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A Not Theater Review (as a Q&A): James Thierrée and His One-Man (and Support Team) Show, Raoul

February 20, 2018
bradspurgeon

James Thierrée

James Thierrée

PARIS – I could have created some click-bait for those who do not know who James Thierrée is by adding in the headline of this blog post the words “grandson of Charlie Chaplin.”  But James Thierrée, who is the son of Chaplin’s daughter Victoria, made a name for himself long, long ago, and so it is debatable how much value the “Charlie Chaplin’s grandson” moniker still holds today. Thierrée, who grew up performing since he was a child in his parents’ circus, then trained all over the world (including at the Piccolo Teatro in Milan and the Harvard Theater School), and who is adept as a mime, dancer, acrobat, violinist, actor, director among other things, has clearly added several dimensions to the Chaplin identity that he inherited. Of course, the one thing he cannot really do anything about is that he looks almost a dead-ringer for his grandfather – especially the grey-haired version. This last week Thierrée has been putting on a show, called Raoul, at the 13éme Art theater in the place d’Italie in Paris, and Ornella Bonventre and I decided to check it out.

Charlie Chaplin

Charlie Chaplin

My not-reviews are meant to be blog posts about me going to a show, reading a book, listening to music, eating a meal, and talking about it as a spectator – no “critic” attached. But this time, I decided to explore a slightly different version, and give most of the words over to Ornella, who, as an Italian actress, theater director, playwright and circus artist, I knew had a much better sense of what James Thierrée’s show was all about and could do a better job of talking about it than I can.

So we spoke about it together, and I have decided to run a little Q&A from that talk as my “not review.” Oh, and by the way, just for the sake of context it is important to know that despite our leaving home on time to get to the show by its 20:30 start time, we arrived at least 15 minutes late due to the tragic accident of someone falling – or jumping? – onto the metro tracks on Line 6 at the Quai de la Gare station and causing us to lose nearly half an hour in getting out of the metro and finding a taxi and then having to wait to be taken to seats in the 900-seat theater. As a result of me being placed in a handicapped person’s seating area, my view of the show was not great (would the view have been better from a wheelchair?  If not, this is scandalous.), and we missed the beginning of the show, and therefore perhaps some vital information on the game-plan of the spectacle.

The Q & A With Ornella Bonventre Answering Brad Spurgeon on James Thierrée’s Raoul

Ornella Bonventre & Brad Spurgeon Clowning

Ornella Bonventre & Brad Spurgeon Clowning

Question to Ornella from Brad. You were telling me that you enjoyed some of the technical aspects of the show, like the puppets but also James Thierrée’s physical movements. Why?

Answer from Ornella. I enjoyed the entire show from a technical point of view. I was very, very surprised because I wasn’t expecting anything. I wasn’t expecting a comical show, I wasn’t expecting a mime show, I wasn’t expecting him to be doing Charlie Chaplin. I was just expecting something very good – and in fact it was very good. I enjoyed the techniques he used as a director, because the structure of the show was based on principles that I am trying to use as a theater director too. For example, the puppet theater technique, or the use of the lights, the use of the space, the different levels of height he used on the stage throughout.

And technically, yes, the quality of his physical movements was amazing as well. He is not just a mime, he is an acrobat and a dancer. It is clear that he studied many different techniques. It was multidisciplinary. And, in fact, this is the same tendency that I saw at the circus festival we went to a couple of weeks ago, the Festival Mondial du Cirque de Demain. Each artist is not just specialized in his own discipline but is now multidisciplinary.

And I think this is something that James Thierrée had to face as the grandchild of Charlie Chaplin. He cannot just repeat what Charlie Chaplin did. He has to be something else, and probably something more and different and unique in his own way.

Q. What about the mixing of the huge puppets he used occasionally as well, the use of the giant stage set, and trapeze-like things, etc.?

A. I loved that because everything was transformed. Each object had its own life and was transformed into something else. And that’s very magical. And it is always the goal in my theater to obtain this result as well. And they were doing it with very traditional techniques. The puppets were built in a very simple way. And they were moved by people, not with machines, so there was nothing extraordinarily technical, and the materials also were simple, poor materials – like papier maché, simple cloths, etc.

Q. You mentioned something to me also about how this show, and the other one we saw, with Julien Cottereau, both depended largely on the use of sound.

A. Yes. I loved the use of sound in this show, the use of the soundtracks and the noises. And I think that they were necessary because they were also covering the noises of all of the huge machines that were moving up and down on the stage, the things from the floor to the ceiling, and the huge puppets. So the soundtrack was necessary to cover these sounds so that the audience would not be distracted and removed from the spell of the show by the unintended noises. It was very well done.

Q. For me the biggest problem was that I was waiting for, or expecting, a kind of storyline that I couldn’t find. So it was difficult for me to hitch in to the narrative. Was that something you found difficult too?

