How They Work

I attend many of Clockwork's rehearsals now, but I still can't tell you how to come up with those amazing ideas. I can tell you that they both really care about their show, and they always work hard to improve the act.

 

Lately they've been polishing existing routines to make them as smooth and professional as possible. They constantly look for weaknesses. Last week I was watching them work on their club passing routine. There's a point in the routine where they switch sides on the stage and then resume passing. It looked as good as ever to me. But they weren't happy, and struggled to change this small bit of choreography for almost an hour. Just when I was starting to think they were wasting their time, they created a new move to replace the old one. "Wow!" I thought, "That is markedly better. Definitely worth the effort!"

 

Their constant goals are to be "creative, unique, visual and memorable." Every line is original. They resist using stolen or stock lines (which are both the same in their eyes) even though such pre-tested material might get a better reaction in the short run. They examine each show element from different views...Do they both like it? Will audiences relate to it? Would they be happy to perform it for fellow jugglers? Only if a bit passes all these tests does it appear in a Clockwork show.

 

They have used video a lot in rehearsal, sometimes discovering that what they thought would be a cool move doesn't look like anything (and vise-versa). Sometimes they also use me instead of videotape to give them feedback. I'm happy that they trust me, and I definitely enjoy being involved in the creative process.

 

What advice can they give to new acts? Jack said, "Do what you're good at." Rick added, "Do what's interesting to you. If you have patience, you might find audiences who also like what you're doing and eventually you'll make money at it."

 

However, they both agree that if your goal is a professional career, "It's not enough that you think it's good; the audience is what counts. "

 

If you want to be served the real scoop on Clockwork - instead of Kathy's syrup­

covered version - talk to me. I'm a flowerpot who's been with the act since 1991. Maybe you caught my debut in St. Louis ... Now that I have a small crack I'm just a practice pot, but I've seen and heard it all inside the world of Clockwork.

 

Q: Ummm, which guy is which?

A: If you have: trouble remembering which one is Jack and which is Rick, you're not alone. Agents commonly call them by the wrong name, and they. themselves have accidentally switched their names four times (I'm counting) - onstage! Fot those who do want to get it right, Jack is the dark-haired one and Rick has the ponytail.

 

Q: So what do people who play for a living like. to do on their day off?

A: Jack likes to work on his new house and on his paper about the mathematics of

juggling, which now has a computer program and a "Juggle-Meter" to go with it. Rick likes to ski, compose word puzzles, and play the Asian strategy game, "Go."

 

Q: How many clubs do they own?

A: Thirty-two Todd Smith Americans.

 

Q: How many airlines do they have frequent fIyer miles with?

A: Eight.

 

Q: What's their favorite road snack?

A: Rick's is liverwurst. Jack's is Com Pops.

 

Q: Boxers or briefs?

A: Depends.

 

Q: What's the best way to learn Rubenstein's Revenge?

A: Believe me, Rick doesn't even know, so don't ask me.

 

Q: What do their families think about their career?

A: Rick's family is very proud. Jack's grandparents still ask him when he's going back to engineering.