What makes a great story? 
Chorus lean in eagerly. 
All great stories must deal with blood, (le sang) sperm (sperm), and tears (des larmes).
- Gaspar Noé / The No Way Brothers

Content alert: knee-jerk violence and the ever-ongoing oppression by those in power. Mention of body fluids.
 
Summer 2022 - the latest ''Tis Pity She's A Whore' clown play adaptation. The third iteration of 'Tis Pity - but (because of Covid-19) the FIRST one to be seen before an audience.

This post is a tad long – apologies. The start looks at the process including useful communications and framing for the process.
You can scroll down to find more jokes!
 
Preproduction
As mentioned earlier I have a process for creating clown adaptations for a classical text. This is on RADA’s MA Theatre Lab – dedicated to develop theatre-makers. (When we worked The Revenger's Tragedy, the student cohort would be tasked with drawing a storyboard for the play (stickmen or geometric shapes for the characters are fine!). Also some years I asked them to draw a family tree to get fully acquainted with the complex relations in TRT. The text of ‘Tis Pity reads much more easily and the family tree is not so complex so we skipped this step)

Skills and Clown Council
Clowns bring their skills to create magic as well as laughter (the superb clown Tweedy has an astonishing level of horsemanship - among other skills). We set aside time to make a collection of people’s skills: Singing, Martial arts, the ability to crush a watermelon between one’s thighs (!) … all was noted down.
As described in a previous post, the clowns discuss the themes and give their responses to the play in the Clown Council process. This year one clown stood up and said: 'I wonder how they got the heart out of the body?'. The clown's direct, simple curiosity added a clarity of overlooked detail to an already shocking event. Now we can't help thinking - at what point did Giovanni prise his sister's ribcage apart?
 
Process questions
We had had one discussion of the play where it started to spin off into issues and ideas. Our work would be built beat by beat, so I like to help people think concretely. Ideas need to be grounded in detail – what are the audience actually going to see? Character is plot and plot is character. And Clown Dramaturgy is where jokes meet heart (I haven't fully articulated this as a theory, but it's intuitively sound and at least kinda pithy).

The cohort were set 4 homework questions: 
1/ What is your potential interest as a performer for our Clown adaptation of ‘Tis Pity?
For example: ‘I want to explore stillness’, ‘I would find a rewarding challenge in playing a tragic scene’. Are you interested in speaking classical text? Are there monologues from other plays that might make a point (e.g. a student in a previous year brought Wilde’s Salome’s love/hate speech for Hippolita). Or are you interested in Mime performance? What scene might you enact using Mime?
 
2/ Regardless of any gender expression, what is a character role you are interested in? And what character would be a stretch/challenge for you as performer? Feel free to include ‘lesser’ characters from the play. Clown world is open to the overlooked perspective. There is also the possibility of playing a character from the conceptual ‘world’ – see #3. Also there can be Clowns who play representational roles e.g. the clown who played Vengeance in one TRT production and who literally stopped the show for an entire minute, to great hilarity.
 
3/ Think about the possible ‘world’ for the adapted piece (or one of the chapters -might we have a different world for each ‘chapter’?
By this I mean what is the ‘game’ – i.e. why are the clowns doing the show for the Sad Normals*? What kind of troupe are they? Are they a troupe? Or are they strangers to each other (reflections of today’s algorithm-divided world) …
Depending on the world we agree upon (I will play a role as guide and arbiter in our process), there are potential roles of interrupter, stage manager, Footnote Clown, lecturer (e.g. on the subject of women’s anatomy, perhaps).
It could be 4 (or 5) distinct pieces focusing on different themes with a character/pair of clowns who link/s the presentation …?
 
4/ What scene or event from the play intuitively fascinates you – what is it about that which fascinates you?
 
The ‘game’ with the audience
Looking over the responses to these four questions enables me to see the commonalities. A number of students mentioned a film set as the location and game for the show. 
 
Brilliant – the situation is that this is a rare (unique?) event: a live-before-a-studio-audience making of a film. In the opening this would be clearly set up, so that the fourth wall was eradicated. Also because Clarity is one of the prime useful ingredients of comedy**.
 
