talented people who are still performing, without taking themselves too seriously.

What is your clowning background?

Since 1978, I have studied with master teachers of all aspects of clowning: Tony Montanaro, Bob Berky, Avner Eisenberg, John Towsen, Richard Pochinko, Yury Belov, Dominique Jando. In 1986 I began working with Big Apple Circus as part of their Clown Care Unit--bringing the joy of circus and individualized theatrical moments to hospitalized children. This broadened my experience and was my laboratory for developing character, timing, dynamics and most of all authentic audience connection. For the past 15 years I have been the National Creative and Educational Coordinator for Big Apple Circus Clown Care. I audition, train and oversee the ongoing artistic development of over 80 clowns in programs nationwide. I performed my solo show, Veni Vidi Vici, in the Kansas City and Long Island Fringe Festivals in 2009. I performed in and was a part of the production team of the First (and Second) New York International Clown Theatre Festival (1982 and 1985). I performed in the 2006 Festival, blogged for the Festival in 2007. This year I am directing short acts in all three Thursday late night Cabarets: Barbara Michaels as Cliff in Rake and Roll, Tanya Solomon in Cloris Flap, and Jonathan Kaplan in Le Fleur. As well as hosting and curating the Half Century Extravaganza.

What would you tell someone who is afraid of clowns to get them to come to your show?

The image that most people picture when a clown is mentioned is a character that was created to perform in a huge arena. A good clown adjusts her energy and her look (make up, costume) to fit the size of the space in which she is performing. Many of the clowns in our Cabaret do not wear the traditional red nose. However they still embody the spirit of clown: one who struggles with all the faults and obstacles of human beings. Clowns get embroiled in their problems and find creative ways to solve them. They allow us to laugh at ourselves.

What is next for you after the New York Clown Theatre Festival?

I am developing a new show, BURIED ALIVE!--Matchbox Theatre, a comic investigation of the history of our worst fear. I have researched the mania of this fear during the 18th and 19th century, and the curious phenomenon of European "waiting mortuaries." I am hoping to make the connection between that history and our continuing dilemma--identifiying when someone is really dead. It is all made of and played in matchboxes. Intimate, interactive, tiny and very macabre.

SHORTY AND FATTY’S HALF CENTURY EXTRAVAGANZA
Two Old Birds Present a Bunch of Old Farts
Hosts: Deborah Kaufmann, Karen McCarty

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

Sunday, September 19th @ 5pm

Clown Fest Interview - Zea Barker of How to Give Up on Your Dreams: By Not Really Trying

By Byrne Harrison
Photo by Zea Barker


Name: Zea Barker
Show: How to Give Up on Your Dreams: By Not Really Trying
Relationship to show: Creator/Performer
Website: http://zeabarker.com

Tell me a little bit about your show.

How to Give Up on Your Dreams... is a solo show, a sort of a non-motivational presentation. The description goes like this:

"So much struggle. So much heartache. Don't you think it's time to let those dreams go? Take it from a recent convert. Bony Lil takes you by the hand and leads you to a place where you don't need to try and strive ...and cry. Give up on your dreams. You'll be awfully glad you did."

It's a dialogue about goals, failure, settling, ambition, surrender.

What inspired you to create it?

This show is a theme and variation of my life and current struggles. Deciding to pursue clown and move a thousand miles away from home a few months before the economy collapsed was... interesting. Certainly tests the human capacity for adaptation.

When you find yourself hot off a rough two-and-a-half week van tour selling other people's t-shirts, 24 hours later flying a thousand miles to do wardrobe for someone else's show, the exhausted notion might placidly occur to you that now would be a good time to give up on your dreams. We always want to believe in the inspirational power of ambition, but we don't give much thought to how that same drive can rip you to shreds in the process.

Wow, now I feel I've gotten too heavy.

The show WILL be funny. It's also about liberation and widening your embrace. "Don't Get Back in the Saddle. Take the Saddle Off"

What is your clowning background?

I have been a stage performer since childhood. I started focusing on physical comedy, influenced by my love of Buster Keaton, about eight years ago. I performed cabaret and vaudeville pieces in underground art shows in Boston. I did everything from circus-themed nightclub nights, to street festivals, corporate events and created a short film duet on the struggles of the creative process called "Bony Lil's Creation + Distraction." It took me a while to realize that what I was doing was called "clown". I, like most folks in the US, had a very specific idea of clown as being some awful thing people did at birthday parties for money. Then, I started poking around the internet and discovered a few videos that featured the work and students of Pochinko clown teacher, Sue Morrison. About three years ago, staring down a full-time supervisor job doing laundry for other performers, I decided if I was ever going to pursue this physical comedy thing, then was the time. So, I packed up my life and gave up my apartment so I could afford the time and expense of studying and headed to Toronto. After a year of workshops and bopping around the US for work, I settled in Chicago, I did a few cabaret nights, dabbled in street performance, landed an invitation to audition for Cirque du Soliel and met up with a couple other Pochinko clowns in town and created a trio piece called Wanted: The Effect of the Economic Crisis on the Local Clown Population. This year's NY Clown Theater Festival will be the premiere of my first full length solo show.

