Photos from the Clown Reunion

FUNAMBOLIKA 2008 (Italy July 5-8)

Funambolika 2008 is the 2nd edition of the summer circus arts festival particularly focused on clowns, and conceived by Italian clown and director Raffaele De Ritis. It takes places in Pescara, in the Abruzzo region of Italy, in the open-air Teatro D’Annunzio on the Adriatic beach. This is the same 2000-seats arena where Pescara Jazz, one of the oldest and most prestigious jazz festivals in the world takes place (www.pescarajazz.com). Funambolika is organized by the same company Last year's festival featured Jango Edwards and David Larible. This year's festival will have three evenings of entertainment: July 5 DUEL (Paul Staicu, piano – Laurent Cirade, cello) The comedy musical revelation of last year’s Edimburgh and Avignon Festival July 7 PETER SHUB The legendary clown with his solo theatre show “Nice Night for an Evening” July 8 GRAN GALA DU CIRQUE Guest star: Andrei Jigalov An evening of international circus acts (from Monte Carlo Festival, Kiev School, Moscow Circus, Cirque du Soleil appearances) including among others juggler Boul, acrobat Maxim Popazov, contorsionist-swimmer Aqua and others, around a special guest star: clown ANDREI JIGALOV, the king of contemporary russian laughmakers. Pescara is a ten minute drive from Aereoporto d’Abruzzo (www.abruzzo-airport.it ), and is easily connected to via many major cities. For all other destinations, the Rome Fiumicino airport is 2 hours drive. For more information visit the following websites: Funambolika blog: www.funambolika.blogspot.com General program: www.entemanifestazionipescaresi.it Myspace: www.myspace.com/funambolika Tickets: (39) 085-6920057 – (39) 085-4221463 Organization: (39) 085-693093 • (39) 085-4503036 Email: info@entemanifestazionipescaresi.it Artistic direction: rderitis@hotmail.com

Rough and Tumble: Theatre That Doesn't Suck

Rough & Tumble is a ten year-old theatre company that has made a name for itself in Boston for its inventive physical comedy and bold theatricality. The company develops original works, produces new plays by Boston playwrights, and stages guerilla theater events around Boston (such as an elaborate chase scene through the Boston Public Library and a playfully bizarre tour along the Freedom Trail). While not quite clowns, they use clowning, circus skills, melodrama, masks, and just about anything else they can get their hands on to make theatre that, in their own words, "doesn't suck." (Yes, that's part of their mission statement/manifesto) They've got a great manifesto up on their website (listed below) Here's part of it: Our stuff looks different, is outside the norm, linear narrative, realistic, method/classical stuff because we are looking for new, more alive ways to engage and exhilarate our audience. If that means setting up a bedroom on the Boston Common: OK. If that means creating a show with no spoken dialogue: right-on. If that means adapting a movie script for the stage: brilliant. We love a creative challenge because it's fun, and it presents opportunities to give our audiences glittering moments of awareness. We experiment with the form for the sake of what we create, not for the sake of experimenting. Our motto is "Theater That Doesn't Suck" because we think most theater does suck. If we could call what we do something other than "plays" and "theater" without confusing people, we'd do it. Most theater is talky, bland, self-important and preaching to the choir. Most theater ignores completely what is unique and exciting about the form. We want to make theater that is more like seeing a great rock concert: dizzying and exhilarating and euphoric and communal and there's a chance you might get laid. And we don't think that's experimental, as much as we think that's what theater should be like, and everyone who isn't trying for that is doing it wrong. Their next show is a mostly true story of famous airship captain Hugo Eckener's effort to fly the Graf Zeppelin around the world in 1929, carrying dozens of journalists, photographers, paying passengers, and the physician to the King of Spain. They are combing through the many histories and newspaper reports that chronicled the event to recreate the atmosphere of media frenzy, populist pride, and futurism that swirled about the voyage. In addition to all of the historical research, they will be making a bunch of stuff up wholecloth. The show will be at the Factory Theater, 791 Tremont Street in Boston from April 11-27. To find out more about Rough and Tumble, visit their website http://www.rough-and-tumble.org

