Let's look at "The Alchemedians" in detail. In Act I, titled "Laboratory," bowls, baIls and metal rods talked, jumped and demanded attention. Juggling was used throughout as an activity to transform these unruly objects into gold, as weIl as a way of controlling their inherent energies. The act's finale involved the alchemists in three-baIl routines that built to a climax of dozens of baIls raining down on them.

Although Berky juggles weIl, his greater skill is manipulating people. Throughout the performance he lovingly seduced the audience into joining him in his clowning. As the audience clapped and used hands as rabbit ears, Berky made it clear that without this communal action of the performer and the audience, the alchemical transformation would not be possible.

Ultimately, Berky was his own philosopher's stone as he revealed the wisdom of the clown's foolishness. "Alchemy is the search for truth or the essence, whether it be lead to gold or a journey of the spirit. Lead and gold is just a metaphor for the other journey," he said.

Moschen was the master manipulator. Appearing to be as much moved as mover,  he responded to objects with a sense of wonder, and with the partnering grace of a dancer. Crystal balls and metal wands moved across the stage as elusive combinations of light, space and substance.

In the second act, "Vital Principles," both performers whirled around the stage in long robes, continuing their search for transformation. Moschen's solo sequence, "Light," was a pas-de-deux for juggler and single crystal baIl. Berky's solo, "Action," revealed him trying to imitate the weightless freedom of the juggler's crystal with his red clown's nose.

This was followed by an extended segment during which he built upon the relationship with the audience established in the first act. Sputtering, "let me see..." on his kazoo while looking for an audience victim, he created a space where even a man in a business suit could dance in a tutu - if not with particular grace or dignity, at least with personal pride in his spirit and daring.

Both performers briefly reunite for the final section, "Fire." Swinging fire torches and creating patterns of sound and light, Berky and Moschen suddenly appeared like heroic figures, struggling with the dark and cold. Stripped of props and costumes, they appeared in the midst of ribbons of light, powerful yet vulnerable.

Not unlike the baIlets of George BaIlanchine, the finale of "The Alchemedians" created emotion without narrative. The image of the juggler and clown, revealed as ridiculous and sublime, lingered even after the torches were extinguished.

As the curtain goes up on the new season, it seems certain that jugglers will once again be seen center stage. One who seems certain to be there is Reg Bacon, "Mr. Slim." Bacon has been accepted for a part in "Street Magic," an adult fairy tale that explores the theme of taking time to smell the flowers as you struggle through life.

Bacon will play a fantasy vaudevillian who materializes on stage to illustrate the magical moments of life that we often miss. He reported he will be manipulating hats and cigar boxes, as well as riding a unicycle and doing song and dance. Though details were not set at press time, Bacon said the show was expected to open next spring.

At a time when Broadway needs infusions of vital, significant and entertaining work, it is encouraging and exciting to see juggling's potential for "taking" stage in the New York theatre.