What would you tell someone who is afraid of clowns to get them to come to your show?

I hereby promise: no huge orange wigs, no big shoes, no exaggerated white face make-up, no balloon animals, no squirting flowers. It is a very common misconception that they are afraid of clowns. They are, in fact, afraid of bad clowns. The big shoes and intense make-up originate from clown in huge American circus tents, far, far away from the audience. Like the crazy shoes and masks with cones in them the Greeks used to fill the amphitheaters. The Brick Theater is very small. You'll see less of that sort of thing at this festival. This is people doing comedy, where they don't necessarily talk all the time or at all.

What is next for you after the New York Clown Theatre Festival?

I am rushing back to Chicago to finish packing my stuff and cart it back here to New York!

HOW TO GIVE UP ON YOUR DREAMS: BY NOT REALLY TRYING
Bony Lil aka Zea Barker
Chicago, IL

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

Friday, September 17th @ 9pm
Monday, September 20th @ 9pm
Saturday, September 25th @ 6pm

Clown Fest Interview - Heather Marie Annis of Morro and Jasp do Puberty

By Byrne Harrison
Photo by Alex Nirta


Name: Heather Marie Annis
Show: Morro and Jasp do Puberty
Relationship to show: Co-Creator, Performer (Morro)
Website: www.morroandjasp.com

Tell me a little bit about your show.

Morro and Jasp do Puberty is about two clown sisters going through... you guessed it... puberty. Morro just got her period and can’t figure out what to do with menstruation, and why anyone should ever have to experience such a horrible thing. Jasp, on the other hand, can’t wait for her period and waits by the phone for the love of her life to invite her to the dance. A tale of laughter, longing, tears and tampons.

What inspired you to create it?

This show is actually an extended version of our own experiences, going through that cherished time of life. As clowns, we feel like we can explore and celebrate anything, so why not this amazing/awkward event.

What is your clowning background?

The three members of our company met in theatre school together and decided we wanted to do some clown work. We hired Peter Jarvis (also known as Silver Elvis in the international clown and busker circles) to train us in the art of Pochinko clowning. Over a three year period, we did a series of workshops in clown through mask, kinetics, intuition and play, and then began to experiment in creating our own work. We still train with Pete as well as other teachers (including Francine Cote who we will be working with this fall.)

What would you tell someone who is afraid of clowns to get them to come to your show?

We have actually rescued a number of people from their fear of clowns. Our clowns do not wear a lot of make-up, they have a full emotional range (so there is no creepy, always happy component) and they could potentially be as afraid of you as you are of them... kinda like spiders.

What is next for you after the New York Clown Theatre Festival?

Next up Morro and Jasp will be scaling a mountain at the LabCab Festival (Factory Theatre, Toronto) and are then off to Montreal at the end of October to perform their show Morro and Jasp Gone Wild at Theatre Ste Catherine.

MORRO AND JASP DO PUBERTY
UNIT Productions
Toronto, Canada

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

Saturday, September 4th @ 7pm
Sunday, September 5th @ 7pm
Thursday, September 9th @ 8:30pm
Friday, September 10th @ 9pm
Sunday, September 12th @ 9pm

Clown Fest Interview - Gabriela Muñoz of Perhaps, Perhaps, Quizás...

By Byrne Harrison
Photo by Leonardo Manzo


Name: Gabriela Muñoz (CLOWN ME IN)
Show: Perhaps, perhaps, quizás...
Relationship to show: Playwright, Director and Performer.
Website: www.clownmein.com

Tell me a little bit about your show.

Perhaps... is a clown show playing with the idea of loneliness and waiting for the “perfect man”, the soul mate and the day that for most women is the most important day in their lives, their wedding day.

Our protagonist rehearses that day and wants it to be so perfect that by the end, she doesn´t really know what exactly she is longing for anymore and needing with desperation from the other. Is a real person going to satisfy her needs or would she rather stay with the “perfect gentleman” living in her head...

What inspired you to create it?

What inspired me to create this piece was the actual situation of human beings not being able to find true connections with one another anymore and therefore acting desperately as a result. In an era were woman become more and more independent, I wonder if we are not only being lonely but too picky, yet we do still believe in romance... forced by others to follow the “rules” or “paths” to happiness can sometimes show us the true side we have.