James Thierrée aloft in Raoul

James Thierrée aloft in Raoul

A. Yes, there was no story…or possibly because we arrived late and we weren’t able to see the beginning of the show, and that might have helped to follow the story more. But even so, for me the story was: “Welcome to a magical world!” A world made of little things in which the objects have their own life, and the objects themselves were actors on the stage. Strange things were happening around this poor character who was reacting to what was happening around him. And he was very tender; he was the typical character of the clown, with the stupefaction, the wonderment about everything; every little thing became something extraordinary. This is the principle of the work that we saw. And it is something that I really adore – the magic of little things.

Q. That makes me think of the fact that I felt the theater was too big for the show! 900 seats!  I had the worst seat I ever had in a theater (for the maximum price of 45 euros), with two people right in front of me on the same level, and I could not see clearly the area where Thierrée performed most of the show. It was difficult for me to see the little things and small movements. So I felt I was missing a lot. How was your seat just beside me?

A. My vision was good. It is true that probably the theater was very, very big, but fortunately for Thierrée it was full. It was sold out. And I think that’s why it’s necessary to have a very big theater; in order to contain all of his fans, the whole audience that he brings. It’s true that perhaps this show can work better in a smaller theater, but the reason for such a big theater I think is simply to contain the audience he brings.

But, even so, I was able to follow the details. As I said before, every theater show is made of the details – the movements even of the eyes – and usually you are able to see those things even if you are far away from the stage. Because that’s it, this is theater. The quality is in the details, and even if you are not really able to see clearly the details they touch you in any case.

Q. What did you see that I did not see since I am not an expert on mime, on movement, on dance? Can you tell me what you saw in his skills, in his techniques, that was so exciting for you and that held your attention?

A. Perfection. I never saw such a high quality of movement in all the senses. His movements were so fluid, so organic and so true – above all organic and fluid and it had a high, high quality that I’ve never seen before.

Q. What kind of movements are you talking about in particular?

A. In general. The whole show is based on his movements. There is no wind on stage, for example, but it exists, a very strong wind blowing at 100 kph because you see his body that is acting as if the wind is there. So he is creating a world with his body, just with his body. He is acting as if the wind is there, so for me, the wind was there. I was believing in that.

Thierrée dancing

Thierrée dancing


Q. Some of the funniest, most successful parts were the simplest, most slapstick things, I felt. Like him pouring water into a cup that it is bottomless, and then when he tries to drink it, there is no water in the cup. It’s a gag. It’s an old joke. But for me it was a moment I could really relate to and identify with.

A. Me too. Welcome to the magical world of the little things. It’s amazing how he had such beautiful tricks and big machines that carry him up and around the stage, but what is working best are those little things. In fact, you asked me about the quality of his movements, and the quality of his actions, and I told you it is amazing. I never saw such perfection. Why? Because I always saw those tricks – the water, or the wind or the body acting in a certain way, mime stuff – because I grew up in circus, in theater, and to me this is my daily life. So I appreciated those little things because they were so well done, they were magical.

Q. So he did old gags in a fabulous way.

A. Yes.

Q. What about the advantage or disadvantage of being Charlie Chalplin’s grandson? I think that part of the reason the theater was full was because everyone knows this is Charlie Chaplin’s grandson. But also that can be a negative thing too because you are being compared to Charlie Chaplin, to your grandfather. How do you see this aspect of his identity?

A. I think it is already difficult for everyone to find their own identity. To find our identity is a battle. And so, I think that for him, as for all people who are the “son of,” “grandchild of” or the “daughters of” famous and loved personalities, it is very, very difficult. I think it is a weapon that can turn against you easily if you are not good enough to demonstrate to the audience that you are really unique and great in your own way. So at the beginning it can be something that brings an audience, but if you are not good enough this is also something that can destroy you forever. And I don’t think the theater was full because he is the grandchild of Charlie Chaplin, because he has been on the stage for many years. So probably in the beginning the theaters were full because he was the grandchild of Charlie Chaplin, but today if he wasn’t good enough the theater wouldn’t be full.

Q. Were there areas that disappointed you?

A. I don’t know if “disappointed” is the right word. But one flat point was the story. It is true. I don’t know if it was because we missed the beginning or not. Another thing, and I asked myself this: “Why are you not doing this guy??!” It was a moment when the house lights were turned on over the audience and he stared at us, and I thought, “My God, use this! Now you see us, and you are trying to interact with us. But do this for real. Come to us and use this other part of the space.” In fact, he did do that, but just one time. When he entered from the door and walked directly in front of us. But it was just one time, and it was so quick. Just a moment like that! (Ornella snaps her fingers.) So not disappointment, but…it could have been more.

