Page 7                                             March 1982

American street jugglers in Europe

 

The dream of many a juggler is to fill a backpack with props, pocket with travelers' checks and spend the summer street juggling in Europe.

 

But inertia sinks most of our dreams, and we continue to play at the local elementary school or church supper. But take heart! The dream lives, and it has lived in several IJA members. They've done it, enjoyed it, and lived to tell their tale. This article is for all you armchair jesters out there.

 

Paul Burke (Waldo) Los Angeles, CA

"I didn't know what would happen over there, and I sure didn't think I'd make any money. One day I finally put eight clubs, three torches, five balls and a fire devil stick in my bag and left. It was during the off-season, in December, and I stayed until May.

 

Germany was a good place. Germany and Switzerland were good for money. But I went to Paris and started juggling in the Centre Georges Pompideau plaza. There are a lot of fire eaters and magicians there performing, too. They team up on you and try to scare you away, but no spaces are reserved and they' II let you be if you keep coming back.

 

"I found out quickly you have to be able to speak French or do mime that time of the year, and I learned some of both. The money wasn't that good, but it was always there.

The audiences appreciate a good show; too many of the performers do nothing for ten minutes. Another thing they do is pass the hat before the show. Some people won't begin a show until they've collected 100 francs!"

 

''Things went pretty well for me, and I really liked the city. Then I met Didier (Dupin) who was in Fratellini Clown School. We put together an act for the street and ended up getting parts in the French production of Barnum. I had a great experience and plan to go back. "

 

Michael Davis

"The audience wants to like you and they don't know anything else about you besides what you do on stage. "

 

Mr. Davis also stressed that establishing a strong character helps to carry any line: "The thing about juggling on stage while talking is that you are doing something. It is much easier to talk with a natural motivation. I create all my lines from the action. Humor makes all the tricks more appealing."

 

Judging from the audience reaction to his act, Michael Davis is a juggler whose advice should be heeded. As far as the future is concerned, Mr. Davis seems to have many options and opportunities awaiting him.

 

He is now directing much of his creative energy to songwriting and guitar playing. Juggling seems to be his vehicle, but not his destination. A look at his wry smile makes one wonder if Michael Davis might be secretly working on a way to play guitar while juggling. Whether or not he masters that novel task, Michael Davis has earned his success with a sharp wit and a lot of hard work. He handles his sudden popularity with a graceful ease and gives the impression that the best is yet to come.

 

Nick Newlin Cambridge, MA

"I took a year off from Harvard between the Amherst and Fargo conventions and went to Europe with my girlfriend. I didn't have much performing experience, but heard about the Pompideau Center in Paris. I got an apartment nearby and wrote this poem in French about rabbits and hunters. I started performing that, along with rings, torches and knives. I also played a little melodica, which helped.

 

"I met some French guys and we started performing in front of cafes at night. At Christmas, my girlfriend and I and a French companion started traveling on Eurail passes, asking as we went where we could perform. It worked well because she's a dancer and mime. We went through Austria, Italy and Germany and found super hospitality everywhere. People almost always offered a place to spend the night.

 

"In Italy and Greece we didn't speak the language at all, and I think it's important to know a few words. But the most important thing is to look positive while you're doing the act. If you're having a good time, the visual nature of your juggling can hold the audience. The balance of sexes helped our act also. It was good to have a girl included.

 

"Good places? Well, I'd say Rome, in the Piazza Navona, then this little Italian town named Laspezia. We didn't say a word there, but they all said 'Bravissimo!' Heidelburg was best in Germany, we were there for 10 days in the spring.

Any tourist or student town can be good. Munich, at the Marianplatz, was good.

"We were just moving on impulse from town to town, having a great time. The only trouble we had was in England, where the bobbys will tell you to move on. We had to conduct some hit-and-run guerrilla theatre there. But they're always polite when they kick you out."

 

Robert Peck Philadelphia, PA

"I did it for a year, mostly in Ireland. That was fun, but not lucrative. London was terrible, but Canterbury was a gold mine. They say Brighton's good, too, because there're a lot of tourists. In general, you ought to go where the tourists are, but in Switzerland I didn't and it was very lucrative. One day in Heidelburg I made $500. That was the best day of the year.

 

"I performed at night in front of cafes in Paris. You have to watch it in Paris, because it's rigidly sectioned off as to where you can and can't perform. But from St. Germain des Pres to St. Michel, you can juggle in front of cafes. The politics of perform­ing at the Pompideau Center are strange. You have to break in slowly. Other performers are very terri­torial, and will shoo you away. As you get to know people, though, you get better space and time.

 

When I worked alone, I did ten acts a day. Then I got a partner, and we developed a 30 - 45 minute act we did four or five times a day. "

Peck (l) and Burke practice street strategy at the IJA convention.

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