What is your clowning background?

I studied physical theatre and circus in London, wanting to specialize in aerial work. I discovered the universe of clowns and I stayed! I have since been clowning around in different countries with my company, CLOWN ME IN, and my colleague Sabine Choucair from Lebanon. We have worked and toured some countries in the Arabic world such as Lebanon, Syria and Jordan working with children in Palestinian camps as well as performing with circus companies in Mexico City and Amazonian communities in Brazil.

What would you tell someone who is afraid of clowns to get them to come to your show?

I would tell them, don´t be!!! There are many ways of doing clowning, and this piece plays more with an inner state of such alert and humanity than with huge and contradictory masks, which in my opinion is when clowns becomes scary.

What is next for you after the New York Clown Theatre Festival?

I will go back to Mexico City and continue my project with Casa de la Sal, children living with HIV AIDS. We have been working on a book written by them in order to start a storytelling group and tell their stories and experiences to other children living difficult situations. I will be touring Mexico and then back to the Middle East where a 5-month tour awaits us. We will be In Oslo, Norway working with Company LINGE and in Bangladesh and India in the months to come.

PERHAPS, PERHAPS, QUIZÁS …
Clown Me In
Mexico City, Mexico

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

DOUBLE BILL WITH MS. PRETTY SMART, SECRET AGENT
Sunday, September 5th @ 5pm
Monday, September 6th @ 8pm
Tuesday, September 7th @ 9pm
Saturday, September 11th @ 8pm
Sunday, September 12th @ 7pm

Clown Fest Interview - Butt Kapinski of The Kapinski Private Eye Academy

By Byrne Harrison

Name: Butt Kapinski
Show: The Kapinski Private Eye Academy
Relationship to show: Creator, Co-writer
Website: www.buttkapinski.com

Tell me a little bit about The Kapinski Private Eye Academy.

It is not theater. It is serious training in the private eye arts.

It’s the dirty city, and you’re in the middle of it.

On the back side of the BQE, through the streets of Williamsburg, hard-lisping clown Butt Kapinski will teach you to be inconspicuous, run from danger, investigate mysteries and get in the mood film-noir style.

A sizzling hot band guides you through this ridiculous interactive experience.

What inspired you to create it?

I like shows that aim to give people real experience, in a real location and not just a theater. I like work that encourages audiences to be active as they're being entertained.

What is your clowning background?

I've been a clown officially for 5 years now. I clown both in the circus and at seedy downtown cabarets.

What would you tell someone who is afraid of clowns to get them to
come to your show?


I would tell them to lock their doors at night, and to guard their babies because clowns eat babies.

What is next for you after the New York Clown Theatre Festival?

Counting my money and eating more babies.


THE KAPINSKI PRIVATE EYE ACADEMY
F.O. Fire
New York, NY

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

Friday, September 17th @ 8:30pm
Monday, September 20th @ 8:45pm
Tuesday, September 21st @ 8:45pm
Wednesday, September 22 @ 8:30pm
Friday, September 24 @ 10:30pm

Wednesday, September 8, 2010

Clown Fest Interview - Olivia Lehrman of Ms. Pretty Smart, Secret Agent

By Byrne Harrison

Name: Olivia Lehrman
Show: Ms. Pretty Smart, Secret Agent
Relationship to show: Creator/Performer
Website: http://www.landinthe.net

Tell me a little bit about your show and what inspired you to create it.

I play a waitress who longs for any life other than her current one. So she takes a job in Chinese restaurant because her heroine, Secret Agent Gal, doubles as a waitress. In the restaurant, the waitress creates a mission for herself and the audience, finding other agents in the theatre, doling out fortune cookies and realizing that sometimes adventure can be found in your own clogged toilets.

This is my first foray into a full-length clown theatre piece. Normally accustomed to leaping off trapeze platforms 40 ft in the air for Ringling Bros, and sliding down circus fabrics at 30 miles an hour for local Cirque Boom, clowning is a much bigger challenge than all the acrobatic work I've done.

This show in particular, honestly, was inspired by a coat I bought at a drag queen's boutique! And I really like sneaking around.

What would you tell someone who is afraid of clowns to get them to come to your show?

HA! Well, it IS the clown THEATRE festival, and in many ways, the theatre aspect outweighs the clown flavor. Think of Shakespeare's clowns; in this kind of theatre setting, we are striving to get closer to the regular joes with whom we can all relate, who might help reveal something about ourselves. And I won't wear a wig or big shoes. There may, however, be polka dots involved.

