Wednesday, May 05, 2021
Tuesday, May 04, 2021
Emily Carragher: A clown guide through ‘Varekai’ by Cirque Du Soleil
Monday, May 03, 2021
Friday, April 30, 2021
Thursday, April 29, 2021
Wednesday, April 28, 2021
Monday, April 26, 2021
Wednesday, April 21, 2021
Sunday, April 18, 2021
From ICHOF director Greg DeSanto:
Toby Ballantine got his trunk spotted in that glorious clown alley in the heavens today. Son of CC Dean, Bill Ballantine, Toby attended Clown College and taught stilt-walking. He toured with Ringling, Hoxie, Gatti-Charles, advance for Beatty-Cole and worked hard in later years to preserve his parents artistic legacy. RIP
Friday, April 16, 2021
Thursday, April 15, 2021
Friday, April 09, 2021
Wednesday, April 07, 2021
Monday, April 05, 2021
Born December 5, 1954 in South Western Siberia, Russia, Ekaterina Mikhailovna Mozhaeva dreamed as a child of becoming a ballet dancer. Unfortunately, a long childhood illness thwarted her aspirations—since ballet, if one wants to succeed in Russia, is a discipline for which training starts at an early age. Still, she wanted to perform, and when she recovered, friends suggested that she try the circus.
So, Ekaterina went on to train at the Circus’s Studio at Kemerovo, a Siberian city in the region of Novosibirsk. There, she learned a variety of circus disciplines, and partnered with another student, Anatoly Evgenevich Lotishev (b. March 10, 1949), to create an acrobatic clown duet under the name of Anton & Antoshka (spelled "Antoschka" in German). They began performing together in 1973 in Novosibirsk.
They soon became very successful; Ekaterina’s character, Antoschka, which comes out as a whimsical, mischievous, marionette-like tomboy, was immediately very popular with their audiences. Then, Anton & Antoshka appeared with the Leningrad Stage Circus, and in 1976, they were contracted by SoyuzGosTsirk, the central Soviet Circus organization; from then on, they were featured in all the major circuses of the Soviet Union, and on tour with the prestigious Moscow Circus companies. Ekaterina added dogs and cats to her act, with which she worked in a playful, engaging way that fit her character perfectly well.
Then, things began to change with the advent of Perestroika, and the fall of the USSR. It was a different atmosphere altogether, and Anatoly (Anton) decided to leave Ekaterina, and to continue his own clown career with his wife, Tatiana. But with Antoschka, Ekaterina had a strong, likeable character on which to build a new career of her own. In 1989, she went on an extensive tour abroad with the Moscow Circus On Ice, in a show built around Antoschka, and titled A Clown’s Dream.
Antoschka In Germany
The following year, after a tour of Germany, Antoschka decided to leave Russia and to settle there, in the town of Korschenbroich, near Dusseldorf. She began working with German and Austrian circuses, and in 1993, she starred in the ice revue Holiday On Ice, in a of A Clown’s Dream built again around Antoschka’s character. She toured with Holiday On Ice until 1995, visiting The Netherlands, Italy, Germany, Poland, Venezuela, Colombia, Chile, Argentina, Thailand, Malaysia, and Singapore.
After two years with Circus Busch-Roland, Antoschka went on to work with some of Northern Europe’s most important circuses, including Krone and Benneweis, and participated in European tours of the Germany-based Moscow State Circus (Moskau Staatszirkus). In 2005 she started performing her solo stage show, Ansichten eines Clowns, in Central America, and subsequently performed it regularly in Germany, while giving clown workshops and teaching clowning.
Meanwhile, Ekaterina/Antoschka had been involved in various global social projects, which culminated in her creating an international clown organization involved in social and peace issues, The World Parliament Of Clowns, in 2006. That same year, she created a new solo program, Antoschka und ihre WUNDERfreunde ("Antoshka and her WONDERful Friends"). Diva & Clown, and Solo für einen Clown would follow.
Dubbed "Die Königin der Clowns" ("The Queen of Clowns") by the German press, Antoschka has been sharing her time between Antoshka’s Clown-Theatre and her solo shows, further circus tours (including, in 2010, a tour of the Moskau Staatszircus, Planet of Smiles, in which she starred), and her work with the World Clown Parliament, the Jersusalem Peace Academy, and the German Water Foundation.
Friday, April 02, 2021
Tuesday, March 30, 2021
Monday, March 29, 2021
Wednesday, March 24, 2021
Tuesday, March 23, 2021
An interesting read from 1998 talking about the future of Ringling clowning after it was announced that Clown College would be closing.
Seinfeldian skits, eh?
Clowns, then and now Circus: In the future, these well-trained performers will be more contemporary, just as they used to be.
If circus clown Bryan Fulton had to change the image of his Ringling Bros. and Barnum & Bailey colleagues, he'd inject a little testosterone.