And also, I think this show was all about teamwork, and I would have loved to see more of the other participants. As well as their names on the posters, etc., being more recognized for their contribution.

But the rhythm of the show was amazing. Because it was a very long show. And without a structured story. So it is difficult to keep an audience seated down like that for 1 hour and 40 minutes. So the rhythm was amazing.

And the meta-theater aspect was interesting too. To show the show being made was amazing.

Q. You mean when they were fake hiding the members of the cast and crew with screens as they came out to set up the props, pretending that they were not there, etc.? But much of the show was “meta” stuff. It is external appreciation of what was being done, as opposed to really entering into the character, no? How much were you involved personally in the character?

A. I can honestly say to you that I was moved. As I am moved every time that I work with Claudio Madia in Milan and he really becomes a child, and the tenderness, and the innocence comes out….  At that moment I am completely with the character and I am moved. Because the theme of the innocence of childhood is personally something that touches me a lot. Was I with the character? Yes.

Q. We are living in a world where anything is technically possible in film, on the internet, in YouTube, and here is James Thierrée’s show with traditional gags, the flesh-and-blood live performance of an individual, and nothing that you can see in the way of the technological achievements that even a knowledgeable home video editor can do. What place does a show like this have in today’s world where our senses have been numbed by anything being visually possible on YouTube?

A. I think, honestly, that shows like this, and not even just this kind in particular, but the theater in general has a very important place in our contemporary world. I really believe that it is the future of this world. Theater is a meeting. But for real it is a meeting. It is a meeting between the audience and the actors and it is a meeting between the daily life of the audience and the life of the show, of the stories of the show. It is a meeting between the audience and the audience. It is work that you do in a team. When you are working in a show you are not alone. Your show depends on other people. So theater is a meeting, and it is made by people for people. And it is the future. And its place in our contemporary world is very, very important. Wherever there are two people in the same spot that want to listen to each other, there is theater. It is up to theater today to save human relationships and humanity.

Watching the Circus Evolve, at the Festival Mondial du Cirque de Demain (World Circus Festival of Tomorrow) in Paris

February 11, 2018
bradspurgeon

cirque de demain prize giving

cirque de demain prize giving

PARIS – I could not believe it when I calculated that the last time I had attended the Festival Mondial du Cirque de Demain was 23 years ago. I did this calculation last Sunday while attending the 39th edition of this circus festival, at the Cirque Phénix on the Pelouse de Reuilly in Paris. The last time I had attended it took place in Paris’s fabulous indoor circus building, the Cirque d’Hiver, and the change of location defined a big part of the growth of the festival. But it was above all in seeing how the acts themselves had changed, transformed, grown, that defined the passage of time over those years. The only thing that remained the same was the clear, undeniable importance and innovative nature of this, one of the world’s greatest circus festivals.

In December 1994, the festival was already one of the foremost circus festivals, but was it was still fighting for a reputation, I think, and I did quite a long report on it in my newspaper, along with a focus on the history of the Cirque d’Hiver. Then, as now, the festival was all about the young, up and coming circus talents from around the world. And usually about the avant garde acts they were creating.

Cirque de Demain Taiwanese diabolo troupe

But it is the sheer baffling talent that awes at this festival today as in the past. The circus arts often are thought of us something slightly tawdry, and often not really a true art, but a cheap thrill obtained through buffoonery or minor skills of juggling and gymnastics. This festival shows how high an achievement, how much discipline mental, spiritual and physical it takes to achieve the highest level of the circus arts. Today it seems a circus artist can no longer be content to master one thing: A juggler has to be something of a gymnast, dancer, clown, tumbler, and have enough imagination to be able to communicate with the audience through more than just wowing them with throwing objects into the air.

Cirque de demain diabolo solo
Same for the trapeze artists, the tumblers, and others: Multitalented consummate artists who absolutely send shivers of emotion through us at their multifaceted shows and skills. Anyone interested in going into the circus profession as an artist, really must check out this festival to see how high the bar – literally and figuratively – may be set for the very highest levels of the art.

Cirque de demain chairs gymnast

Aside from this clear development since the early 1990s, another of the biggest developments I noticed this year compared 23 years ago was that at that time, the dominant acts, most of the acts, came from the former Soviet countries, from Russia, Ukraine, all over Eastern Europe, as well as from China. All of those communist states that had for decades poured money into developing the circus arts.


Cirque de Demain trapeze shadows

This year, act after act came from Western countries, or a large number of the performers no matter where they were from had trained in the West. Much to my delight and surprise, that included many of them having trained at the National Circus School in Montreal, Canada. Founded in 1981, that school would not have had the time by 1994 to have produced such a large quantity of performers, I suspect. But what was also interesting was that some of these performers seemed – if I understood correctly – to have come from other countries to study there.