What is next for you after the New York Clown Theatre Festival?

I was just accepted into Lower Manhattan Cultural Council's Uptown/Downtown performance program to develop pieces of the Secret Agent show. I also teach flying trapeze to adults and acrobatics and physical comedy in afterschool programs. Hopefully this winter I will re-join Cirque Boom co-creators to develop a new show, "We'd Rather Be Shucking!"

MS. PRETTY SMART, SECRET AGENT
Olivia Lehrman
New York, NY

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

DOUBLE BILL WITH PERHAPS, PERHAPS, QUIZÁS …
Sunday, September 5th @ 5pm
Monday, September 6th @ 8pm
Tuesday, September 7th @ 9pm
Saturday, September 11th @ 8pm
Sunday, September 12th @ 7pm

Clown Fest Interview - James and JF of Channel One

By Byrne Harrison
Photo by Matthew Gribbon
Design by James & JF


Name: James and JF (Emily James and Ishah Janssen-Faith)
Show: Channel One
Relationship to show: Creators / Performers
Website: www.jamesandjf.blogspot.com

Tell me a little bit about your show.

It's the future. There are only two people left and they're bored with themselves. They happen upon a group of people from the past. Then they discover that these people like TV, so they do TV for them.

What inspired you to create it?

We created a bunch of characters based on ourselves and people around us, and when we looked at them all together, we noticed they were a little off-center. Until we took a closer look and realized they were simply ahead of their time. So we set the show in the future.

What is your clowning background?

We have both studied with Mick Barnfather (Ishah has studied with him more though), Philippe Gaulier (Ishah has studied with him more, too - she went to Ecole Philippe Gaulier for two years), Kendall Cornell (same amount), and Emily took a workshop with Avner the Eccentric in college and her Aunt Peggy was his high school chemistry teacher. Also, Emily's birthday is April Fools Day.

What would you tell someone who is afraid of clowns to get them to come to your show?

Taking risks opens the door for great things to happen. Like falling in love, for instance.

What is next for you after the New York Clown Theatre Festival?

Saturday Night Live.

CHANNEL ONE
James and JF
New York, NY

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

Sunday, September 19th @ 8pm
Wednesday, September 22nd @ 9pm
Thursday, September 23rd @ 7pm

Clown Fest Interview - Sabrina Mandell of Diz and Izzy Aster: Vaudeville's Late Bloomers

By Byrne Harrison
Photo by Paul Gillis


Name: Sabrina Mandell
Show: Diz and Izzy Aster : Vaudeville's Late Bloomers
Relationship to show: co-Performer/co-Creator
Website: www.happenstancetheater.com

Tell me a little bit about your show.

Diz and Izzy Aster are a married couple, classic Vaudeville song-and-dance duo, who bring their baggage to the stage in harmonies from Between-the-Wars and cheery songs of the Great Depression. Slapstick comedy, ukulele and musical saw in a sweet little music hall show.

What inspired you to create it?

We were working with a great clown director, Ami Hattab, on one of our other shows and began to discover the humor in our husband and wife relationship dynamic. We were then invited to perform for a cabaret night and thought to develop these dynamics into characters. Diz and Izzy were born. We explore a variety of material through the classic Auguste and White Clown lenses. We are also both (Mark Jaster and myself) in love with the late 19th and early 20th Century so have chosen Vaudeville as our vehicle.

What is your clowning background?

We are both clowns with the Big Apple Circus Clown Care Program. Mark has been performing 3 solo, mute, clown shows for over 30 years and I have been using clown as a performance and devising tool in the development and production of our company's work.

What would you tell someone who is afraid of clowns to get them to come to your show?

We don't look like "clowns". There are no red noses in our show. No white face make-up. No wigs. And we won't embarrass or harass you.

What is next for you after the New York Clown Theatre Festival?

We are in the throes of a 9-week run of 2 shows at the Maryland Renaissance Festival in Crownsville, MD (which is, sadly, why we can only do 2 performances at the NY Clown Theatre Fest), and then we open an Edward Gorey-esque, Halloween show called Cabaret Macabre at the end of October at the Round House Theatre in Silver Spring, MD. Visit us at www.happenstancetheater.com for what lies beyond.

DIZ AND IZZY ASTER – VAUDEVILLE’S LATE BLOOMERS
Happenstance Theater
Rockville, MD

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

DOUBLE BILL WITH CLOWNS WITH GOWNS
Tuesday, September 7th @ 7pm

DOUBLE BILL WITH FERDINAND THE MAGNIFICENT!
Thursday, September 9th @ 7pm

Clown Fest Interview - Julie Goell of Carmen the Mopera

By Byrne Harrison
Photos by Steve DiBartolomeo


Name: Julie Goell
Show: Carmen the Mopera
Relationship to show: Performer
Website: www.JulieGoell.com


What inspired you to create Carmen the Mopera?

