In a post apocalyptic landscape reminiscent of the “Mad Max” movies, a group of itinerant clowns form a happy band under the care of Mad Dawg (Sophia Tavaseff) as they forage for food, love one another, and try to avoid their arch enemies, the mimes. It’s ridiculous, but it has a heart full of poetry. The story of conflict between mimes and clowns is framed by quotes from TS Elliott’s modernist poem, “The Wasteland” and this device is surprisingly effective and moving. The story is not really important—this entertainment is pure heart and designed to help you to feel in a time of numbed emotions. In our own current wasteland of political, moral, and economic disaster, it is like an oasis in the desert. It is Church, indeed.
This whimsical forage into joyful celebration of varied humanity has been achieved by a group of Church of Clown students. “Students” is a bit of a misnomer in that although they are students of clowning, they also have impressive theatrical credits of various sorts. Speaking of impressive credentials, Griffiths studied with Marcel Marceau (among others), attended the Dell’Arte International School of Physical Theatre, and holds two graduate degrees from the New College of California and the California Institute of Integral Arts, respectively. You might call him a Power Clown.
Griffiths worked with the company over several months, directing the cast through improvisations and devising rehearsals to bring this vision to life. The cast created their characters while Griffiths created a framework for ion which they can live. The company describes the result as, “a Clown Theatre satire colliding the poetry of T.S. Eliot with the spiritual and cultural collapse of our times. Part dark physical comedy, part apocalyptic B-movie farce…” They observe that, “At the end of civilization, all you can do is put on your red nose, load your squirt gun, and perform one last pratfall into oblivion.”
Griffiths is more succinct: “It’s Beckett in a pie fight. Orwell with a rubber chicken,” he says. “We’re using clown to confront collapse—not with despair, but with defiant delight.”
What do I say? “Delight” sums it up. It is fun, fun, fun from start to finish. And it is the best kind of fun too, the kind that has a sadness inside and affirms its joy in the face of despair.
All the performers stand out, but I must call particular attention to the three evil mimes who are enemies you’ll love to hate. (And you’ll get your chance, too, when the audience is invited to attack by pummelling them with trash, squirt guns, and cat calls. It’s refreshing.) Eric Wilcox as the Lead Mime is hilarious, a villain worthy of a James Bond movie, completely over the top. Isadora Sharon is a wildly sensuous mime who escapes the evil to discover her inner clown. Jamin Jollo is a deliciously hateful Cowboy Mime who provokes continuous laughter. His appearance is an uncanny evocation of the great French mime Jean Louis Barrault in his signature role of “Baptiste” in Marcel Carne’s cinematic masterpice “L’Enfant du paradis (Children of Paradise).”
“Wasteland: The Most Ultimate and Final Showdown” is a wild mashup of “Mad Max,” “Godspell,” and “L’Enfant du paradis” with a dollop of The Three Stooges thrown into the mix. Nyuk! Nyuk! Nyuk!
You’ll love it!
“Wasteland: The Most Ultimate and Final Showdown” will run for three more performances on June 20, 21st and 22nd at The Church of Clown. For further information, click here.
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Rating: *** (For an explanation of TheatreStorm’s rating system, click here.)
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“Wasteland: The Most Ultimate and Final Showdown”. Produced by Church of Clown. Devised by Church of Clown ensemble. Director: Dan Griffiths.
The Clowns:
Mad Dawg: Sophia Taviaseff. Cookie: Jessica Farber. Books: Jonathan McDonald. Eliot: Loa Lo. Chelsea Longwright: Michele Menard. Preacher Boy: Stephen James Kranz. Hot Dog Head Clown: Vitalia.
The Mimes:
Lead Mime: Eric Wilcos. Female Mime: Isadora Sharon. Cowboy Mime: Jamin Jollo.
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