Think Foolishly

Drew Richardson (aka The Dramatic Fool) has been busy blogging. His blog- Think Foolishly, features exercises, comments, interviews, and examples of his work in the really hard work of the clown- creative problem-solving. Or, how to do stuff logically that's just wrong, but doesn't seem wrong to your character. Sometimes when I'm teaching clowning and improvisation, I call this "predicamenting"-- finding or manufacturing the predicament that your character (or characters) get into. It takes skill and talent to set up the proper scenario. Over at Drew's blog-- he's got several assignments to learn how to be a better predicamenter-- the last one as of today was to build a "Foolish Tool Kit"-- a kit that fits in your suitcase that can be used to solve (and create) a number of problems. His before and after photos are funny! Also on the blog are film clips of masters (and of Drew's latest work) , an interview with creativity coach Eric Maisel, and other exercises to help you Think Foolishly. Definitely worth checking out!

Workshop with Ronlin Foreman 3/2 in Chicago

On Sunday March 2, Master Clown Teacher at the Dell'arte School RonLin Foreman and Joe Krienke will teach a class entitled: The Powerful Presence: Effort, Risk Momentum, Joy. The 3 hour workshop, at the Steppenwolf Theatre in Chicago, will include work on the actor's presence, physical efforts, movement and improvisation. Ronlin was one of my teachers at Dell'arte. And while I certainly didn't agree with everything that he said (in fact, at one point he told me that "I misunderstood the nature of education."), I have to say that he is an amazing clown, and for certain people, can be an excellent teacher. Years later, I feel like I am incorporating some of the things in my work that I didn't understand at the time (and that RonLin didn't help me understand at the time, either-- which made it a frustrating experience then) I highly recommend studying with him. One of the pieces that I continue to use when thinking or teaching now: The clown must truly fail in order to succeed. Not pretend to fail. Not fail at something with low stakes. The clown must be at the point of failing, and at that moment, the audience will ALLOW the clown to succeed. This point of view is obviously more useful in the theatre than in the circus, where you need to get on, do your funny, and leave. But it still applies. This is the bio from Ronlin's classes at the Clown Festival two years ago: A provocative teacher and director, Ronlin Foreman is Director of Pedagogical Research and Master Clown Teacher at the Dell'Arte International School of Physical Theatre in California. Zany and poignant, Foreman's uniquely confrontational and poetic brand of physical theatre has been featured at major international Movement, Theatre and Clown festivals in Mexico, Spain, Canada and the U.S. Foreman's hallmarks are his character (drawn from the fool, the clown, and the grotesque) and his ability to play profoundly with comedy, and irreverently with the profound, and outrageously with an audience. The workshop at Steppenwolf will go from 10am-1pm. From 2pm-6pm, auditions will be offered for admission to the Dell'arte School of Physical Theatre. Space is limited to 35 people. Participation fee of $100 required at time of reservation. Space preference and fee waivers are available to serious program applicants. To register, email Louise at louise@dellarte.com WHEN & WHERE Steppenwolf Theatre's Garage Space 1650 N. Halsted St., Chicago, IL. (south side of the parking lot) Workshop: 10am to 1pm Auditions: 2pm to 6pm To find out more about Dell'arte, visit their website listed below: www.dellarte.com