A Cardboard Camera 
Props maketh the world – in any production, you need to ensure the materiality of the production supports your aesthetic/ concept. In any student production (or low-budget show), you need to know you can realise the concept. (e.g. Will the budget allow for a stunning red tapestry to lay before Agamemnon’s feet? No? Is that piece of red cloth really cutting it? Might the carpet be represented with lighting? Are there other moments in the piece can lighting play a graphic, non-naturalistic role? Can this be your aesthetic? No lighting? So can you use the ensemble to all draw apart with awe, like something stretching apart, like the Red Sea parting, with a music cue or a vocal sound of dread and awe?). A student made a cardboard camera and boom mike. These objects added exquisite focus in more than one scene. An actual clapperboard was provided, which was a godsend – a cardboard clapperboard would have fit the visual bill, but would not provide the iconic percussive sound needed to kickstart/frame a scene. I ask for students who enjoy make or who are willing to make props. An artistic student put herself forward and I asked for a large anatomical heart to be made. ‘Can’t it be like a cartoon heart?’, she asked. Yes, I said, but can you make it so that it has an anatomical feeling - have some arteries coming out of it – as this will better serve the visceral horror a the heart of the story. The final object was beautiful - a big, rounded heart, with the amputated toilet-roll arteries sticking out.
 
Happenstance
I had just listened to a podcast with maverick film maker Gaspar Noé. His extreme, eclectic style encompasses violence and sexuality in a way that is a lovely Contrast to the sweetness of the clown. At the core of the play is the physical love – the physical taboo love of the brother and sister and the high level of abandonment to risk-taking. I thought the spirit of the opening dance scene of Noé’s film Climax was a model for an expression of erotic energy/urgency, which we had visited in the studio in a danced improvisation on that subject (people ranged in two rows, no touching permitted – aim of the improv and consent to do the exploration checked and the possibility of anyone having the right to elect to leave the improv etc - all discussed in advance).
 
The skeleton and the heart 
As a group we check in and gather agreement. I then emailed the group saying:
 
We are now in agreement on the idea of the Film Set for our Clown adaptation of ‘Tis Pity. (Thank you for your flexibility and generosity, those whose concepts were not chosen). The Film Set allows for a possible switch back and forth of the timeline, should that be needed.
 
Commedia dell’Arte master Carlo Boso used to talk about having a ‘skeleton’ (i.e. a rough draft) for a show shape/plot. At this starting point, I can see where some of your suggestions might hang ... other suggestions and contributions are still waiting to find their place. Please may I have your willingness to be flexible and patient with me and the process. Please forgive me if I have mentioned some people more or less than others. I'll keep checking in with everyone, and please do let me know if you have any thoughts or concerns, or if you want to remind me of anything you think would be useful. Write your ideas down – I may say no to something first then later see possibility for it – it’s dependent on themes being woven / pieces falling into place.
 
I will be aiming for the piece to allow us to be invested in the heart of the story which is the weird plight of being human and the plight of the disempowered (as exemplified in Annabella’s difficult predicament).
 
Please know that this will be an ensemble piece and in my experience all performers will be well seen. All of you will be onstage throughout (sat at the sides when not in the central stage action – there are often little playing moments, details or choral action for those who are visible, in clown state, at the sides of the stage).
We need to make a show that is not over an hour (max 1 hour 10) – this is in order to
a/ allow it to work as a clown performance with taut energy and b/ also to allow us to prepare it rehearsal-wise in the tight time allotted to us.
 
I will aim for everyone to shine but cannot guarantee a meticulously equal distribution of roles / centre stage action. Please do help me with positive suggestions – in the past people have said things like: ‘actually I am doing this and that and perhaps someone else can take this part of what I was initially offered.’ Some roles may crystalize later than others.
 
Any making process will bring change and edits (things may be cut) – please be aware this may happen – again, please do offer me 
your suggestions 
and also
your flexibility, resourcefulness, and patience.
 