Cirque de demain Bar Russe
There were plenty of West European performers as well, of high quality. In all, my favorite performances came from the two diabolo juggling acts, the solo artist, Arata Urawa, in the early part of the show and the group of four jugglers from Taiwan called Diaboloism. I loved the hand-to-hand performances of Tristan & Eve, as well as those of the other such performers, i.e., Julius & César. And I enjoyed the huge hoop, or Roue Cyr, performance by Vincent Bruyninckx of Belgium. The various trapeze artists took my breath away and raised my heart rate permanently as I feared for their lives so high above the stage.
Cirque de demain hoop

The festival has grown vastly in its public success as well in the last 23 years, and since it was founded by Dominique Mauclair – who died recently – in 1977. Although the Cirque d’Hiver remains myself favorite circus location, the move to a big tent like the Cirque Phénix brings a whole different dimension to this international competition – there were some 20 countries represented – with an audience on the third day of the show for the finale (which is what I attended) reaching something like 5 to 6,000 spectators. It was, in fact, the record of audience size for the festival.

Cirque de demain flippers
Another constant between 1994 and today, was that there is nevertheless a common feel to these acts with avant garde music and the effort to raise a circus act to the level of high art. That is one of the distinguishing aspects of this festival. This is not really for young children. Lasting nearly three hours and consisting of the finest, most artistic acts around, it lacks the big gut-splitting sort of act of that lower kind that children – and adults too – really love to see. But that is not, either, the purpose of this festival. It is more competition, showcase, career launching board than at strict family show.

Cirque de demain flags
Oh, yes, and on that point, it is also worth pointing out that there are no animal acts. This is purely the side of the circus that is involved in great human achievement, not the P.T. Barnum fascination with animals and oddities. Speaking of which, as I left the festival, I wondered to myself how it is that with the health of the circus act so clearly incredibly high – higher than ever before, dare I say? – how is it that over the past year one of the greatest of all circuses with more than a century of tradition, still was unable to succeed and had to close down forever? Did Ringling Brothers & Barnum and Bailey depend too much on the old idea of the circus? In any case, my feeling is that the Festival Mondial du Cirque de Demain, after 39 years, still has decades more to go, and I can’t wait to see how it all evolves in the future….

Another Not Review: Three One-Person Shows in Paris, a One Person Quest in Detroit, and a Couple of Readings

February 3, 2018
bradspurgeon

Julien Cottereau

Julien Cottereau

PARIS – At a recent party of a friend in Paris, I met a guy from Detroit who has lived in France for a couple of decades. We started talking about various personal projects, specifically film and theater. He had made a documentary film about a century of his family’s life in Detroit. His wife was playing in a one-woman show in Paris, the director of which also had his own one-person show. The man invited us to see first his wife’s show, then the director’s. Little did I realize that it was the beginning of a long string of attending one-person shows, readings, theatrical productions – and film – that would keep me musing for weeks on the meaning of one-person productions on stage, in film, with texts, without texts, the physical versus intellectual and emotional theatrical representation and other profound and less profound thoughts. Let me get to specifics:

The man we met at the party was Steve Faigenbaum, who has had a long and varied career in film and video, but whose recent documentary is his first full-length personal, big production. His wife is Yannick Rocher, a French actress, starring in “La Voix Humaine,” by Jean Cocteau, at the Théâtre de la Contrescarpe. The director of the play is Charles Gonzales, who is starring in his own one-man show in Paris, at the Théâtre de Poche in Montparnasse.

Camille Claudel

Camille Claudel


The idea of comparing these two linked shows was too enticing not to try. So it was that after Rocher’s show we then attended “Charles Gonzales Devient Camille Claudel“…and, as you may have realized, this might be called a one-woman show as well… or whatever. (Which set up more strands of musing.)

In between those two shows we saw Steve’s film, “Internal Combustion,” (called “City of Dreams” in France) a story based on his return after 25 years to his home city of Detroit, where he retraces his and his family’s past, but simultaneously tells the history of the city and especially its black and Jewish population. (And, through these, a certain history of the United States itself.) The documentary is in some ways a one-man show, since it focuses on Faigenbaum’s look at his own world where he grew up in Detroit; but it is obviously made thanks to a cast of hundreds, including the crew and the many interview subjects and people of Detroit, dead and alive.

Steve Faigenbaum from Internal Combustion

Steve Faigenbaum from Internal Combustion

As a grand finale to all of this, we went last Saturday night to the Théâtre des Mathurins to see another one-man show, “Imagine-toi,” of Julien Cottereau. One of the reasons we chose to attend this was to have a direct comparison to the other shows: Because it was a performance told entirely through the movements of the body, and not through spoken language. Having said that, it turned out that Cottereau depends hugely for his communicative effects with the audience on sound. But I’ll get back to that in a moment.

