Three aging clowns compete for a job in an absurdly comic look at man’s fear of uselessness in society. Inspired by a 1970 Federico Fellini film, theater and circus arts are intertwined in this tender, funny, cynical play by Romanian-French playwright Matei Visniec. Sept. 22 – Nov. 4: Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. with 3 additional weeknight performances on Wed., Oct. 3; Wed., Oct. 24; and Thurs., Nov. 1; all at 8 p.m. Odyssey Theatre, 2055 S. Sepulveda Blvd., West Los Angeles, 90025; The third Friday of every month is wine night at the Odyssey: enjoy complimentary wine and snacks and mingle with the cast after the show. For reservations and information, call (310) 477-2055 or go to OdysseyTheatre.com.
Old Clown Wanted
Reviews
Old Clown Wanted, a recently mounted Odyssey Theatre Ensemble presentation, reflects his expanding international reputation, having been produced in France, Germany, Denmark, Austria, Finland, Poland, Italy, Brazil and other countries. Though for the life of me I can't see why.
Inspired by a 1970 Federico Fellini film, OLD CLOWN WANTED centers on three aging clowns who compete for a job in a room with no windows and very little furniture, in which theater and circus arts are intertwined in an absurdist, cynical, tender and very funny look at aging and man's fear of uselessness in society. Of course, it takes three incredibly talented actors with enough energy to last through all the necessary physical movement which takes place constantly throughout the 90-minute play. BWW Review: Absurdly Comic OLD CLOWN WANTED Gets West Coast Premiere at OdysseyAnd those three are Alan Abelew, José A. Garcia and Beth Hogan as Niccolo, Filippo and Peppina, three elderly, washed up circus clowns who run into one another at an audition for a "small part for old clown."
We are treated to all their circus-like antics – singing, balloons, miming, magic tricks, and slapstick comedy, etc., although the undertone of desperation is always there, and tension builds as they wait for the interviewer, who has not yet arrived and unlocked the door. My advice is to roll with the clowns and not try to get ahead of the story, as it will all come together for the perfect ending. I found myself wondering where it was going occasionally but then relishing the conclusion.
Director Florinel Fatulescu helms the production with an eye to the dichotomies in each of us – the funny, happy, sweet side and the far darker, deadly side of human nature. The three old clowns do a bang-up job of being silly but also clever and poignant. Jeff Rack's scenic design, Bosco Flanagan's lighting, and John Zalweski's sound – and especially Amanda Martin's costumes, bright socks and all – add dimensions to the tale. It is funny, poignant, and absurd – all at the same time.
Méticuleusement mise en scène par Florinel Fatulescu, la pièce est ponctuée de numéros de clown comiques et poétiques, et servie par trois magnifiques acteurs, Alan Abelew, José A. Garcia, Beth Hogan, merveilleux de justesse et de conviction dans leurs rôles.
Alan Abelew as Niccolo is cleverly devious but sadly vulnerable; Jose A. Garcia as Filippo is a delightful nag but has a tender heart beneath, and Beth Hogan as Peppino, the classic actress, hilariously takes one-up-man-ship to a new level. All are superbly clownish performers who personify the hidden heartbreak under greasepaint and funny red noses. The ending is wonderfully ambiguous and hardly what was expected. Or was it? Go and see for yourself.
Whether you love Visniec's play or not, one thing is for sure: the three actors turn in tour de force performances, going at full speed from beginning to end, belting out Visniec's colorful and racy dialogue, tumbling and leaping about the stage in circus-like fashion, imitating various animals and insects, working their fool heads off to bring the play to life, see that it makes a meaningful statement about the human condition.
Hogan is particularly arresting in a speech that can only be described as her 11 o'clock moment. The set (designer is Jeff Rack), costumes (Amanda Marin), lighting (Bosco Flanagan) and props (Josh La Cour) are all up to their appointed tasks.
