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“Excuse me, sir,” Barbara Ross said to the driver of a black town car parked on Avenue of the Americas near 37th Street. “You are obstructing a bike lane.”
Considering that Ms. Ross, 46, was wearing a white hazmat suit and an orange traffic cone on her head and riding a large red tricycle, the driver, Ross Ravita, took her relatively seriously. He protested that he was making only a quick stop, and though he did at one point tell her, “Hold your horses, lady, this isn’t your street,” he yielded his ground and drove away.
As you’ve probably noticed, the special features that come with DVDs these days are not necessarily all that special. Even when they get into performance issues, editing technique, or visual effects, the information is usually pretty basic. There are, however, some juicy enough tidbits out there for the nibbling, which I was reminded of when I recently chanced to give Benny & Joon (1993) a second look.
Here’s another strong comedy acrobatic act, which you already saw a short segment of if you read my post on Charlie Rivel. That’s the Three Rebertis doing the “little bridge.” Thanks to Nicanor Cancellieri for sending me this one, which comes originally from Raffaele De Ritis, who I finally got to meet in Barcelona, and whose blogs, Novelties & Wonders and Storia del Circo, are well worth your time. Raffaele is also one of the brains behind the Circopedia web site, the internet’s best English-language resource for circus history.
Here’s a curiosity for you from 1909, years before the Keystone Cops and then Arbuckle, Chaplin, Keaton, et. al. ushered us into the heyday of silent film comedy. Produced by Pathé in France under the title Pickpock ne Craint pas les Entraves (pickpockets fear no barriers), it was released in the U.S. under the title Slippery Jim, with English inter-titles.
Right before my trip to Barcelona, I got a chance to catch Legs & All, a charming and inventive physical comedy piece, first in a short preview at the next-to-last installment of the New York Downtown Clown Monthly Revue, and then in its full-length incarnation at the Frigid New York Festival. It was inventive enough to get me thinking again about the new and innovative paths physical comedy might follow in this post-post-modern-pre-apocalypse world of ours.
The following video clips have been added in the past ten days to the original six Barcelona posts:
There’s a cabaret performance each of the four Saturday nights as part of the month-long curriculum at the Nouveau Clown Institute. I was involved in the first one and even shot some Flip camera video of it. Unfortunately, I later lost the camera with the second-half footage on it. Fortunately, the still photography shot by Manel Sala “Ulls” is extraordinary enough to ease my pain. Click here or on the image to go to his Picasa album of the first cabaret at the The Coco Loconuts Club.
“God always has a custard pie up his sleeve.”
—the character Georgy (played by Lynn Redgrave) in the movie Georgy Girl
It is my last night in Barcelona and Jango Edwards brought together for dinner all of the clown / circus /variety historians he could muster in the person of Raffaele De Ritis, whose blog, Novelties and Wonders, is indeed full of wonders; Pat Cashin, whose Clown Alley blog is the place to go for all things clown; Greg DeSanto, director of the International Clown Hall of Fame and Research Center; and yours truly. Or to paraphrase John F. Kennedy, there hasn’t been a greater concentration of clown knowledge at one table since Tristan Rémy dined alone.
If you spend your days in the United States, chances are you’ve never heard of the Catalonian physical comedy trio, Tricicle. In Europe, however, they’re a well-known brand name, almost a small industry, having performed extensively in major theatres and festivals for over thirty years, as well as on tv and in movies, and even as part of the opening ceremonies for the 1992 Olympics here in Barcelona. Founded by Joan Gracia, Paco Mir and Carles Sans in 1979, they expanded their international reach in 1988 by adding a second 3-man company (photo, right), known as Tricicle-2 or Clownic, which performs pieces from the by-now large Tricicle sketch repertory, and which is who I saw last night.
Pure acrobatics operates in a precise world where time and 3D space intersect in ways even Einstein could not have imagined without vaudeville. As my old Russian circus teacher Gregory Fedin put it, “if you are able to see space, the acrobat has to go through it… go with the curves, like the tracks of a railway.”
Greetings from Barcelona, I mean Barthelona, by many reports the coolest city in Europe. And arguably cooler now that it is the home of the b>Nouveau Clown Institute, an international clown school started just this past year by Jango Edwards, who is amazingly energetic for someone who may or may not be as old as me. I’m running away from administration and he’s starting a school. Go figure.
If you’re not into musicals then you’ve probably never seen MGM’s 1954 movie, Seven Brides for Seven Brothers. Starring Howard Keel and Jane Powell, the movie is especially known for its robust dances, choreographed by Michael Kidd, whose Broadway and Hollywood credits are about as impressive as you can get.
Back in 1985 through some contact in Germany I vaguely remember as “clown David” (hello, wherever you are!), I got hold of what I’m pretty sure was the first tape of Grock’s full-length show to make its way to the United States. We premiered it on what today would be considered a small television set for an appreciative audience (that included Bill Irwin) at our 2nd NY International Clown-Theatre Festival. Also on that tape was this unidentified clip starring Charlie Cairoli (1910—1980) doing some musical clowning and busting out with some killer dance steps. I guess it’s rarer than I realized, because not only don’t I see it anywhere on the web, I don’t see any of his work.
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Workshops & Other Events
My first book (1976)
My book Clowns has long been out of print, but you can borrow it for two weeks at a time from the Internet Archive. More information is available here.
My second book (2015)
Visual and verbal humor for the cognitively and artistically curious! Available here.
“A book to treasure!”
—Bill Irwin