Any concerns - just come and speak to me or email me – forgive me if I don’t have an answer / solution straight away.
 
Those who mentioned Giovanni, please select and learn your favourite lines / stage directions / devised-physical-score-iteration-of-a-moment in Giovanni’s journey or inner life for the Big Giovanni Audition (which will be a scene in our show).
 
This process allows you to witness a making / assembling process. It is not the only process, but it is a process you can later examine as you define and refine your own methodologies. See the document attached – it is a ROUGH DRAFT.
I added columns to the right because I find it useful to think of the function of each scene, so you can get a suggestion of a thinking / planning process.
(Later, when working in the room, I find it useful to clarify the beats within the scenes, too).
 
Be aware and flexible - some moments of our process will include improvisation and then there will be moments of precise direction. (Often people get the hang of this building of beats and can start to work with it themselves). 
 
Regarding the attached rough draft, please know:
The first scenes are in place but the scenes that follow are ingredients, not yet ordered– the order will reveal itself (it may correlate to the chronology of the play or not). I will be looking to have changes in tone and energy from scene to scene.
Listed scenes that seem on the page like they might be solo pieces, may well have other performers involved.
Some scenes will need an introduction / framing / explanation - we have an appointed audience liason character, but it might not always be this clown that provides this – it might be a ‘make-up artist’ clown or the boom-holder clown or the clapperboard clown or another actor who does that in a given moment. Clowns may have multiple functions / roles – so long as that is not confusing. The reality of the film set needs to be preserved and followed through but not where it may hold up the action.
 
Hanging the flesh on the ‘skeleton’ (phrase from Carlo Boso)
The ingredients accumulate around the theme and concept .
As we worked the starting group scene, clowns found their film set activities: focus puller, social media person, stunt practitioners, waiting actors, production team. 

Jokes are the building blocks of Clown dramaturgy
There would be a kind of PSA on Incest. And there would be a moment where a clown dressed as cupid would outline (using martial arts) the seven different kinds of love (as defined by the Greeks). There were ingredients from previous years that were recyclable. The as-yet-unperformed Salome speech. A ‘splitscreen’ scene where marriage, love and death are juxtaposed and counterpointed. The as-yet-unperformed soliloquy by the unborn issue of Giovanni and Annabella.
Two clowns would play the enfant terrible film directors, the ‘No Way’ brothers: Gaspar and No Way. It's in part a nod to the Cohen Bros and the Watchowskis. Doubled roles are useful in ensemble productions to maximise access and to keep playing-time and featured events concise, but their siblinghood actually allowed for an added embarrassed amplification of the incest theme. In clown dramaturgy, running gags can uphold and underscore theme.

One student elected to play the ‘Great Actor’ and had a personal assistant.

Another brought the beautiful contribution of being an Intimacy Coach:
Hello, I’m Crysanthemum Garcia, Intimacy Coach with a speciality in Incest. 
And in case anyone in the audience here tonight is involved with their sibling – we welcome you!

One student added a beautiful Queer perspective as the Friar. Giovanni is tormented by his love for Annabella and the forbiddenness of it. The Friar experiences an equal or greater agony at counselling Giovanni to deny his love and desire  – tormented all the while by his own feelings for Giovanni. 
He delivers a poignant yet show-biz fragment of the Pet Shop Boys song It’s a Sin.
 
Two students who wanted to stretch themselves to play calm sweetness together portrayed Annabella, wearing blue pyjamas, and delivering a speech from Emilia:
 
‘My voice is too loud in here. I must try to whisper more.’ 
 
The role of Putana - a flawed but affectionate woman – was played with a hat-tip to a panto dame who delivers a rap on her entrance: 
Yo – my name is Putana, 
Here is my Katana, 
Nursemaid to Annabella in the beautiful city of Parma!
 
… and who later meets a disproportionately cruel punishment. 
 