Under the meticulous guidance of Romanian director Florizel Fatulescu, all three actors perform with exuberance, abandon and skill. (John Achorn is credited as clowning consultant.) Amanda Martin created the colorful and eccentric clown costumes, Jeff Rack designed the set, Bosco Flanagan provided the lighting, and John Zalewski designed the sound. - RECOMMENDED
In the end, this is a kind of sly play in its investigation of the differences between buffoonery, mimicry, and true acting. And along the way, there were a great many moments of simple fun. But I am not sure that I might define this as a profound theatrical event.
Old Clown Wanted, a recently mounted Odyssey Theatre Ensemble presentation, reflects his expanding international reputation, having been produced in France, Germany, Denmark, Austria, Finland, Poland, Italy, Brazil and other countries. Though for the life of me I can't see why.
Inspired by a 1970 Federico Fellini film, OLD CLOWN WANTED centers on three aging clowns who compete for a job in a room with no windows and very little furniture, in which theater and circus arts are intertwined in an absurdist, cynical, tender and very funny look at aging and man's fear of uselessness in society. Of course, it takes three incredibly talented actors with enough energy to last through all the necessary physical movement which takes place constantly throughout the 90-minute play. BWW Review: Absurdly Comic OLD CLOWN WANTED Gets West Coast Premiere at OdysseyAnd those three are Alan Abelew, José A. Garcia and Beth Hogan as Niccolo, Filippo and Peppina, three elderly, washed up circus clowns who run into one another at an audition for a "small part for old clown."
We are treated to all their circus-like antics – singing, balloons, miming, magic tricks, and slapstick comedy, etc., although the undertone of desperation is always there, and tension builds as they wait for the interviewer, who has not yet arrived and unlocked the door. My advice is to roll with the clowns and not try to get ahead of the story, as it will all come together for the perfect ending. I found myself wondering where it was going occasionally but then relishing the conclusion.
Director Florinel Fatulescu helms the production with an eye to the dichotomies in each of us – the funny, happy, sweet side and the far darker, deadly side of human nature. The three old clowns do a bang-up job of being silly but also clever and poignant. Jeff Rack's scenic design, Bosco Flanagan's lighting, and John Zalweski's sound – and especially Amanda Martin's costumes, bright socks and all – add dimensions to the tale. It is funny, poignant, and absurd – all at the same time.
Méticuleusement mise en scène par Florinel Fatulescu, la pièce est ponctuée de numéros de clown comiques et poétiques, et servie par trois magnifiques acteurs, Alan Abelew, José A. Garcia, Beth Hogan, merveilleux de justesse et de conviction dans leurs rôles.
Alan Abelew as Niccolo is cleverly devious but sadly vulnerable; Jose A. Garcia as Filippo is a delightful nag but has a tender heart beneath, and Beth Hogan as Peppino, the classic actress, hilariously takes one-up-man-ship to a new level. All are superbly clownish performers who personify the hidden heartbreak under greasepaint and funny red noses. The ending is wonderfully ambiguous and hardly what was expected. Or was it? Go and see for yourself.
Whether you love Visniec's play or not, one thing is for sure: the three actors turn in tour de force performances, going at full speed from beginning to end, belting out Visniec's colorful and racy dialogue, tumbling and leaping about the stage in circus-like fashion, imitating various animals and insects, working their fool heads off to bring the play to life, see that it makes a meaningful statement about the human condition.
Hogan is particularly arresting in a speech that can only be described as her 11 o'clock moment. The set (designer is Jeff Rack), costumes (Amanda Marin), lighting (Bosco Flanagan) and props (Josh La Cour) are all up to their appointed tasks.
Under the meticulous guidance of Romanian director Florizel Fatulescu, all three actors perform with exuberance, abandon and skill. (John Achorn is credited as clowning consultant.) Amanda Martin created the colorful and eccentric clown costumes, Jeff Rack designed the set, Bosco Flanagan provided the lighting, and John Zalewski designed the sound. - RECOMMENDED
In the end, this is a kind of sly play in its investigation of the differences between buffoonery, mimicry, and true acting. And along the way, there were a great many moments of simple fun. But I am not sure that I might define this as a profound theatrical event.