The
convention leadership was resourceful in trying to boost the feeble
involvement of the locals. Rather than bemoan the dearth of Italian
jugglers in general,
Howarth and Orton
made it one of their aims to subtly spread the joy of juggling
among the native populace. To this end they worked with Chris to
insure that the introductory three baIl juggling and basic balancing
workshops were "simulcast" in Italian.
The
majority of the workshop leaders at the European convention actually
came from America. Dan Holzman taught a very concise, carefully
constructed beginners hat workshop, culminating in a simple but
instructive one hat routine performed in unison. At the end Linda Peck
helped demonstrate several different segues, grip switches and
stylistic variations. Holzman also led a well-attended demonstration
of devil-sticking and an even larger advanced three baIl
demonstration. Several Europeans came
up and showed highly skilled, oddly original or otherwise inspiring
variations with the devil stick. Noteworthy were neck rolls and
bizarre balances with the center stick as well as intriguing,
semi-cigar box style switches and regrips with one or both hand
sticks. But while Europeans had a lot to show Americans about devil
sticking, demonstrations and subsequent performances indicated most of
them were either curiously reticent or surprisingly uninterested in
demonstrating three ball craftsmanship. I found this out first hand
after imploring potential volunteers to come forward at an
intermediate three ball "think tank" the following day.
Fortunately,
the Drop Shop elicited a much more eclectic response and inspired some
unusual input on dealing creatively with errant throws or missed
catches. After an initial hesitancy to improvise recovery techniques,
gags or drop lines in front of a packed room, demonstrators soon began
to think fast on their feet. This, coupled with collective
brainstorming and spontaneous suggestions, triggered some truly
hilarious and occasionally quite handy recoveries for a variety of
props.
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Other
American workshop leaders included
Cindy Marvell (five balls), Jeff
Daymont (three and four cigar boxes) and Michael Menes (juggIing
and movement). Several "transplants" (Americans
abroad) also figured prominently, including Carey Bunks
(lasso) and Kevin Brooking (mime and clowning). My apologies
to others I'm sure I missed.
Americans
also acquitted themselves admirably in both the private
(Renegade) and public shows. Clockwork (Rick Rubenstein and
Jack Kalvan) presented their precision teamwork with five
white stage balls to music (and God knows how many green
flower pots!) in the Friday night PrePublic show at Piazza
Dante. The duo also helped kick off Thursday evening's opening
Celebratory Cabaret. Their novel club sharing and witty
takeaways were warmly received and roundly applauded.
Rubenstein said the ambience, a one-ring cobalt blue big top
tent, and the juggle-happy audience created an "open
stage Nirvana."
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The
tent was provided by the European troupe Abzurdicus, whose
ubiquitous presence and sophisticated acrobatic apparatus made
them the convention's unofficial circus-in-residence.
The European crowds were remarkably tolerant, warmly
supportive and wildly demonstrative in showering heartfelt
appreciation on performers. Doubtlessly this encouraged Jeff
Daymont. On Friday evening he appeared in the Pre-Public Show
performing a condensed and mostly clean three box routine,
along with some funny quips and sight gags with his
"mime" sidekick Sergei. Two nights later at the
final Renegade Show Daymont presented an unaccompanied,
totally improvised cigar box jam session. Sans Sergei and
despite a sloppy start, his cutting-edge combinations and
distinctive go-for-broke style (sort of the Jimi Hendrix of
box jugglers...) resulted in such prolonged applause that he
came back for a lengthy encore, was awarded a crown made of
clubs and encored with a near-flawless four box finale.
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Given
the appealing ambience, several prominent performers in the
Saturday evening Public Show couldn't resist a Renegade
appearance the following evening. Cindy Marvell engaged
everyone with a wonderfully executed three club dance. The
wacky Dutchman, Mr. Jones, premiered a concept piece of
altered perception, comically claiming to be balancing a
motorcycle on his nose. Alexis Lee, buoyed by the crowd's
receptivity, risked a new character, portraying a brassy
female revival preacher. On her second try she succeeded in
"baptizing" her kneeling male volunteer by adroitly
"clubbing" what appeared to be a real egg, causing
it to magically pass through a saucer into a cup balanced
precariously on his head.
After
a sparkling stint as co-emcee of the Public Show, Kevin
Brooking literally brought the Renegade Show lights down with
a delightfully resourceful reaction to a momentary power
failure. His expressive face illuminated only by the faint
glow of a hand-held lighter, Brooking made the mundane
magical, banished the darkness, and had more fun with five
fingers than any
clown
since the great Grock.
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A
different form of fire highlighted a high-energy and
technically brilliant three ball, three torch routine that
Andrew from
California
presented, complete with comic patter, to close Thursday
evening's Celebratory Cabaret.
But
perhaps the most popular performer from the States beneath the
Abzurdicus big top was three-year-old Mary Spenger, the
adorable daughter of the much-loved husband and wife team
Cliff and Mary Spenger. Supported both physically and
emotionally in her dad's steady grip, lithe little Mary stood
surveying the audience from atop her six-foot perch, her tight
smile signaling an endearing blend of bravery and nervousness.
The
crowd welcomed her with a long out
pouring of
approval. Beaming broadly, little Mary brought the crowd to
its feet by tipping over head first into her dad's palms and
going from a headstand into a largely unaided hand-stand.
The crowd's rhythmic clapping, hooting and hollering seemed
just the positive reinforcement little Mary needed. From a
tense three-year-old shepherded in her daddy's arms, she was
transformed into a nonchalant showbiz vet coquettishly
enhancing her exit with a series of stylish Shirley
Temple-like curtsies.
All
in awe, the 14th European convention was both a heart-warmer
and an eye-opener. In the absence of competition, a truly
international camaraderie flourished. Jugglers may not have
been pushed to the limits of their technical ability, but
almost all expanded their cultural awareness and aesthetic
sensitivity. For four days kindred spirits came together -
overcoming language barriers, building trust, sharing close
quarters and showing throughout a miraculous mixture of
resourcefulness and restraint when it came to tooting our
kazoos individually or as a collective clown chorus.
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