One clown plays a kind of live-audience warm-up man – with incest jokes:
 
My sister hates it when I invade her privacy. hands together Jimmy-Carr-style in front of chest
It's written clearly right here in her diary.  open hands as book
 
Knock knock face right
Who’s there? jump face left
Your brother. face right
Come on in and lock the door behind you. centre
 
I used text lifted verbatim from an interview with Gaspar Noé as the No Way Brothers are being interviewed:
 
What makes a great story? 
The whole chorus lean in
All great stories must deal with blood, (le sang) sperm (sperm), and tears (et des larmes).
 
The interviewer clown hesitantly asks:
(bounce bounce, intake of breath) As brothers, what’s it like making a film about micropause incest?
 
The No Way Brothers look at each other for 4 beats, then stand and, hiding their unsettled feeling, ebulliently wave the suggestion off.
What? no. We are brothers, but no, no incest.
 
Following the rules of clown chaos, and emulating the spontaneity of the film auteur, there is an audition midway through.  The Brothers return from an absence on stage up the central aisle of the audience, announcing: ‘Giovanni, Giovanni.’ – they face the audience centre.
No Way: We have a very organic process, 
Gaspard: The camera is the lover. The camera is a murderer, it kisses, it kills.
No Way: Le tout c’est de créer dans une diagonale qui se positionne entre le submersif, le subversif, l’irreversible. You see ?
Et maintenant, on incarne Giovanni.
 
Three would-be Giovannis perform their monologues (one is delivered in Hindi). There is an intrusive amount of scrutiny by the No Way brothers and the carboard camera and the predatory, hanging boom. The brothers feverishly frame the shots – they lay on the floor between one actor’s legs – they climb on each others’ shoulders to tower over another. A visual depiction of the discomfort some actors experience in the world of film. This is the joy of clown work. In one way this scene is a celebration of the untrammelled creativity of the loveable No Way Brothers, but it’s also a metaphoric echo of the established regime’s control over people – Vasques forces the truth out of Putana and punishes her for not reporting the siblings.
 
A Binoche-like Hippolita storms onto the set and out-Diva’s the Great Actor with her Salome speech of lust and hatred doctored to deliver a socially responsible ecological message:
Thy hair is like the great cedars of Lebanon that give their shade to the lions - rawwrr! (claws on his back) - before they were poached and used as living room decoration. Thy black hair is as beautiful as the night, as black as the silence that dwells in the deep forest, before it was chopped down by IKEA ... Let me touch thy hair. 
 
The maiden Philotis speaks to the Brothers:
This film isn’t only about Giovanni and Annabella, and Soranzo and Hippolita. 
My character, Philotis – is about to marry and yet will remain forever unwed.
The machinations and violence of Annabel’s suitors rob me of my beloved Bergetto
Bergetto: Haha that’s me !
Philotis: … and so, I shall hereafter need 
to get me to a nunnery.
You see, 
there are other stories that have blood and tears, 
but which don’t have the luxury of sperm. 
The comic principle of re-incorporation allows also for a poignancy and a development of thematic thread of power and oppression.

Finally, we reach the scene of all the deaths (prefigured at the very start of the show).
 
The unborn child appears and delivers a speech ending with:
Murdered. Unborn.  
by my uncledad’s blade.
Was ever nephewson afflicted thus! 
 
The maidenly Philotis sits and places a watermelon between her thighs, shouts: Death to the Patriarchy!
It breaks into glorious wet red - like blood, like a birth or a gynaecological procedure gone wrong.
Brothers: What was that?
Philotis: A symbolic act. This is the melon in the plot that the Doctor says is the cause of Annabella’s stomach-ache – when really, she was pregnant … the melon is the TRUTH!
And the sad truth is that Annabella receives the title slur of the original play text – as if she were to blame for the bloodshed hotly meted out by other characters. 
 
The production assistant / audience greeting clown comes quickly (stepping over bodies):
Er, Gaspar? No Way?
No Way Bros: Oui. Yes?
Helen: The audience need to go home. 
No Way Bros: Oh. (look at audience) Did we cover everything?
Helen (flips though script): … Er … No.
No Way Bros: No. But it was beautiful!
Character is plot.
Plot is character and action. Blood is plot and Sperm is plot. Tears are plot. The extraneous is subcutaneous, the negligible is the indelible.
We put sound and images together that have never been put together before. 
It’s like a man jumping off the Pont Neuf and never reaching the water.***
It’s over. It’s not over. ... It’s perfect! 
It’s a wrap everybody!!
Bodies start to clear but Putana is still sightless centre back.
 
