The Great Clowns Of Broadway

“Christopher Bayes is a master, an extraordinary visionary who has done more to liberate young American actors over the last two generations than I can possibly express. His classes in Clowning are philosophical manifestos; the power of his laughter inextricable from the depth of his spirit. This book is a treasure. Nothing can replace the experience of being in the room with a master teacher, but this practical, playful, brilliant book is the next best thing. Read it. It is indispensable.” —Oskar Eustis, Artistic Director, The Public Theater Discovering the Clown, or The Funny Book of Good Acting is a unique glimpse into the wild world of the Clown, unveiling “the playful self, the unsocialized self, the naive self…the big stupid who just wants to have some fun with the audience.” An essential guide for artists and actors wanting to set free the messy and hilarious Clown within.

There are generations that have never seen Sid Caesar become an automobile tire or Red Skelton stick his thumbs in his armpits and intone, "Two theagulls...," never journeyed with Ernie Kovacs to a surrealistic world of his warped imagination. Here seventeen comic talents are profiled (with photographs): their early years, marriages and personal challenges, anecdotes about them, the characters they created, their styles, and often representative dialogue or sketch descriptions. There is a listing of all television shows in which each comic starred (giving length, network, air dates). The comics include Lucille Ball, Milton Berle, Carol Burnett, Sid Caesar, Imogene Coca, Tim Conway, Jackie Gleason, Danny Kaye, Ernie Kovacs, Olsen and Johnson, Martha Raye, Soupy Sales, Red Skelton, Dick Van Dyke, Flip Wilson, Jonathan Winters, and Ed Wynn.

Many Broadway stars appeared in Hollywood cinema from its earliest days. Some were 19th century stage idols who reprised famous roles on film as early as 1894. One was born as early as 1829. Another was cast in the performance during which Abraham Lincoln was assassinated. One took her stage name from her native state. Some modern-day stars also began their careers on Broadway before appearing in films. This book details the careers of 300 performers who went from stage to screen in all genres of film. A few made only a single movie, others hundreds. Each entry includes highlights of the performer's career, a list of stage appearances and a filmography.

2017 Freedley Award Finalist, Theatre Library Association 2016 Best Circus Book of the Year, Stuart Thayer Prize, Circus Historical Society The 1960s American hippie-clown boom fostered many creative impulses, including neo-vaudeville and Ringling's Clown College. However, the origin of that impulse, clowning with a circus, has largely gone unexamined. David Carlyon, through an autoethnographic examination of his own experiences in clowning, offers a close reading of the education of a professional circus clown, woven through an eye-opening, sometimes funny, occasionally poignant look at circus life. Layering critical reflections of personal experience with connections to wider scholarship, Carlyon focuses on the work of clowning while interrogating what clowns actually do, rather than using them as stand-ins for conceptual ideas or as sentimental figures.

In this fresh approach to musical theatre history, Bruce Kirle challenges the commonly understood trajectory of the genre. Drawing on the notion that the world of the author stays fixed while the world of the audience is ever-changing, Kirle suggests that musicals are open, fluid products of the particular cultural moment in which they are performed. Incomplete as printed texts and scores, musicals take on unpredictable lives of their own in the complex transformation from page to stage. Using lenses borrowed from performance studies, cultural studies, queer studies, and ethnoracial studies, Unfinished Show Business: Broadway Musicals as Works-in-Process argues that musicals are as interesting for the provocative issues they raise about shifting attitudes toward American identity as for their show-stopping song-and-dance numbers and conveniently happy endings. Kirle illustrates how performers such as Ed Wynn, Fanny Brice, and the Marx Brothers used their charismatic personalities and quirkiness to provide insights into the struggle of marginalized ethnoracial groups to assimilate. Using examples from favorites including Oklahoma!, Fiddler on the Roof, A Chorus Line, and Les Misérables, Kirle demonstrates Broadway’s ability to bridge seemingly insoluble tensions in society, from economic and political anxiety surrounding World War II to generational conflict and youth counterculture to corporate America and the “me” generation. Enlivened by a gallery of some of Broadway’s most memorable moments—and some amusing, obscure ones as well—this study will appeal to students, scholars, and lifelong musical theatre enthusiasts.

Early in the century, Marie Dressler was hailed as one of America's finest comics, with a 20-year string of Broadway and vaudeville successes including The Lady Slavey, Miss Prinnt, Higgledy Piggledy, The Man in the Moon, and Tillie's Nightmare. She starred with Charlie Chaplin in the first ever feature-length comedy Tillie's Punctured Romance and later in Min and Bill for which she won an Academy Award. A brilliant comedienne in body, timing, inflection and reactions, her talents far exceeded the expectations of slapstick, and her movies earned sums far greater than those of Garbo, or Harlow, or even Gable. This work examines Dressler's life from vaudeville to talkies. Based on extensive research and interviews with Dressler's surviving friends, co-stars and colleagues, including Maureen O'Sullivan, Jackie Cooper and Anita Page, it details her public and personal successes and failures. A listing of her stage appearances, vocal recordings and films is included.

The Encyclopedia of Vaudeville provides a unique record of what was once America's preeminent form of popular entertainment from the late 1800s through the early 1930s. It includes entries not only on the entertainers themselves, but also on those who worked behind the scenes, the theatres, genres, and historical terms. Entries on individual vaudevillians include biographical information, samplings of routines and, often, commentary by the performers. Many former vaudevillians were interviewed for the book, including Milton Berle, Block and Sully, Kitty Doner, Fifi D'Orsay, Nick Lucas, Ken Murray, Fayard Nicholas, Olga Petrova, Rose Marie, Arthur Tracy, and Rudy Vallee. Where appropriate, entries also include bibliographies. The volume concludes with a guide to vaudeville resources and a general bibliography. Aside from its reference value, with its more than five hundred entries, The Encyclopedia of Vaudeville discusses the careers of the famous and the forgotten. Many of the vaudevillians here, including Jack Benny, George Burns and Gracie Allen, Jimmy Durante, W. C. Fields, Bert Lahr, and Mae West, are familiar names today, thanks to their continuing careers on screen. At the same time, and given equal coverage, are forgotten acts: legendary female impersonators Bert Savoy and Jay Brennan, the vulgar Eva Tanguay with her billing as “The I Don't Care Girl,” male impersonator Kitty Doner, and a host of “freak” acts.