Tears of a clown
MICHAEL SMITH World Entertainment Writer 10/26/2002
(From left) Dale Sams, Sara Cruncleton and Ken Spence appear in a scene from the Midwestern Theater Troupe's production of "He Who Gets Slapped." A. CUERVO / Tulsa World
'He Who Gets Slapped' is a visually stunning but flawed production
A trip to the circus conjures up images of cotton candy, clowns, elephants, trapeze artists, a man shot out of a cannon and lots of smiles.
One doesn't think about what's going on backstage at the circus, what everyday life is like for these performers of amazing feats, these people we see only in character and grease paint.
You might think that someone who plays so hard and works so hard might live pretty hard as well. But here's hoping that life for them isn't quite as hard as it is for the members of Papa Briquet's circus in the Midwestern Theater Troupe tragicomic production of "He Who Gets Slapped." The production, which opened Thursday night, is a visually beautiful but emotionally sterile offering.
The clowns of Papa's circus are a wonderful lot -- amusing, playful, pulling pranks and mugging for the audience. But then along comes HE, and we are reminded why some people -- and not just children -- are afraid of clowns.
HE is a mystery as he approaches Papa in 1915 France looking for a job at the circus. Dressed as a gentleman but reticent to provide his identity, he is a man who wants nothing more than to escape society and disappear into the three-ring world.
Papa's not the kind of guy who asks a lot of questions, so he hires on this enigma to play the character of HE, the clown who is slapped repeatedly for the sake of laughter. There's a certain aesthetic to this act, and this sensitive man willingly plays the role of punching bag. The result? His act of humiliation is a crowd pleaser, and somehow it cauterizes the pain of his failed marriage.
An oddball? Yes, but HE is merely another member of Papa's zany troupe. There's Zinida the lion tamer, who is married to Papa, but who is in love with Bezano, the horse trainer.
There's Consuelo, the bareback rider, who's also interested in her partner, Bezano. But Bezano is a slave to his work and loves neither woman. HE, the new clown, does love Consuelo, but she's about to be sold in marriage to a rich baron.
These folks may come vividly to life on the stage, but we see only their backstage lives, which are full of repression. It's not hard to see that these pent-up emotions are going to erupt at some point, and they eventually do, resulting in violence.
It's important to note that this play, written more than 80 years ago by Russian playwright Leonid Andreyev, is fashioned as a blatant melodrama. These artists are terribly sensitive people, and their lines often seem to be delivered to one another as if that performer were on his or her own little stage, emoting only for their own tragic vanity. It's showy, but not as engaging as you would wish.
It's a method that some actors can pull off, while others can't in director (ringmaster?) John Cruncleton's effort, which is strengthened by strong art design and costuming work.
Dale Sams (as HE) and Ken Spence (Papa Briquet) are particularly accomplished, and Joseph Gomez (Bezano) is just as good in a limited role. Todd Murray -- wearing a huge paunch that made him appear to be pear-shaped -- is excellent in an understated performance as the smug baron.
All of the clowns -- Owen Froeschle, James Wilson, Heather Smith and Jenny Jackson -- are excellent. They're a tight-knit bunch that loves to smart off during some of the more ridiculous conversations among the leads.
Jim Milburn is a newcomer here in the important role of Consuelo's father, and he struggles throughout with his dialogue, alternating between stumbling over his words and more often than not delivering lines in such a low-volume, mumbled manner that he could not be understood. At times it was difficult to follow lengthy conversations if he were involved.
Sarah McKemie is a puzzle in her portrayal of Consuelo. Occasionally appealing, McKemie was not particularly natural and she delivered many of her words in a remarkably wooden manner. And we're baffled by her use of the word "so" so many times, as in everyone's so nice, or HE is so funny, or . . . oh, after about 50 times it just became so annoying.
Cruncleton's father has produced one of the most interesting set designs in some time, from the faux brick walls to the colorful palette to the marvelous 10-foot tall, 20-foot wide backdrop of a clown's face, tightly cropped and on its side with a gaping hole serving as the performers' entrance to the stage.
Also to be commended is the stunning costuming work by Sara Cruncleton in what is sure to be one of the most visually creative productions of the year in local community theater.
Now if only this kind of attention to detail had been dedicated to perfecting the acting dynamic and building the tension. The people with Midwestern Theater Troupe generally are anything but boring, as was the case at times in this 150-minute play.
Midwestern Theater Troupe's production of "He Who Gets Slapped" continues with 8 p.m. performances Saturday, Thursday-Friday and Nov. 2. All shows are at the Nightingale Theater, 1416 E. Fourth St. Tickets are $5 ($4 on Halloween if in costume) and may be reserved by calling 583-8487 [As of February 2007, 633-8666].
Note: This play contains mature subject matter.
Michael Smith, World entertainment writer, can be reached at 581-8344 or via e-mail at michael.smith@tulsaworld.com