But, in the true manner of comedy, we added a song and a reconciliation, in the mood of a Wrap Party.

                                                                                          .....
 
 
* Sad Normals  - a phrase I use when teaching clowning. ‘It’s the clown’s job to show all the thought processes, failures and feelings the Sad Normals (me in the supermarket) would prefer to suppress and hide.’
** A handy guideline – as ever, I acknowledge ‘there is the rule and there is the breaking of the rule’.
*** at the beginning in the interview the Brothers quote Noé.

Interviewer clown leans in to the two clown brothers.
 
No Way: We are kind of unique, and kind of twisted.
 
Gaspar: Psychedelic, cerebral, chaotic, gut-wrenching, nihilistic – and fun.
 
No Way:  We were inspirated by experimental movies – Kenneth Anger …
 
Gaspar: …and witchcraft 
 
Both: When we were 16 we shot a Super 8 of our best friend jumping from the Pont Neuf bridge. 
 
No Way: It was our first psychological drama. (said with action of sitting)
 
No Way: You ask what makes a great film? Chorus moment When you meet images and sounds that you haven’t experienced before.
 
Gaspar: What makes a great story? Chorus moment All great stories must deal with blood ...

No Way: le sang

Gaspar: sperm

No Way: sperm

Gaspar: and tears

No Way: ... et des larmes.
 
Adapted from this interview.

​
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oThe painter Tessa Schneideman (see below) turned to me one night at Desmond Jones' Mime School on Kings Road, Chelsea and said 'I want to keep doing this'. We would meet in the lounge room of my basement flat in Marylebone or in the upstairs room that was her studio in Brixton (see me in the suit in front of her canvases below). She was an astonishing painter, but found the work too solitary and turned to performance. Together with Claudia Prietzel trained puppeteer (now a film writer / director), we formed a company called Three Women.

The mime 'everyman' was ready to be refreshed - with a female viewpoint.

We were doing mime, but a lot of it was clown. 
Brabarella was not a take on the Jane Fonda film Barbarella but the story of Cinderella told in lingerie. If you step away from their purpose-built function, bras are fascinating objects. A front-opening maternity bra with a strange panel shape was 'Cindy's' 'apron, and another light-support bra her cleaning rag.  (As a base costume, we all wore the then de-rigeur black unitards - at the time only available from the Gandolfi Dance Shop on Marylebone Road).

As fairy godmother I wore - ok google is not helping me with nomenclature - it was a thing women wore ('all-in-one'? step-ins'?) that was a bra that carried on down to tighten the tummy and ended in suspender clips for stockings - Tessa's mother-in-law somehow had a copious quantity of them that she donated to us. I had a peach-coloured diaphanous front-closing bra attached to the back of that which I made to flap like wings (the fairy costume I never had as a child!). Tessa as 'Cindy' brought on more 'rags' which, with a strike of my wand (was the wand a rolled-up Time Out magazine?) turned into a gown made of cascading tiers of B cups. A mouse (strapless bra upside down on her head like mouse ears) transformed into a blinkered horse (adjustment of headpiece bra - snorting and pawing the ground). Other lightweight bras were slung around the 'horse' and Cindy galloped merrily off whipping the reins. Claudia made a gloriously dashing prince all in black. Upside-down step-ins whose cups suggested 'puffing pants' and a piece of corsetry on each arm as regal sleeves.