My writing collaborator on the project, Mark Ross, proposed the basic concept of a person with a hum-drum job who reveals a fantastic inner life in the privacy of four walls. I had been looking to do a clownesque treatment of a well-known opera heroine, singing being my only skill. I am hopeless at juggling, balancing, magic and that sort of thing. Our two visions merged over time into one mopera, with Bizet's Carmen as its center piece.

What is your clowning background?

I started as a mime in Boston (Pocket Mime Theater), but soon gravitated toward clowning. Once I opened my mouth, I never shut it again. This transformation of mediums occurred while doing my street act in Piazza Navona in Rome, where mime didn't really fill the space enough. I was making a bit of a name as "Il Clown di Piazza Navona" and the daily exposure gave me lots of visibility, enabled me to pay off my college loans in 100 lire pieces, and led to nine working years in Europe, clowning with La Compagnia i Gesti and with the Schaubude Circus, as well as teaching at Teatro Studio, Rome's equivalent of the Celebration Barn. It also led to TV and film work. Between touring I moonlighted as a singer in a Big Band and other jazz ensembles.

What would you tell someone who is afraid of clowns to get them to come to your show?

If you hate clowns or opera you might enjoy Mopera.

What is next for you after the New York Clown Theatre Festival?

I'm in the final stages of developing and directing a large puppet play in Boston, based on a native creation myth of the Tagish People of the Canadian Northwest. It's called Star Sisters.

CARMEN THE MOPERA
The Eccentric Company
Peaks Island, ME

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

Monday, September 20th @ 7pm
Thursday, September 23rd @ 8:30pm
Saturday, September 25th @ 8pm

Clown Fest Interview - Matt Mitler of Cirkus Luna!

By Byrne Harrison
Photos by Jen Petrashock


Name: Matt Mitler
Show: Cirkus Luna!
Relationship to show: Director/Performer/Creator
Website: http://dziecitheatre.org

Tell me a little bit about your show.

Cirkus Luna is the best East Molvanian circus in the world. It's also the only East Molvanian circus in the world. There is nothing this family troupe does that comes even remotely close to demonstrating skill. So, the audience becomes tantamount in creating some semblance of a performance. Dzieci uses team building and trust techniques under the guise of inspired idiocy to create community between themselves and their audience. For Cirkus Luna, this audience is most often children with severe disabilities, but has also on occasion included late night revelers in NYC nightclubs.

What inspired you to create it?

The original inspiration was a completely inept one ring Bulgarian family circus that I saw when I was living in Poland in 1977. At one point, they brought out a small wooden circular stage and the daughter of the family got up on it and did a really bad tap dance. The finale was a farm animal act; all the goats got loose, and it took them 20 minutes to round them back up. The performers were very good at posing and shouting, "Hey!" We've made that a big part of Cirkus Luna!

What is your clowning background?

Clown, and comedy in general, is like music to me. There are rhythms and beats. But the challenge here, is to instill in my actors a sense of this timing. For Cirkus Luna, the comedy is one of humiliation, so we work be acutely vulnerable. A valuable effort no matter what kind of theatre we're after.

What would you tell someone who is afraid of clowns to get them to come to your show?

Don't worry, the clowns are more afraid of you.

What is next for you after the New York Clown Theatre Festival?

The very next week, we make our first tour to Toronto, where we're presenting our signature piece, Fools Mass, and our gypsy, chamber version of Macbeth, Makbet. Neither of which are clown pieces. It's good to explore range.

Cirkus Luna!
Theatre Group Dzieci
New York, NY

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

Friday, September 10th @ 7pm
Tuesday, September 14th @ 7pm
Wednesday, September 15th @ 9pm

Friday, September 3, 2010

My Dad

As some of you know, my father passed away unexpectedly around this time last year. I hope you will indulge me a little if I dedicate this post to him.

My dad was a drama major. I wish he had pursued acting for a living, instead of becoming a lawyer, but he had a family to support. I often wonder what life would have been like, if he had... but it is what it is.

This is my father playing Lachlen MacLachlen in The Hasty Heart (he's the one in the striped pyjamas). I recently saw the movie, and it was easy to picture my dad in the role (I'm sure my dad would have been much better, of course). Dad's story from this was that he had to wear a kilt, and had no idea how to put it on or wear it. After one of the performances, if I remember correctly, a Scottish woman came up and explained that he was wearing it backwards.

I seem to think there is another photo of him with the kilt and bagpipes, but I'm not sure, and I don't know what happened to Grandma's photos after she passed away.