School of Physical Theatre, London England

The School of Physical Theatre is a full-time professional school based in London, UK, devoted to the training of physical theatre artists - writers, directors, and actors. The School offers a focused program - a voyage from the complex everyday world to its created reflection in the theatrical space. The School was founded in 1978 in Toronto, Canada under the guidance of director and principal instructor, Ron East. It was originally constituted as a summer program, associated with Mr. East’s theatre production company. The curriculum engendered such an enthusiastic response that in 1979 the first full-time programme was instituted. By 1984 the School was sufficiently established to become a separate organisation, and has run successfully ever since. In 1999 the school was moved to London England. The founder and principal instructor Ron East has over 20 years of experience as an actor, director, producer, and performer. He has written 18 original plays, and worked as a television series director, taught at many colleges, universities, and conservatories, and performed at the Stratford Festival, where he was awarded the Tyrone Guthrie award for his work. He is also the author of Moving Images (currently out of stock at Amazon) During its history the school graduated over 600 actors, dancers, writers, choreographers, directors, puppeteers and producers. Over 80% of their graduates make their living in whole or in part in the performing arts. Students have come from all over the world to study. The school offers an intensive one year program, a summer intensive, a post-graduate program for graduates (including a pedagogical internship), and 3 weekend classes open to the public. Studies are based on the work of Lecoq (of whom Mr. East was a student) and include movement analysis, acrobatics, vocal technique, juggling, stage combat, improvisation, maskwork, commedia'dell'arte, clown, and bouffon. Students are expected to create and perform weekly in-house, and there are 3 public presentations of the work during the year. To find out more about the school, visit their website listed below: http://www.physicaltheatre.com

Two reviews of Clown Festival Shows (not by me)

NYTheatre.com has two reviews of Festival shows up, and so far, the festival has charmed the reviewers. I saw both of these guys at the opening, and I'm sure their individual shows are a lot of fun. Sadly, these are two more shows I won't get to see. (Part of the problem of living in the town where the festival is is that your life doesn't stop. When I am performing at a festival that I've gone to, it's not like I have anything else going on in that town. I need to promote my show, and see other shows. That's all I'm doing. Here, my schedule isn't clear, so I'm sadly going to see very little (Yes, let me complain some more, why don't I! Oy gevalt!) Anyway, here's the two reviews from NYTheatre.com NO PLACE LIKE HOME, which is the show by Rob Torres. The reviewer doesn't seem to like clowns very much (spends about half the review talking about scary clowns, annoying pantomime bits, and Stephen King's IT.) Despite her fear of clowns, she seemed to like Rob's show, and calls it charming, captivating, warm and welcoming, and funny. Rob Torres' website is http://www.funeestuff.com BUBKUS Bubkus is the work of Canadian clown Jesse Buck-- who (a different reviewer) really loved. The show involves a lot of improvisation, audience participation (including whacking the clown over the head with a pillow) and some other improvised stunts. The review says that it's entertaining for all generations, and I believe it! Jesse Buck's website is http://www.jessebuck.com Both reviews are very positive-- read them and see! NY Theatre is going to continue to review shows throughout the festival, so you can check back with them on their website here. === If you like this post-- consider subscribing to RSS Feed ===

Steve Russell-- In Capable Hands

A good article recently appeared in the Dunn County News about Clown College Graduate Steve Russell, and how he got a job with the NY City Opera through clown-networking. I'm a member of that network, and saw the whole thing happen! Steve and his wife Kobi Shaw form a juggling duo called In Capable Hands. Both are graduates of Ringling Bros. Barnum and Bailey Clown College, and Steve has trained over 100 Ringling Bros. clowns in juggling and clowning. Their talents have taken them all over the country, as well as all over the world. Between the two of them, Steve and Kobi have appeared at Disney World, Disneyland, London's Covent Garden, and renaissance festivals from Florida to Texas. Their skills have been seen on national television for Good Morning America, Nickelodeon T.V., and the Tonight Show. They have juggled on more than 15 cruise ships, traveling throughout Europe, Hawaii, Alaska, South America and the Caribbean. Regionally, they entertain audiences at numerous fairs and festivals, including the Minnesota, Iowa, Montana, Ohio, and Northern Wisconsin State Fairs. In addition, they do a corporate presentation entitled The Art of Ooomph. Russell and Shaw are married and have been a juggling duo since 1996. Their two sons, Tate and Quinn, were born in January, 2001 and November, 2002, respectively. They spend their time trying to avoid being juggled.. You can find out more about In Capable Hands by visiting their website (listed below) http://www.incapablehands.com/ I've also included a portion of that article, but to read the rest, read the article on the original website Specialty act - Talent with fire lands Russell with Big Apple opera gig By LeAnn R. Ralph, Reporter When you have a specialized skill and no one else applies, you're bound to get the job. And that's exactly how Colfax resident Steve Russell, of the comedy juggling duo In Capable Hands, ended up as the understudy to the fire-breathing juggling clown in the production of "Pagliacci" at the New York City Opera. "Pagliacci" is scheduled to be performed at Lincoln Center from Sept. 28 to Oct. 27. Russell began rehearsals Sept 13, after learning only five days earlier that he had gotten the job. "I'm a graduate of Ringling Brothers Clown College, and I'm on an e-mail list of about 400 other people who graduated from clown school and clown college," Russell said. People on the e-mail list exchange information about jobs that are available. Russell's wife and show business partner (and Dunn County News correspondent), Kobi Shaw, had seen the listing asking for a juggler/fire eater to be an understudy for Pagliacci the day before Russell called about the job. "Kobi said, 'this is something you should do,' " Russell recalled. By the time he was able to make a telephone call on Friday afternoon, he was certain that the New York City Opera would have already found someone else. "I gave them a call mid-afternoon on Friday. Within five minutes, he was talking as if I already had the job," Russell said. "It turns out that it's hard to find a fire-breathing juggler who could make the dates of the show. I wish all my jobs were this easy and this glamorous." READ THE REST OF THE ARTICLE