I now want to return to look a little at each of these shows in the order we saw them, and in the spirit of my Not-Reviews.*

Yannick Rocher at the Contrescarpe Takes the Neutral Approach to Cocteau

Yannick Rocher’s “La Voix Humaine,” written by Cocteau, and here directed by Charles Gonzales, was the first of the bunch for us. It was in the small, but very cool Théâtre de la Contrescarpe, off the place de la Contrascarpe (Hemingway called this “the cesspool of the Rue Mouffetard,” but it has changed since then, going somewhat upscale). The play is about a woman who has ended her relationship with a lover and is reminiscing with him on the telephone, in a call, or a series of calls. It must have been technically an original concept at the time Cocteau wrote it, to use the telephone as a device for a one-person show.

Yannick Rocher

Yannick Rocher


Well, it still stands up today, entirely. The first performance of “La Voix Humaine” was in February 1930, in Paris, at the Comedie Française, starring Berthe Bovy. One of the original aspects of Yannick Rocher’s production are the decision to portray the role in as neutral a manner as possible. Her voice remains mostly neutral throughout. It gives a modern sense of gravitas to the play that the original production does not have in the same way.

Jean Cocteau

Jean Cocteau

And that leads to the other bit of originality: The use of a recording of the voice of Berthe Bovy in the original production as a kind of backdrop, or dramatic ploy, which makes its “appearance” several times throughout. It’s an interesting concept, that forces the spectator to compare Rocher’s performance with that of Bovy’s. In other words, you have the lines being spoken by the creator of the role, and then you have the same lines being spoken by the actress in front of you, but in a completely different way. That is quite a courageous thing for any actor to dare to do, I would think, being compared simultaneously with the creator of the role. So kudos to Yannick Rocher.

Yannick, I learned later, has done the role elsewhere in recent years, including in the U.S., and she did not do the neutral approach – which fact I found interesting as well, as I thought it must be like trying different ways to sing and play a song I’ve been doing for years in a certain way, and just completely change it. Not easy.

And then we saw Faigenbaum’s Film about Detroit

The story behind Faigenbaum’s film “Internal Combustion,” is fascinating on its own: This is a film all about the city of Detroit and the life of its black and Jewish immigrant population. It is done entirely in English. But it was funded and produced entirely in France. As I indicated, this is a film that might in some ways also be called a one-man show, as Faigenbaum goes on a personal quest back to his hometown and relates his family life through his own words, and above all, those of other family members and local personalities he interviews.

Internal Combustion trailer
But the brilliance of this film is the way the director manages to go from the personal situation into the general one of the history of the city and the life of all of its inhabitants throughout the 20th Century. He charts the movement of the Jewish and black populations, as they move from neighborhood to neighborhood depending on the social developments. A previously Jewish neighborhood becomes a black neighborhood. Some neighborhoods then get wiped out for new projects, highways, modern life that leaves no trace of the old, of the past.

Through it all, is a path of integration – or not – and for me it was absorbing to see an historical presentation – along with the family’s point of view – of the race riots of the 1960s, which I was aware of as a child while visiting relatives on the other side of the border, in Windsor, Ontario, putting a lot of things into perspective for me on a personal level. But I felt the biggest success of Faigenbaum’s film was that fabulous marriage of the personal with the universal, along with Detroit’s story mirroring that of the U.S. as a whole.

And off we Went to the Théâtre de Poche and the Camille Claudel One-Person Show

After the experience of seeing the one-woman show – although I’m not sure that’s the right term for a play with just one actor or actress – we were curious to see how the director, Charles Gonzales, would act and direct himself in a one-woman show starring himself, a man. For I think in some ways it has to be called a one woman show, his “Charles Gonzales Devient Camille Claudel.” Yes, it is a man performing the role of the lover of the sculptor Auguste Rodin, and sister to the writer Paul Claudel. But Gonzales is clearly trying to live in the skin of a woman throughout.

Charles Gonzales

Charles Gonzales

Or maybe not so clearly. In any case, the story of Camille Claudel is one that has a particular resonance in France in a way that it does not elsewhere in the world. She feels in some ways like one of the great women heroes of the country, like Joan of Arc. And yet Camille Claudel’s story is not one of any sort of heroism that saves the republic. It is more some kind of tale with which the whole country identifies and feels pity and sorrow for. A sense of collective something!

A highly respected sculptress herself, the lover of Rodin ended up spending the last 30 years of her life in an asylum. And with a 19th Century twist to it, this 20th Century story is one suspected of having a grotesque lack of humanity attached to it on the part of her family – and society. Was she really crazy or just locked up for convenience?

The piece was written by Gonzales and has been performed in various different locations – he has become recognized as something of an expert in Camille Claudel. And as I understand it, he had special access granted to him by the Claudel family to letters and papers, from which he draws for the text.