This is my dad and some of his theatre friends. I can't tell you how many photos I have that are almost exactly like this from my own college days - my friends and me sitting in the green room in Neely between classes. I wish I could have known this version of my dad. I did see glimpses of this guy when Dad would come up to college to see me in a play and would go out with me and my friends afterwards. There was this look of happiness plastered all over his face when he was listening to us as we rehashed the performance and generally worked off the excess energy from the show.



My grandmother said that my dad's Hamlet was the best one she ever saw. I imagine she was somewhat biased. Whenever I would talk about theatre, she would tell the story of his "To be, or not to be," and how he would sit on the edge of the stage and quietly do the speech. She said he seemed so real, like he really understood what Hamlet was going through.

What I wouldn't give to have seen that.









Thank you, Dad, for encouraging my love of theatre. I miss talking with you about all the shows I've seen, especially the racy, avant garde stuff, since I know you got a kick out of that. Most of all, Dad, I really, really miss you.

Wednesday, September 1, 2010

Review - Closet Cases (William Mullin)

By Byrne Harrison

Producer William Mullin has brought Shawn Hollenbach's Closet Cases to Provincetown for a limited run at The Vixen's Madeira Room in August and over Labor Day weekend. Closet Cases features a top-notch line up of gay and lesbian performers telling their own coming out stories.

Admittedly, this is a hard show to review since it has a rotating cast; no show will be exactly like the previous ones. The performance I saw featured Michael Brill, Chantal Carrere, John Flynn, and Kate McKinnon. The stories, as expected, were very funny, but did have some touching moments. And some creepy ones. And one that made me kind of want to throw up.

Hosted by Mullin, the show is fast paced and hilarious. One of the most interesting aspects of the show, especially for you wanna-be reality stars, is that Mullin brings up an audience member (don't worry if you're one of those shy types, you have to volunteer; he doesn't just snatch you from your seat) to tell their own coming out story. Don't have one? Then you can talk about a friend's or loved one's. Mullin does this in an Oprah-like interview, which is a very good format for keeping the guest on track. Mullin makes a genial and effective host.

The cast over Labor Day weekend(assuming the hurricane doesn't screw things up) will be:

Friday, September 3rd
Frank DeCaro
Robin Cloud
lizz furtado
Mike Albo

Saturday, Sept 4th
Frank DeCaro
Robin Cloud
lizz furtado
Steven Polito (Hedda Lettuce)

Sunday, Sept 5th
Frank DeCaro
Steven Polito (Hedda Lettuce)
Mimi Gonzalez
Neil Thornton

Want to find out more about the guest stars? Visit the Closet Cases site.

Closet Cases runs about an hour, so it's the perfect length for someone seeking a laughter-filled diversion before a night out. There was a large crowd the night I saw the show, so I would buy tickets early. Tickets are available at the door or by calling 508.487.6424.



Closet Cases
Produced by William Mullin

The Vixen Night Club
336 Commercial Street

Through Sept. 5th

Clown Fest Interview - Vincenzo Tortorici of The Wow Show

By Byrne Harrison
Photos by Jason Goetz


Name: Vincenzo Tortorici
Show: The Wow Show
Relationship to Show: Creator, Performer, Audience Participant Facilitator
Website: www.polytropic.org, Facebook


Tell me a little bit about The Wow Show.

My character, EnzoClown, is an exuberant innocent who relies upon his own (admittedly limited) wits and the help of the audience to complete his list of tasks. He enters the theater, explores his surroundings, and makes a mess of things as he tells the story of a Prince, a Witch, and a Princess who loves broccoli. The show is fun, entertaining, and nutritious for the whole family.

What inspired you to create it?

The show was originally commissioned by the Aurora Theater, in Georgia, as part of their Learning Library series, fitting the state curriculum for early childhood education. Some of the basic skills expected of that age level (lists and following directions) were a good fit for a clown show (as any good subversive, clowns love to *try* to follow directions--with varying degrees of success). Creating a fairy tale--a hybridized Hansel-and-Gretel/Frog-Prince story--was another fun piece of the process that dovetailed with the curriculum. The end result is a fun, energetic introduction to live theatrical performance, that is entertaining for the entire family.

What is your clowning background?

Clown is an acting style. I'm an actor first; Clown happens to be one of my favorite means of creation and expression. Simply put, it's fun. It's one of those things where, looking back, it's an almost inescapable path that I've been on, starting with watching Abbott and Costello movies every Saturday morning, and an hour of Jackie Gleason every night when I was growing up. When my training as an actor began in earnest, I found that I kept encountering teachers who served as guides, mentors, and partners in Clown... and to this day, they just keep coming. And, when I began working with the Big Apple Circus Clown Care program at Children's Healthcare of Atlanta (now preparing for our 10th anniversary in Atlanta), I found my artistic home.