I'd like Fries with that... The Clown in Yonkers

This op/ed piece (titled appropriately, the clown in Yonkers) appeared in the Westchester Journal News. I felt like I needed to make some reference to it, as I am the clown in Yonkers! (although this particular editorial features a Red-headed clown who slings hamburgers (and a failed protest at the library) The clown in Yonkers (Original publication: August 25, 2007) It's always amusing when protesters against (pick your cause) are outnumbered by reporters, photographers and, in the case of the anti-McDonald's protest Tuesday in Yonkers, uniformed and plainclothes police. Warning of an attempt to "brainwash" children into becoming lifelong McDonald's customers, the Rev. Scott Pellegrino mounted what turned out to be a one-person protest of an appearance by mascot Ronald McDonald, who read to children and handed out "Happy Meal" coupons to kids who read five books as part of a summer library reading club. The Yonkers resident was easily outnumbered at Grinton I. Will Library by the 60 parents and children on hand to welcome the red-haired clown, whose employer sponsored the reading program. We are thankful there was no violence, as had been feared. Stephen Force, the library's director, requested a police presence and some half-dozen showed. "It was unclear from my communication with (Pellegrino prior to the visit) whether he intended to disrupt the program." Brilliant move. Had the ordained minister failed to comport himself, the kids no doubt would have been on him in a child-sized heartbeat; woe is the protester who stands between a 4-year-old and her "Happy Meal." And what was Pellegrino bringing to the table anyway? Carrots? Peas? Broccoli? Maybe some business about impressionable minds, high-fat diets, the epidemic in childhood obesity? These kids know who salts their french fries and pours their chocolate shakes. READ THE WHOLE EDITORIAL READ THE NEWS ARTICLE

Robert Nelson, "The Butterfly Man"

Robert Nelson (aka The Butterfly Man) is the street performer's street performer. He's fast, funny, charming, a little rude, and very skilled at keeping an audience entertained. He's a fine juggler and unicyclist, but its his personality and persona more than his tricks that have made him nearly legendary in street performer circles. A former research chemist at Vanderbilt University, Robert Nelson quit the world of science to pursue a dream of making people laugh. Mr. Nelson first metamorphosed into his Butterfly Man character in 1978 while performing at Mardi Gras in New Orleans. Soon after, he indelibly affirmed his commitment to performing by getting his butterfly tattoos. Since then he has been working around the world, performing on streets and stages and winning over audiences and performers. He has won numerous awards at festivals, and has been voted best performer at San Francicsco's Pier 39 multiple times. His show consists of a number of typical juggling skills: unicycling, cigarbox and hat manipulations, fire-eating, ax-juggling, etc. But its his play and rapport with the audience, and his honest philosophical bent that makes him a one of a kind performer. He's also genuinely a nice guy, and is usually willing (sometimes too willing) to give a helping hand to new performers. To find out more about Robert's work, please visit his website listed below: (it's a flash website, so you must have flash to use it) http://www.butterflyman.com