Rodin

Rodin

Of course, the originality here is that it is a man playing the woman. On the other hand, I don’t know if it was my lack of adeptness in the French language – although I usually consider myself bilingual – but I could not really see anything in the show to indicate WHY a man is playing this role. I saw nothing in the text or stage actions to indicate the purpose. So I assume it is just the passion that Gonzales has for the Camille Claudel story that drove him to this. And it is clear that Gonzales comes to life through this story, and so carries the audience with him.

The Théâtre de Poche was packed, and with about 90 or 100 seats, that’s pretty good for a play that is running for several months a couple of nights a week.

And off we Went to the Théâtre des Mathurins to see Julien Cottereau in his one-man show

There were moments while I watched Julien Cottereau wow the spectators at the Theatre des Mathurins in his show “Imagine-toi,” that I had a feeling of watching one of the comic greats of our time – or any time. I wondered to myself, “What would the other ones, like Charlie Chaplin, or the Buster Keaton, or Mr. Bean or others who use their body to communicate as much – or more – as their words think of Cottereau?”

Julien Cottereau has a long and illustrious career in clowning and circus, including working at the Cirque du Soleil. He has also worked much in film and theater. This show, “Imagine-toi,” was actually first performed in 2006, and for it he was awarded France’s highest award in theater, a Molière. But it is the kind of show that cannot age. Full of visual gags and audience interaction, it remains as fresh today as if it was just created.

But the most important aspect to writing about it here is that where I say this was a show that has no text, no words, a show that depends wholly on visual gags, movement, it is in fact a thoroughly modern show that could not have been performed at the time of Vaudeville when the idea of a modern sound system did not exist. In fact, it could not have existed through most of the 20th century either, as the key to this show’s main effects is the small microphone attached to Julien Cottereau’s head, and into which he makes his noises.

Julien Cottereau in his show
These noises – sounds of bouncing balls, roaring animals, barking dogs, squeaking window cleaning cloths – are also occasionally treated or added to by a sound man at the back of the room, who appears to add reverb or volume and other effects, when needed. So it may be a visual show based on movement and visual gags, but without those popping, bursting, barking, roaring sounds we would just have a mime. Granted, for me this is a mime of a much more dynamic, modern style than the classic Marcel Marceau. Cottereau’s show is just uproariously funny. And I noted that it was enjoyed equally by children, adults and others.

Together, all of these stage productions really got me to thinking about the nature of living theater. What makes a stage production. The importance of movement. The importance of voice. The importance of sound. Emotion. Of text. And, in fact, as it turns out, since seeing these productions we attended in the last couple of days two other shows that were readings of text alone, one of which in a language we could not understand. Seeing a pure “reading” was a perfect counterpoint to provide us with a comparison to the classic stage production and show the utility of memorisation and stage action in holding an audience’s attention.

* Not Reviews: This is a format I use on this blog to write about the music I am listening to, the books I am reading, the shows or films or other things that I do that are often in the habit of being written about by critics – book critics, music critics, theater critics, cinema critics, etc. And my feeling has always been that I believe in Ernest Hemingway’s dictum about book critics and how fiction writers themselves should not be writing criticism of other writers, in the spirit of the phrase: “You can’t hunt with the hare and hunt with the hounds.” My idea is just to talk about the books, plays, films and music I listen to or see. Talk about the way it affected me, everything and anything it inspires, but not to place myself on any kind of judgmental pedestal as critics are supposed to do – or are at least notorious for doing.

A Dream Evening at the Cirque d’Hiver, Today and 24 Years Ago….

November 6, 2017
bradspurgeon

Cirque d'Hiver, Paris

Cirque d’Hiver, Paris

PARIS – The Cirque d’Hiver, or Winter Circus, in Paris is one of the great treasures of the circus arts. After the Ringling Bros. and Barnum & Bailey Circus recently – and, for circus lovers, tragically – closed down after more than a hundred years of existence, this Parisian tradition is one of the last remaining great, great circus attractions. Over the weekend, I decided to attend its latest show – called “Exploit” – and was not let down. I threw together some of the videos I took during the show into a single little clip that you can see below. And I also decided on this occasion to republish, on the blog, an article I wrote about this great Paris institution 24 years ago in my blog articles section under the title: Cirque d’Hiver: A Unique Tradition Under the Big Top Ceiling in Paris. It all remains so incredibly true and fresh, and I cannot be happier to report that. The show, as you will see in the video, was stupendous.

A Serendipitous, Synchronistic Video Experience for “Since You Left Me,” Amongst the Jugglers and the Musicians

April 26, 2017
bradspurgeon

MILAN – The idea was only to try out my DJI Osmo 4k camera again and see if I could do a cool atmospheric video of a walk in the park with a bunch of jugglers, musicians, slack-line walkers and other circus arts practitioners at a get together by a lake in Lombardy. Then, thanks to some fabulous serendipity and synchronicity, something quite unexpected and beautiful, it turned into the seventh video of the series of 10 that I have been working on to “illustrate” my 10-track CD, “Out of a Jam.”