"I'd kinda like to be a superhero, all suave out of makeup," says Fulton, a 19-year-old Baltimore native wearing knee socks, shorts, checked blue and red vest and oversized red tie. "Then, I'd go into a phone booth and come out as Super Clown."
Fulton, in Baltimore for performances through Sunday, may have his chance, because the 127-year-old circus is changing the way it approaches clown training.
The Ringling Brothers Clown College, which was established in 1968 in Florida, is closed, and the circus is developing a Clown College Graduate Program. The program is still in the planning stages, but representatives of Feld Entertainment, which owns Ringling Bros., say it will include more specialized, theatrically oriented Masters of Comedy Workshops. The workshops will be tailored to the interests of performers looking to expand on basic clowning skills, including the approximately 1,500 graduates of Clown College.
The number of college programs and workshops nationwide that teach clowning basics have rendered the original Clown College unnecessary, according to spokesman Rodney Huey.
"There's no need to get those kids right out of high school," Huey says. "It's a different world."
The new workshops will also make clowning more contemporary, since other elements of the circus have become increasingly modern. Acts now involve basketball players unicycling to techno music, professional daredevil in-line skaters and an audience-participation "Macarena."
In the future, clowns may appear in Seinfeldian skits satirizing everyday life and doing contemporary gags centered on computers and the tribulations of today.
Throughout their history, clowns have been relating to contemporary events, according to LaVahn Hoh, a drama professor at the University of Virginia at Charlottesville who teaches the class "The Circus in America."
In the American one-ring circuses of the late 18th century, talking was common for clowns, says Hoh, who also taught at Clown College. In the late 18th century, a clown named Dan Rice appeared with his pig Lord Byron and mused on politics, and the pig would snort.
Rice, who wore a red and white suit and top hat, was the model for Uncle Sam. But as circuses evolved into three rings in the 19th century, gags had to become broader to work in the larger setting, and the talking clown became extinct. Still, Hoh says, clown acts remain relevant.
"There are a lot of stock bits that clowns do that poke fun at society," Hoh says. He said the pie-throwing routines have always been a vicarious outlet for aggression toward society.
Dominique Jando, associate artistic director at the one-ring Big Apple Circus in New York City, disagrees, saying clowns in the three-ring format can't relate to the audience. He sees Ringling's new clown training as an opportunity to instill the skills that were developed in the more intimate one-ring format.
Jando says the three-ring circus developed because entrepreneur-owned circuses were very popular in America in the late 1800s, and the owners thought that by adding more rings they could attract bigger audiences.
"That's an American accident," Jando says of the three-ring circus. "That killed clowning in this country."
Clowns shouldn't be the broadly humorous, exaggeratedly made-up characters in today's circuses, Jando says. Instead, he thinks they should be witty commentators on the human condition with whom audiences can identify.
Rice and the clowns of his age satirized society, and so did the bald-headed buffoons of ancient Greece who are considered the earliest ancestors of the clown. They were secondary characters who mocked the more serious actors in farces and mime acts. The look evolved in the acts of medieval minstrels and jugglers. In the late Middle Ages, the Italian commedia dell'arte's Harlequin introduced acrobatics into the clown repertoire.
The first professional stage clowns came from the Elizabethan theater. Shakespeare has been credited with coining the word "clown." During this time in Germany, the clown costume we've come to know -- floppy shoes, waistcoats and hats -- developed. But the makeup wasn't grotesque, Jando says. American clowns are the only ones with cartoonish makeup designed for recognition from a distance, Jando says.
The circus clown as we know it today appeared in 1805 in England. The late 19th century saw the birth of the American circus clown.
In the '60s, former Ringling Bros. owner and producer Irvin Feld noticed that the clowns in his circus, most of whom learned their skills through apprenticeships, were getting old. So he created the now-defunct Clown College, an eight-week program that accepted only about 30 of nearly 2,000 applicants annually.
The curriculum of clown college included such basic skills as unicycling, juggling and stilt-walking. Clowns also learned how to apply makeup, develop characters and write bits for the circus. In Clown College, a.k.a. clown boot camp, students worked six ** days a week for nearly 12 hours a day, says John Lynch, a Ringling clown who was trained at Clown College along with Fulton and Alan Rios.
Fulton has a bit of the surfer-clown look about him with his flat shock of orange- and yellow-streaked hair. He's an Auguste clown, meaning he uses a flesh-colored paint base with red and black features.
Rios, 28, has Jackie Gleason mannerisms and wears flannel pajamas and wins the lovable cornball award. He's also an Auguste.
Lynch is the sweetly goofy one in paint-splattered denim with three sprouts of hair and a trout in his back pocket. He's a whiteface clown.
"I'm not the traditional whiteface clown. I have Auguste tendencies," says Lynch, 32, who's been with the circus since 1995.
"Clowns with split personalities, next 'Oprah,' " says Fulton, who's been with the circus since 1997.
Lynch, Rios and Fulton do pseudo stomps and slaps, break into spastic dances and revel in cornball jokes with Three Stooges style.
Aside from learning skills and developing characters, at Clown College they were also instilled with the clown's code of honor.