Housewives' Circus. We also did a circus performed by 'Housewives' - yes this was the 1980's when that was still a word. Entrance of the Gladiators played and a roving spotlight set the scene for a parade of three women in aprons and respectively headscarf, hairnet and mobcap. There was stilt walking (two large brooms), a bearded-lady (dustpan brush), weightlifting (wooden pastry roller). A high-wire unicycle act (rotary eggbeater), a daredevil motorcyclist (tea-strainer goggles, round jaffle iron as handlebars. An elephant (using an old fashioned hair-bonnet with attached air-tube as a mask). Saucepan lids were cymbals for a hoover-hose snake charmer. 
There was a magic act where a toy panda was trapped beneath a colander and skewers put through then a disappearing act - using the classic clown trope of clown appearing disguised as a member of the audience Claudia would come forward with her handbag and her 'husband'. One night  at BAC, Claudia brought on pop musician Joe Jackson. Tessa (magician) and I ('lovely assistant') would hold a sheet, held in place by a peg: it was triple- not double-folded, so the 'couple' were disappeared, but of course, after the sheet is flourished away, they were revealed crouching at the back. 

Man, there is a hilarious amount of vintage references in this post!

Businessmen ​began with a dance. To a jaunty/plodding music track, three (almost) faceless figures walked in rhythmic patterns backwards and forwards, flat-on like playing cards. Charity-shop jackets were pulled onto heads and the ties were tied on our foreheads and hung between our eyes in front of our noses. Tiny garden stools were carried in like briefcases, then snapped out in dynamic ways (think a fringe-theatre low-tech pre-envisioning of the business cards in America Psycho), then assembled for an inevitable status game with the seating. After a while a blow-up sex doll was brought on. She was naked but for a spiral bound secretary’s notebook covering her, erm, lap (remember short-hand, remember stenography?). There is nothing achieved and no real meeting, but the men use the secretary's listening** for a long winded word salad riff ‘My wife doesn’t understand me. Stand doesn’t wife under my me? Under-wife my stand. Stand me under my wife!’. Phones start to ring. From pockets come phone receivers with curly cords (1980, remember?!). The ‘men’ are in a cat's cradle, choking as a cacophony of ringing grows. 

Three Women performed in Art Centres up and down the UK, toured to Holland, performed in festivals in Denmark and Spain and on British Council tours to Germany. We won an Edinburgh Festival Fringe First for 'High Heels', performed in the London International Mime Festival. Other shows were 'Follies Berserk' (a satire on women in popular performance) and 'Clotted Cream' which featured the ground-breaking piece 'Wounds' directed by the remarkable Hilary Westlake.

* Sadly Tessa's bold and creative life was cut short. I owe her so much. I wish I could find more of her paintings online. You can see a couple of her canvases here below behind me in the piece Businessmen.

** I recently re-watched My Fair Lady - Professor Higgins asks his housekeeper Mrs Pearce 'Why can't a woman be more like a man?' (zero cut-away shot for Mrs Pearce's eye-roll - I joke - there would have been no eye-roll, not even the faintest glimmer of an eyebrow lift. Mrs Pearce could not risk anything other than obedient indulgence - her livelihood depends on humouring as well as serving).

#clown #feministclown #womenintheatre #mime #DesmondJones

Designer Andie Scott recently interviewed me about how I collaborated with her on the design elements of various shows.
​We also mention work created with designer Nadia Malik.

Andie = AS
My responses = PL

AS: In your direction for the linking pieces for Strange Forces at the National Centre for Circus Arts the rehearsal notes call for additional props each day. In what way do these props help you devise the performance?
 
PL: The props help define the world and they also help actions be more specific. For comedy, specificity is good – one of the prime comedic principles is clarity: when we know what is going on then we all can get the joke.
 
They are also the product of play or a playful state of mind. With the ensemble element of Strange Forces we were creating a fantasy world: Slave Clowns having to stage-manage the main acts of the show. It is a joy as a comedy practitioner to have polished, specifically made or chosen articles. In one scene a prop piece creates the illusion of a tiny man who is to be tortured by tickling. We needed a small red tickling brush. A longish handle as it is an implement for the normal-sized tormentor, and then a tiny tuft of red feathers at the end, to target the little man’s vulnerable spots.