I have been working towards finding the best way to record sound with this DJI Osmo and so I again tried out my system of using a Zoom recorder attached to the DJI as a microphone. Without me realizing it, the connection between the two gadgets was bad, and eventually the recorder unplugged itself from the camera, as I was walking around the lakeside park. When I returned to view and listen to the video, I found great images – as usual with this fabulous little camera – but the sound was a disaster. A horrible mess. There was crackling, banging, popping and sometimes no sound at all. It went from silence to hurting the ears – moreover, the level was set too high as well, even when it worked, so it was distorted even when at its best.

Since You Left Me – video

I decided to put the video up on this blog as a demonstration, again, of what the Osmo can do, but I would put a music recording over the original sound, so not to distract and hurt the ears of the viewers. For that, I decided to use my song, “Since You Left Me.” Then, after importing to the film editing programming, when I pressed the play button, I saw immediately an uncanny synergy between the content of the video in the park and the music of the song. The musicians playing, and the dancers dancing seemingly to the same beat as my song; the link in the lyrics between seeking out another world, another way to live, and the otherworldly link to the juggling, slack-line walking, and other circus arts; even the view up to the sky at precisely the right moment for the song.

I immediately decided that I had the basis for a video for “Since You Left Me,” and that I would put in either a performance by me of the song, or do some more filming, some kind of dramatic storyline of me acting something out. So I used the performance I did of the same song at the Noctambules bar, edited it all together, and felt lucky for the serendipity, synchronicity, synergy, and luck that all seemed to combine to come up with another video for my CD, and the first with which I have used the 4k camera.

A Crazy Side to the Staid City of Milan – And Back to Circus Beginnings for Me

March 15, 2017
bradspurgeon

Brad Spurgeon in Irreality Mode

Brad Spurgeon in Irreality Mode

PARIS – It is only now after a trip to Milan and back in Paris that I have finally had the time to sit at the blog again and dream about the past…without any jealousy, but many warm memories. I’m talking about yet another night at the Joy bar jam that I have not been able to note; about a fabulous visit to an annual variety show in a very neat theater; and about actually taking part a couple of nights later in another such annual show in a bigger theater and event space. All of which has continued to allow me to dismantle, bit by bit, my feeling that Milan is as boring a city as its mostly boring outer appearance of the streets and cityscape would have us believe.

There IS a mountain of “underground” activities in Milan, you just have to know where to look for them. And how strange and in some ways ironic can it be that it is in this city that I used to classify as “boring” that I would find myself performing for the first time since my early 20s in the area of my life in which I started: In the circus arts!

Yes, it may have been the last of these events, but it stands out first in my mind not just for its proximity in my memory, but especially because I got to dress up as a clown and clown around with a fabulous little troupe of clowns and actors, to ride a unicycle through the event, and even do a little bit of juggling. And, now that I think of it, I managed at one point to gate-crash a musicians’ group and take their acoustic guitar and perform a song – along with them singing along with me.

Brad Spurgeon with Ornella Bonventre of TAC Teatro

Brad Spurgeon with Ornella Bonventre of TAC Teatro



I’m referring to the annual “Irreality Show,” which took place at the fabulous associative theater and event space known as, Arci Ohibo. I was invited to join the troupe of actors and clowns of the TAC Teatro – which I have written about before on this blog – by Ornella Bonventre to clown around during this fabulous event. Naturally, having not done such a thing since my teenage years and early twenties, I was a little bit worried. A little bit reticent. A little depressed at the prospect of looking lack a fool – in the bad sense. Especially next to the fabulous talent of the TAC Teatro troupe.

But I decided that part of my new life approach over the last decade with its philosophy to do “everything” (except destructive things), I really ought to give this a try and hope that I could have a George Plimpton moment again, of the kind that I had the first time I dared go on stage with a band at the Jazz-Si open mic in Barcelona of 2009. And man, was I right to try.
more of the TAC Teatro clowns

more of the TAC Teatro clowns



It only took entering into the Ohibo space to see that I loved it immediately and would feel at home. The Irreality show consists of multiple little shows and events spread throughout the space, and performing at the same time. Spectators pay 5 euros and get to walk around all night from room to room, stage to stage, space to space, and take in the various acts and activities. The TAC clown troupe were just about the only ones who had the luxury of being itinerant within the space, an free to roam all over the place. What better way to see everything and take part than to be part of that roaming troupe.
Brad Spurgeon unicycling TAC show

Brad Spurgeon unicycling TAC show



So it was that I could see it all, and take part in what I wanted, riding my unicycle, clowning, juggling and playing music while also remaining a spectator of the amazing collection of acts: An Irish harp player, a mermaid, three or four actors and actresses doing one-person shows, a band of traditional musicians, a folk music trio, a body painter, a marionette act, a cross-dresser, a musician playing a saw, painters, photographers, and performance artists like the depressed man who sat in the same spot all night looking depressed, or the other itinerant one, the Andy Warhol with his head in a picture frame.