They must always be in full costume in a professional setting and cannot engage in any un-clownlike behavior.
"We follow unwritten rules. You never see or hear a clown curse; no smoking," says Rios, a New York native. "It's like seeing Mickey Mouse without his head on. That can damage a kid."
However, pop culture representations of clowns, which are another facet of American clown history, can be equally damaging, Hoh says.
"We can take something as harmless as a clown and turn it into an ax murderer," he says. Or a strangler like the clown doll in "Poltergeist." Or a bawdy idiot, as in the movie "Shakes The Clown." Or washed-up sellout Krusty on "The Simpsons." Or the evil Pennywise of Stephen King's "It."
"They're very damaging to what clowns should portray," Hoh says.
If Americans understood the clowning tradition and considered the circus an art form, they might not produce such distorted images in the media, according to Hoh.
But Rios, Lynch and Fulton aren't too threatened by their creepy counterparts.
"It's funny. We can laugh at it," Rios says. "We all have a sense of humor."
And that will never change.
Ringling Bros. and Barnum & Bailey Circus
Where: Baltimore Arena, 201 W. Baltimore St.
When: Through Sunday, with performances tonight and
tomorrow at 7 p.m.; Saturday at 11 a.m., 3 p.m. and 7 p.m.; Sunday at 1: 30 p.m. and 5: 30 p.m.
Tickets: $10.50 to $35
Pub Date: 3/19/98
Monday, March 22, 2021
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Wednesday, March 10, 2021
Monday, March 08, 2021
Photo shared on Facebook by Joanne Wilson.
Slim Collins, Saso, Ray Cosmo
Bumpsy Anthony, Shorty Sylvester, and Dime and Connie Wilson
Would love to hear more info on Slim, Saso, Ray, and Shorty.
PS- Sorry about the text layout; I'm not sure what happened. I blame Gremlins.
Friday, March 05, 2021
Tuesday, March 02, 2021
Friday, February 26, 2021
By the end of the 1970s, Cooper slipped into heavy smoking and drinking, which affected his career and his health, effectively ending offers to front new programmes and relegating him to performing as a guest star on other entertainment shows. Ill health eventually claimed his life when, on 15 April 1984, Cooper died of a heart attack live on television.
Wednesday, February 24, 2021
Tuesday, February 23, 2021
Monday, February 22, 2021
Thursday, February 18, 2021
Tuesday, February 16, 2021
Thursday, February 11, 2021
Wednesday, February 10, 2021
Monday, February 08, 2021
Friday, February 05, 2021
Wednesday, February 03, 2021
Tuesday, February 02, 2021
Friday, January 29, 2021
Thursday, January 28, 2021
Wednesday, January 27, 2021
Monday, January 25, 2021
Saturday, January 23, 2021
From the Laughter League Website:
Dick Monday and Tiffany Riley have been life partners and performing partners for the past twenty years, during which time they have headlined at circuses and festivals worldwide including Circus Sarasota, The Big Apple Circus, The Lone Star Circus, Hanneford Circus, Circo Atayde and Ringling Bros., and Barnum & Bailey.
They created the clown troupe, The New York Goofs, Slappy’s Puppet Playhouse, and the Funnyatrics Clown Program. They have now brought all endeavors under the label, Laughter League, which is a non-profit organization. You can currently see Laughter League clowns at Boston Children’s Hospital, Hasbro Children’s Hospital, Cook Children’s Medical Center, Texas Scottish Rite Hospital, and at public schools and libraries across Texas.
They most recently co-produced The Petite Palace, Big Fun in a Tiny Tent on the banks of White Rock Lake in collaboration with the Bath House Cultural Center in Dallas. You can often find them performing Goofballs Cabaret at the Pocket Sandwich Theatre, or you can listen to their podcast, This American Goofball on iTunes. Monday and Riley’s mission is to prove that not only is laughter the best medicine, but that clowns are one of the best ways to inspire laughter and help people’s health improve.
Wednesday, January 20, 2021
Tuesday, January 19, 2021
Friday, January 15, 2021
Wednesday, January 13, 2021
Tuesday, January 12, 2021
Saturday, January 09, 2021
Friday, January 08, 2021
The extremely talented artist, Elena Zaïka, has had two of her paintings chosen to be used as celebratory stamps for the Monaco Principality. The first is of the well known Russian clown, Yuri Nikulin.
Tuesday, January 05, 2021
Monday, January 04, 2021
Many of you that watched the Bozo Show in the late 90s until the show's end in 2001 will remember Robin Eurich, who played Bozo's sidekick, Rusty the Handyman.
Robin has had a long career of acting, clowning, and teaching, but due to recent health problems has fallen on hard times. Joey D'Auria, who played Bozo for the show's final seventeen years has set up a Go Fund Me page to help Robin during these tough times.
If you are able, please make a donation, or share this link on social media to help a man who has brought happiness to so many people. Thank you.
Link: Help Robin Eurich