What would you tell someone who is afraid of clowns to get them to come see your show?

For myself, I wear a very simple costume (ill-fitting clothes that seem to get ever-more-ill-fitting as the years go on), and a red nose. No make-up. My face and personality are plainly visible the entire time, and I consider it my job to make people more comfortable--not less. In performance, I only play with them that want to play with me. It's no fun otherwise. Let's face it: no one likes to have their boundaries or sense of space trod upon or disregarded. (May the gods forgive me for speaking in the masculine voice for convenience's sake) The Clown lives and thrives by his direct relationship with the audience. Professional performers of the caliber that the NY Clown Theatre Festival attracts, grok this basic tenet of performing artistry. Some random guy who buys a rainbow wig and a polyester jumpsuit: not so much.

What is next for you?

Along with various irons in various fires here at home, I'll be setting out around the new year to Dusseldorf and Geneva, teaching commedia dell'arte and puppetry, respectively.

The Wow Show
Have Vaude, Ville Travel Productions
Decatur, GA

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

Saturday, September 11th @ 3pm
Sunday, September 12th @ 3pm

Clown Fest Interview - Christina Gelsone and WT McRae of A-Dressing History

By Byrne Harrison

Name: Christina Gelsone and WT McRae
Show: A-Dressing History
Relationship to show: Creators and performers
Website: www.foolsacademy.com

Tell me a little bit about A-Dressing History.

Our goal is to make American history funny and stick like Velcro. Both fun and educational, our show explores history through clothes we wear everyday. Supposedly the show is for kids, but adults have as much fun and learn even more than the children do. It's like a mash-up of Alton Brown, the History Channel, and Electric Company.

What inspired you to create it?

We've both performed for years in schools, and the teachers kept saying how much they wished they could make curriculum as fun as our storytelling shows. One day we looked at each other and said "We can do that."

What is your clowning background?

There's the formal training, like Christina went to the Dell'Arte School of Physical Theater, and WT has a BFA from Adelphi University. But formal teaching only gets you so far. The most important part of comedy is to perform hundreds of times and just get better, bit by bit. In other words, you have to be willing to suck... for a long time.

What would you tell someone who is afraid of clowns to get them to
come to your show?


Though we are clowns, we don't wear noses or use make-up. We're just two affable comics who happen to have purple and orange hair.

What is next for you after the New York Clown Theatre Festival?

WT works for a Broadway theater, and Christina is competing at the Wuhan International Acrobatic Arts Festival in China.

A-Dressing History
Fool’s Academy
New York, NY

NY Clown Theatre Festival
The Brick Theatre
575 Metropolitan Ave.

Saturday, September 18th @ 3pm
Sunday, September 19th @ 3pm

Review - Derin Brockovich: The Musical (Become Entertainment, Steve Alden Nelson, and The Provincetown Theatre Company)

By Byrne Harrison

Steve Alden Nelson and Michael Sottile have given a Provincetown twist to their parody of the 2000 Julia Roberts vehicle "Erin Brockovich." Erin is now Derin Brockovich (Michael Sottile), a ridiculously well-endowed father of three with few marketable job skills. After losing a lawsuit over an accident caused by his amorous pursuits in a parked car, Derin convinces his toupeed and perpetually horny attorney Dick Small (Nicholas Guide) to hire him as an office clerk. As he takes Dick's calls, he sees a disturbing pattern emerging - something is shrinking the men of P'town... you know, down there. With Dick's permission, Derin investigates and quickly determines that the common thread among the victims is their incessant cell phone use. Could it be that Betty Lichter (Katilin Varkados), the billionaire who is flooding the Cape with cell phone towers could be behind it? Spoiler alert: She is.

But can Derin stop her with nothing more than his endowment, Dick Small's questionable legal talent, and the love of a good drag queen (Steve Alden Nelson)? Or will it take the confession of an insider who knows all of Betty Lichter's secrets?

Well, if you saw "Erin Brockovich," you can figure out the answers to all those questions. But getting there is half the fun.

As a parody of "Erin Brockovich," Derin Brockovich is a success. It lampoons the overblown aspects of the movie, while showing a certain admiration for the source material. As it currently stands, however, it stays a little too true to the film. A shorter, tighter script would benefit the production, and would concentrate the humor, as would some stronger direction, especially as to the pace and timing, by director Michael Sottile (who wears many, many hats in this production).