Guest Post by Jeff Raz: Rhythms of the Road

Jeff Raz is the founder and director of the Clown Conservatory at Circus Center, San Francisco, CA. Their website is http://www.clownconservatory.org. His personal web site is www.jeffraz.com. Jeff was a teacher of mine at Dell'arte, and has been working as a clown, performer, actor, playwright, director, and teacher for over 30 years. For the last few months, Jeff has been performing the lead clown role in Cirque du Soleil's Corteo. Here are some of his reflections on his time with Cirque. ========== Rhythms of the Road I did my first performance as 'The Dead Clown' in Cirque du Soleil's "Corteo" on December 18, 2006; I did my 200th performance last week; I will receive my 'one year' jacket in October; my contract and my sabbatical will end in December, 2007. Time is different on the road and this road-time has taken me a while to get used to. The first rhythm that got into my bones is the show rhythm - from make-up to warm-up to the cue to lie on the bed in the middle of the stage to the organ riff that starts the show; the ebb and flow of scenes, costume changes, checking props, intermission. Then the second act, flying the bike across the stage for the last scene, the bow and finally taking off the make-up four hours after I put it on. Unless it's a two-show day, in which case I eat, nap and get ready to start all over again. At one hour before show time, the whole cast does a vocal warm up followed by a quick meeting where the 'artistic team' tells us about any changes for the coming show (there are always a few small ones, sometimes there are really big ones if someone is sick or injured). Then we play 'sticks'. I love sticks. We stand in a circle, 15 to 50 of us, each person holding a 4' wooden doweling about 34" in diameter. We touch the floor to start, grounding ourselves. Anyone can throw a stick at any time to anyone else and everyone needs to be prepared to catch a stick from anyone at any time. It takes a kind of intense but soft focus; when I get too attached to the idea of throwing to a certain person or look to see if someone is throwing to me, I usually get surprised by a stick coming from somewhere else. Each day the game has a different personality - sometimes it feels like every hand is miraculously in the right place for every catch. Other days, it's a mess. 'Sticks' is a perfect metaphor for performing, especially in a complex show with performers almost constantly in the air and the audience seated on both sides of the stage. After sticks, I have a half hour to do a physical warm-up. I am now used to stretching my 50 year old, ex-acrobat body right out there with a bunch of Olympic gymnasts half my age. But, I try not to bounce on the trampoline right after one of the cast members' kids bounce since I do the same moves as the 3 year olds. Some days I juggle, some days I do doubles acrobatics with a couple of the gymnasts, which is great for both my body and my ego. At 15 minutes, I get my headset mic from the sound booth, get into my funeral costume - a grey suit of a mid-19th century design - and walk on the track under the bleachers over to stage left, shaking hands and saying 'good show' in as many languages as I can manage. "Corteo" is the dream of an old clown; I dream of my funeral. The first scene is a funeral procession, the cortege of the title, with me lying on a bed center stage. Then the show spins into a series of 'idealistic' flashbacks, scenes from my life made rosy by time - four ex-lovers in 19th century lingerie flying on chandeliers, children romping on trampoline beds - and circus acts performed by the funeral guests. In all, I have 16 entrances, some as short as walking across the stage chasing a pair of clown shoes and some full scenes - flying in a bed, getting a pair of wings from an angel, learning to fly and sailing up into the cupola at the top of the tent. I ride a bike through the air, play tuba and water filled wine glasses; I do scenes with a live marionette and a woman floating under 6 huge balloons. What I don't do is any circus skills, save for 5 seconds of juggling. The man who created the role is an actor, not a circus performer so, ironically, I'm playing a character called 'The Dead Clown' in a big circus tent for the biggest circus organization the world has ever known and it is an acting role. The rhythm of a week is less complex - Mondays to rest; Tuesday, Wednesdays and Thursdays, after I make my tea, I iChat with my family, do chores and work in my 'office' - a MacBook, mobile broadband, a couple of little speakers and a cell phone are my office/entertainment center. It's summer, so most of my work is preparing for the Clown Conservatory to start in September; reviewing DVD auditions and getting the new students enrolled, reading evaluations of last year, working on curriculum, hashing out schedules, planning our annual retreat, hiring new teachers and more curriculum. Here in Denver, I get on my bike about a half hour before my call and get to the site in plenty of time for afternoon rehearsals and the evening show; Fridays, Saturdays and Sundays are two show days - mainly rest until it's time to get in make-up. Denver is my fifth city with 'Corteo' so I'm now used to the rhythm from city to city: the easy first few days with only a couple of rehearsals and time to get used to a new site, a new apartment and a new city. Then the dress rehearsal audience that is loud and rowdy followed by a more staid opening night crowd that rowdies up at the after-party in the VIP tent. Then a month or two of nine show weeks before we get to the closing week. In the last week in every city, our population of 140 performers, technicians, cooks and other support folks suddenly swells to over 200 with local hires and 'fly-ins' (tear down/set up specialists from Montreal). On Wednesday, dozens of forklifts appear on site and creep closer to our tent every day. As the closing week progresses, things start to disappear - an awning goes, then the weight lifting set, the trampoline, chairs, the mats, half of the cafeteria, etc. The final show in a city always feels like a race - will we finish the performance before they take the tent down? Immediately after getting out of costume and make-up, the performers strike the insides of the artistic tent, including the dressing consoles, costumes, drapes, etc. I love this time - 60 folks working hard and fast, huge boxes flying around, sweating and grunting to load a few of the 62 semis that move our show. It's like 'sticks' done with road cases. 45 minutes later, we're done. The tech crew and fly-ins will work all night and for 10 more days before Corteo is set-up in the next city. I say 'good bye' in as many languages as I can manage and head back to my apartment to pack for my week at home. Corteo will open in LA in a month and we'll be in Southern California into 2008 - I'll finish up and be home for New Years. Then I will need to rediscover the rhythms of school and family. 2007 Jeff Raz www.jeffraz.com