There may have been other acts, but the point is, this strange evening of drinking, socialising, and watching the acts through the very hip and cool, sprawling Ohibo, did as I say, renew my faith in the coolness of Milan – once you find it. And while I felt somewhat rusty and ever so inhibited at times as a clown, I also felt amazingly liberated in returning to my own personal roots for an evening. I’m hoping to do much more of it in future, too….

And then there was the skit show at the Scighera Teatro

A few days before that, I found myself the envious spectator at the other space I mentioned at the beginning of this post, the Scighera Teatro, where the stage and space was given over to an annual kind of clowning competition show. This is a fabulous space with a bar in the front part of the building, and the stage in a vast room off the back, which includes the performers’ dressing room/off-stage in a kind of bird’s nest above and next to the stage.

The show consisted of several clowning skits, a Mexican trapeze artist, musicians and a storyteller. And it was entertaining almost start to finish. My two favorite acts were, first, the pizza dough chefs with their battle with the dough – this was so Italian and yet so universal, it was crazy. It could be understood in every country in the world, since I think every country has its pizza chefs! And yet here we were in Italy.

And the other act I loved was the incredibly skilled, mind-boggling one of the man who threw and caught paper airplanes in a kind of paper airplane ballet. Hidden behind the dance was a skill of a kind I could not even imagine existed. Unfortunately I had problems with my camera throughout, and particularly during this act – but I did manage to get a little bit of video of the paper airplane guy, as well as the pizza chefs. So check out the videos.

And then finally back to the Joy Bar jam…and then a return to Ligera….

Finally, I’m a little late on getting it up on the blog, but I’ve got a video or two or three of the latest Joy Bar open mic/open jam that I attended. In one of the videos I show the atmosphere as you approach the bar, with the music blaring inside, and the outside, dull, dead, depressing Milan environment from which springs this…joy….

And now suddenly, I remember there was another night of a fabulous, interesting discovery. This was at the great Spazio Ligera, which I have also written about several times on this blog. I was attracted this time to go to a concert in the large and cozy vaulted cellar room with its magnificent stage and regular music concerts, thanks to the appearance of an interesting story in the form of Julith Ryan, of Australia. This is an Australian musician who by complete freak happenstance ended up recording a CD with a bunch of Italian musicians in Italy, after a career in local Melbourne bands.

Julith was on a mini tour of Italy with the release of the album. When I heard the recordings on youtube and soundcloud, I was very intrigued to see her live. I didn’t put it all together until I did see her at Ligera, but that is when the parallel finally came to me: There’s something of the Marianne Faithful to Julith.

But it was the open act soloist on acoustic guitar and vocals who really blew my mind: That was the intriguingly named Jennifer V Blossom. A very powerful mix of strong rock vocals and nifty rhythmic guitar with a mesmerising delivery. And the sudden, surprising rendition of Edith Piaf’s song about regretting nothing. I sure did not regret this discovery….





A Not-Book-Review: Neil Young’s Memoir, “Waging Heavy Peace”

December 3, 2012
bradspurgeon

neil young book

neil young book

I have decided to create a new feature type of article on this blog. Because this is a blog, and because I believe in Ernest Hemingway’s dictum about writers not criticizing other writers in print as reviewers – “You cannot run with the hare and hunt with the hounds,” he said – but because I love to read good books and talk about them, I have decided to start this occasional feature. The idea is that I am not going to place myself on a critical pedestal and dictate what is righteous or not about a book I read. I am not going to recommend it as a piece of literature or a consumer product. I am not going to fulfill the role of the book reviewer whatsoever. I’m not even certain I would have the talent, let alone the knowledge, training and authority. This is a blog. It is my space, Brad’s world. So what I will do when I feel compelled, will be to write about books I am reading or have read or feel compelled to write about for any other reason. This “Not-Book-Review,” as I will call the writing, will be something people can read, and should read, only as a reflection of how I felt about the book – not a recommendation that they should or should not read it.

The idea was inspired by the book I just finished, and that accompanied me from Austin, Texas to Sao Paulo to New York’s JFK airport and then back to Paris, all in the last week and a half. I rarely read any 500-page book that quickly. But I did it this time. And I can’t even say that I think this book is some kind of gripping masterpiece. But I really, thoroughly loved reading Neil Young’s autobiography, memoir, tale of his life past, present and maybe future.

Here is my Not-Book-Review of “Waging Heavy Peace” by Neil Young.