In addition, a little more work on the relationship between Derin and his biker-chick, drag queen paramour Whore-neeto (Steve Alden Nelson) would greatly help the story. It's clear why Whore-neeto instantly falls for Derin (the whole ridiculously well-endowed thing), but Derin's lack of any visible affection for Whore-neeto - she's just a convenient babysitter - makes it hard to understand his eventual decision to be with her.

Otherwise, the play has lots of laughs and features some terrific musical numbers by Michael Sottile. Sottile has a good ear for different styles of music and he plays with several in the show, from novelty numbers, to torch songs and power ballads. He also is a talented singer, as is most of the cast, so the musical numbers are definitely a high point of the production.

Acting is somewhat varied in the show. There is a fine line between being humorously broad and chewing scenery, and some of the cast give their molars a workout. The outstanding performer without a doubt is Kaitlin Varkados, especially in her role of Betty Lichter. Betty is brassy and over-the-top, but rooted in reality. Varkados plays up the comedy, but never goes overboard. She gives a fantastic performance.

Michael Sottile also excels as Derin, who despite his humorously large endowment and the degrading things he has to do to move the lawsuit forward is always portrayed as a fairly noble character. Sottile also brings the house down at several points with his powerful ballads.

Steve Alden Nelson brings a certain tragic dignity to Whore-neeto, which given the character's name, is no small feat. Again, this role is somewhat underwritten, and I would like to see more chemistry between Whore-neeto and Derin.

Technical elements are good, though striking and setting certain props and set pieces slow some of the scene changes. In a show like this, where pacing is so important, anything that can be done to speed it up is helpful. Karen Billard's costumes are well done, especially those for the female (or cross-dressing) characters.

I also should mention Chuck Saculla's choreography which was light and fun to watch, and appropriate for actors with varying dance skills.

Derin Brockovich: The Musical offers plenty for both the "Erin Brockovich" fans and those who aren't familiar with the movie. While the script and the production could use a little tweaking, overall the great songs, loads of laughter, and a high sexual inuendo content are just the thing for those who are looking for a fun night out.

Derin Brockovich: The Musical
Written by Steve Alden Nelson and Michael Sottile
Created by Steve Alden Nelson, Danny Schmitz and Michael Sottile
Directed by Michael Sottile
Original Music/Musical Direction/Orchestrations/Musical Programming/Sequencing: Michael Sottile
Choreographer: Chuck Saculla
Assistant Director: Melissa Nussbaum Freeman
Lighting Design: Michael Clark Wonson
Set Design: Matthew CW Page
Sound Design: Allen Gallant
Costume Design/Wig Stylist/Make-Up: Steve Carey
Costume Design: Karen Billard
Stage Manager: Roberta Eggart
Props Mistress: Chris M. Kerr
Sound Operator: Patrick Lamerson
Lighting Operator: Alex Turevich

Featuring: Michael Sottile (Derin Brockovich), Nicholas Gulde (Dick Small), Christopher Clough (Fisherman, Sheila Schmata, Escort #1, Ensemble), Clyde Shelby Mellert (Shermie Schmata, Creepy Guy, Ensemble), Steve Alden Nelson (Whore-neeto), Kaitlin Varkados (Betty Lichter, Mia, Ensemble)

The Provincetown Theatre
238 Bradford Street

Through September 4th

Theatre Shorts

By Byrne Harrison

A look at the now lost Union Square Theater on Jeremiah's Vanishing New York.

The marquee of the new Stephen Sondheim Theatre will be unveiled and lighted at a 6:30 PM ceremony Sept. 15 at 124 W. 43rd Street in Manhattan's Broadway theatre district.

Shakespeare . . . in Klingon.

Provincetown actor and Ghost Hunter Academy winner Adam Berry gets interviewed by GhostHunterFans.net.

This Thursday, Sept. 2, 6:30 pm Martin E. Segal Theatre Center, The Graduate Center, CUNY 365 Fifth Avenue, at 34th St. THE CREATIVE PROCESS OF US STAGE DIRECTORS, A Presentation by Segal Center Scholar Sophie Proust.

Good article featuring Tony Kushner.

Edinburgh Fringe Festival's Beautiful Burnout coming to NY.

Dr. Horrible's Sing-Along Blog, the live version.

Vanessa Redgrave does not like Broadway buffoonery.

Beginning Tuesday, September 7th and continuing through Sunday, September 19th, many Off-Broadway shows will offer seats still available twenty minutes before the curtain for only $20.

Playbill Backstage features a behind the scenes look at The 39 Steps.

Great Peter Scolari interview about It Must Be Him.

Is Bryan Batt heading back to "Mad Men"?

Gavin Creel heading to the UK for three shows.