Mark Gindick in Wing-Man (Photo by Florence Montmare)
If you were lucky enough to catch the PBS documentary Circusthen you’ve already met Mark Gindick whose antics as a Big Apple Circus clown were prominently featured in that six-part mini series which followed the lives of the performers and crew during their 2008 season. Or, you may have been lucky enough to see Mark perform live as he captured Big Apple Circus audiences with his delightful Singing In The Rainroutine alongside Grandma The Clown (Barry Lubin).
Of course, you may have caught any one of a number of Mark’s other great performances with Big Apple Circus or The New York Goofs. He’s also no stranger to The Brick’s Amuse Bouche having performed in their 2009 festival. He now returns to The Brick for this season’s Amuse Boucheas creator and performer of Wing-Man, a show directed by Barry Lubin. I was lucky enough to chat with these two very talented men to find out what it took to get Wing-Man off the ground.
Today I kick off the two part series with Mark. Read on to find out how he fell into clowning, what set him on the path that changed his life, and what he’s most excited about for this year’s Amuse Bouche …
The Happiest Medium Review by guest contributors Anjali Koppal and Saurabh Paranjape
It has been a rocky decade for America’s relationship with the Muslim world, and while we have heard the voices of everyone from politicians and pundits to ‘Islam experts’ and firebrand evangelicals about the motivations, implications and myriad other ‘-ations’ of the conflict, the thoughts and feelings of the average Muslim American immigrant from these troubled areas has been largely missing from popular culture. In The Domestic Crusaders, writer Wajahat Ali tries to bridge this gap between the people and their stereotypes. Unfortunately, in his enthusiasm to tackle multiple interesting issues, Ali fails to create a cohesive, engaging play. Continue Reading…
If you were a bird and your entire kingdom consisted of the tiny cage where you slept, ate, drank, preened and otherwise just hung out you’d feel really threatened if another bird came along and tried to knock you off your perch, as it were. Let alone another bird with habits, styles and affectations much different from yours. If you were that bird, you’d feel threatened. Annoyed. Face it, you’d be Flocked.
I’m glad when they arrive and I’m glad when they leave. I’m glad when I hear their heels approaching my door and I’m glad when those heels walk away. I’m glad to fuck. I’m glad to care. And I’m glad when it’s over. And since it’s always either starting or finishing I’m glad most of the time.
– Charles Bukowski
It’s obvious that Austin McCormick’s grasp of creating a theatre experience reaches far beyond what merely happens on stage. The more I attend performances in the Company XIV space at 303 Bond Street in Brooklyn the more I am treated to McCormick’s all-encompassing way of choreographing not only movement but sensation. From the way the space transforms each time into a whole new configuration to the heady red wine that greets you (or bubbly sparking water for those who don’t partake) to the strange set that seems almost unfinished in spots, you know it’s all carefully constructed – nothing haphazard or random ever occurs here – and once the lights go out and the projections appear it all makes sense. More than sense – it all makes magic.
I had seen Rabbit Hole Ensemble’s The Tragic Story of Doctor Frankenstein (written by Stanton Wood and directed by Edward Elefterion) just a few short months ago and was so deeply impressed with the way it was presented that I was eagerly anticipating the second of the series Doctor Frankenstein’s Magical Creature. Another joint venture between Wood and Elefterion, Magical Creature tells both the same tale as Tragic Story as well as a completely different one; in a Rashomon type undertaking it retells the events from the perspective of the creature. Fear not – while you’ll recognize the bones of the original story (if you saw it) you most certainly are in for an entertaining evening as you watch the events unfold from the other side.
Seussical (c) Joan Marcus = earlier 0ff broadway cast
I’m going to be right up front: I don’t have kids. I have a darling inner child that I spoil and dote on every chance I get, but as far as a flesh and blood child . . . none exists. So if I’m a bit cynical when it comes to children’s theatre . . . Wait – hold up. Let me put my thing down, flip it and reverse it. Let me actually start by asking – is Seussical meant to be straight up children’s theatre? Well . . . that’s the question. There have been several Seussical incarnations: the full scale Broadway version, the one-act Off-Broadway version, and now this Theatreworks USA version which is, from what I gather (having never seen the Broadway version) more on par with shows for kids like Dora the Explorer, LIVE! or something by The Wiggles or Yo, etcetera . . . you get the idea. Please don’t make me say any more of these ridiculous phrases that pass as names of Children’s Shows.
Just when you think that an Austin McCormick experience can’t get any more divine, any more sensual, or any more stunningly wicked, he whips up another tray of tempting treats which enthrall and delight you into a dumbfounded trance. Ahhh, Austin. You know what you and Company XIV have done to me. You’ve spoiled me for every other dance company in New York City. So yes, while others are flocking to (yawn) New York City Ballet to take in another predictable performance of George Balanchine’s “The Nutcracker” or pandering to Tinseltown’s “let’s get another take” and “we’ll fix that in the editing room” Black Swan – those who want the opportunity to have an amazing, mesmerizing, transcendent night of decadence, dance and debauchery will come to 303 Bond and let their senses be delighted.
What is DIVA SEARCH? It’s open mike opera karaoke! And I say it’s about time!
On Thursday December 2, break out your inner diva and join Morningside Opera for an evening of music and revelry. Besides an opera karoake contest starring YOU, the party will also feature burlesque performances by Medianoche, and danceable electronic beats courtesy of DJ King Ludd.
Just come to Royal Oak, at 594 Union Ave at Richardson, Williamsburg (L to Bedford or Lorimer; G to Lorimer) on Thursday December 2, from 8pm-midnight.
Tickets are $15 in advance or $20 at the door, and include a free specialty cocktail! Click Here to purchase.
Proceeds benefit Morningside Opera’s 2010-11 season project, ATRA, a new multimedia Handel opera.
There is a very good reason why some stories are told under the cover of darkness – hidden from the world and everything that takes place during the mundane trivialities of the day. Because some stories aren’t meant for the daylight. Only a blanket of blackest night will give some words that extra visceral thrill, only the the anonymity of the night can help create that tension that starts racing along every nerve ending – only darkness will give some stories the ability to make your heart race . . . will draw your lips together – will make you believe that the words are true.
“How delightful are the pleasures of the imagination! In those delectable moments, the whole world is ours; not a single creature resists us, we devastate the world, the means to every crime is ours, and we employ them all, we multiply the horror a hundredfold.”
– Marquis de Sade
The Company XIV ensemble Dénouement—A Murderous Masquerade (Photographer: Corey Tatarczuk)
Company XIV has joined up with Brave New World Repertory Theatre to create a show that, in three acts, covers all the grown-up Halloween thoughts that haunt the recesses of the minds of those too old to go door to door asking for candy on the appointed day.
To step into the space of Company XIV is to surrender yourself to the world that Austin McCormick and his cohorts create. First act – Dénouement —A Murderous Masquerade – is at once devilish, devious, and delirious – it will beguile you, possess you, and then -once it’s had its way with you- will leave you emotionally drained, begging for more.