The props in Strange Forces added concreteness and detail to the world. An audience member can have great pleasure looking at a well-made and well-envisaged prop. I believe that comedy should provide ‘entertainment per square inch’. The more moments of joy or energy there are, the more the audience’s imagination, physiology and breath are kept in a good laugh-ready state. I call it ‘priming the laughing gear’ (i.e. the eyes, breath/lungs, mouth corners, skin resistance) the more charmed and primed an audience, the greater the pay-off come the key laughter points.
 
If a talented performer is given a prop they might invent a further bit of business with it. This could be an extension of the original idea or simply an entertaining flourish. Good collaboration can expand possibilities, too. I wanted Pussy Riot masks in the show. The soundscape artist, when asked to source a Pussy Riot song said: ‘They can free the slaves!’ And so we created that scene of the liberation of the slave clowns.
 
AS: Often these props become costume elements and personify the characters. How do you visualise this to enable you to be specific about the props / costume required?
 
PL: In Strange Forces, again I think about the ‘little man’. The audience really identified and connected with this character.  Here, I was using a prop piece used in vaudeville (a screen with a hole for a face and then and a manipulatable puppet body underneath), I’d also used this idea a few years back in a show about Brecht in Portugal, where we adapted the The Baden-Baden Lesson on Consent.
 
The safety goggles for the unicorn tamer were pragmatic in that they are given to NCCA students to wear when training with whips. This prop/costume piece reinforced the world the piece was set in (the pragmatic functionary garb worn by the ‘slave clowns’ - which in the main was white paper painting-and-decorating suits (which also summoned up chem-hazard resonances). In terms of the performer/character wearing the goggles, they reinforced both her lack of mastery and her vulnerability - the piece was about people being forced to do things that were dangerous. She looked simultaneously more vulnerable and more dangerous.

In Hong Kong in 2000 I created a Dark Clown show – called Hamlet or Die. The prisoners in this piece wore striped outfits and had numbers on them – this must have stuck in my head from seeing footage of the dance marathons in America in the 1930’s. In Hong Kong there was an extra amplification to this prop/costume element. In Cantonese, numbers are puns and slang. One prisoner was ironically ‘lucky’ 8. Another character was 888 – even more unfortunate!
The numbers of the two characters playing Rosencrantz and Guildenstern were puns for ‘spies’. The Hong Kong cast chose witty numbers for each character.
 
A lot of things I visualize come to me straight from the intuition. Other things I think – how can the idea be clarified here? What do the audience need to feel and understand? I talk and think this through with my collaborators.
 
There is a moment when two clown slaves shock each other using a prop which is basically a red emergency button. Andie made clown wigs out of coloured scourer pads. The jolly traditional clown look allowed audience to laugh more freely at their fear and reaction to the electric shocks.
 
One scene change in Strange Forces meant that the floor had to be wiped – to build the reality of the cringing clown slaves, I had them feverishly scrub the stage. A tussle over the wiping cloth ensued and one clown was reduced to using her own body as a dust cloth. Andie brought this idea to a fuller realisation by creating a ‘dress’ out of a length of dishcloth tube which that performer wore in this scene. 

You can now see segments of Strange Forces on the Peta Lily Company YouTube Channel.
 
At the top of the show we created a drab and desperate little circus parade – we had our safety-goggle wearing lion tamer so one performer was ‘forced’ (in the reality of the slave clown world) to play the lion. This needed to be in the spirit of the ‘make-do’ and utilitarian look of the clowns and Andie created a mane for the lion using perhaps a dish mop sewn into an easy-to-put-on-and-take-off bonnet. Good costume construction means there can be more variety and changes in a piece.
 
Andie Scott also worked for me on a circus hybrid show Rhythm Town. The diversly skilled performers needed a world to marry their different performance styles and skills together. The company became a ‘travelling troupe’ in a retro-themed world (train travel rather than jet), employing suitcases and a steamer trunk with vintage travel labels. A basket ball was being used for percussive juggling and I requested it be painted like a globe. This both served the theme of the piece and harmonized with the world music used in the show. It turned a banal prop into something clever, that reinforced the detail and magic of the world. One section in the original show was an extended piece of music with a train rhythm – we introduced a bit more magic by changing the scale - introducing a toy train to travel across the tap table and performer’s bodies.
 