Rich Potter

Rich Potter is a Maryland native who has been performing for over 20 years, and has performed in over 20 countries. In 1986 Rich graduated from Ringling Clown College and spent 3 years on the road with the Ringling circus, including a stint working in Japan with the Ringling Gold Unit. After that time, he spent time street performing all over Europe and Asia, performing a one man comedy juggling show in five languages. His show consists of juggling,balancing, unicycling, comedy, improvisational audience participation, and "I've never seen anything like that before..." sorts of stunts. He appeared on the David Letterman show, and Dave said that his act "Was really something." And Paul Shaffer agreed! Rich is still based in Maryland, and continues to perform throughout the United States. To find out more about Rich's work, please visit his website listed below: http://www.flightsofwit.com/

Michael Rosman

Michael Rosman is a comedy juggler and entertainer. He has been performing for over 20 years and is one of the most respected and sought after performers on the east coast. He has performed all over the world, including stints in Japan, Singapore, Atlantic City, Reno and Las Vegas. He has performed on more than 25 different major cruise ships and at over 100 colleges and universities. He has also performed on the David Letterman show, where both Dave and Paul decided that he was "something." Michael is a graduate of the University of Delaware with a degree in finance, and is also a graduate of Ringling Clown College. He is a two-time winner of the prestigious Maryland State Individual Artist Grant Award for excellence in the arts. In addition to his work as a performer, Michael has done a lot of organizational and consulting work. He is one of the organizers for the Harborplace street performances in Baltimore, Maryland. He is also the founder and director of the Laughter Arts Foundation, a non-profit organization that produces the national variety arts professional development conferences MotionFest and MiniFest. To find out more about Michael's work visit his website listed below: http://www.michaelrosman.com/