The props and costumes in this show allowed the show define a world alive so the performers could concentrate on their skills rather working as actors might to create the detail of the world of a play.
 
AS: In Strange Forces for NCCA we worked with very simple costume of white 'slave clown' attire using the cheapest possible materials: paper plates for ruffs, disposable overalls for clown suits, disposable shoe covers for hats and wigs... These costumes made the characters appear vulnerable and fragile. How do you convey these intentions to the performers during rehearsals?
 
PL: I inducted the performers to the Dark Clown genre I have been developing over the last 30 years. This work extends Red Nose Clown work into a darker palette, a darker spectrum of human existence and expression. The Red Nose Clown fails and suffers indignities and so does the Dark Clown – but on the darker side, the portrayal of suffering is cleverly designed to have an implicating effect on the audience. It aims at laughter flavoured with a cringe of culpability.
 
There was a strong start to the show where one clown drags on all the rest tied together in an aerial rope. One clown passes out before they are funny across the stage. This set up the game very clearly for both performers and audience – these slave clowns are being worked almost to the point of death. Carrying on regardless is imperative. (One of the inspirations for my Dark Clown work was Jane Fonda’s character in the film They Shoot Horses Don’t They? – set in the Great Depression where she continues to dance with her dead partner rather than lose her chance to stay in the Dance Marathon (even if she didn’t win, being in the competition ensured the character regular food as opposed to starvation).
 
The students learned the style and were supported in their portrayals as a troupe of slaves by the largely monochrome yet individual looks Andie developed for each of them in the show.
 
AS: In Chastity Belt and InVocation props become part of the costume, to be added to the body and removed according to the story. When the body is not present in those objects you use them as part of scenography. In what way do these objects change once they have been part of the narrative?

​In InVocation, the armour breast plate is at first hidden, then worn, then taken off, then used to represent an ‘armoured’ male business coach character. This piece was all about me wrestling against the win/lose mentality in patriarchy’s vision of success. 

You can watch the trailer for InVocation on the Peta Lily Company YouTube Channel.
 
In Chastity Belt I use a hand-made prop (creating work on no funding): lemons on a piece of ribbon. These are at first a hag’s dugs, then become ersatz testicles, then Wonder Woman’s cape and lariat. My director Di Sherlock is very good at saying ‘use the such and such again in this moment’. It makes things more concrete and visually engaging and appealing for the audience.
 
The yellow marigold gloves are only used in the Lysistrata piece but are one of the splashes of yellow about the spare stage ‘set’. The lemon garland dresses the chair, then is worn in different ways to represent two different characters. When a piece is removed and discarded, it helps underline or highlight a transition point.
 
At a certain point the piece required a Kali necklace and I commissioned Andie to fabricate it – I would never have been able to make it. Andie ensured it was durable and good looking and that it resonated with the props I had already.

AS: Your performances offer insight and identity with the relationship between fragility and a masculine world yet allows many men access to it and to empathise. You achieve this through the humour of the dark clown - a genre which you are synonymous with - How do you identify your work within a historical context of male clowns such as Grimaldi, Chaplin and the Marx brothers?
 
I suppose every western clown follows in that lineage. As women perhaps the journey is less straightforward. It is quite possible that some female clowns have been swallowed by history – performers like mime/dancer Trudi Schoop. There seem to be no female clown archetypes like the Auguste and the circus White Clown. The lineage is patchy. When I studied Commedia dell’ Arte, the main exploration was understandably with the mask work and little guidance was given for the female characters of Columbina and Harlequina. I seens to be that female performers such as like Lucille Ball and Phyliss Diller used a kind of clown in sit-com and standup formats.

Interesting to observe that some female clown performers often dress in male attire: Angela de Castro, Nola Rae, Guiletta Masina in Fellini’s La Strada. When I started the company Three Women together with Claudia Prietzel and Tessa Schneideman in 1980, I was inspired to create a style of mime that was not presenting the archetypal ‘everyman’ but which instead showed the pain and ridiculousness of aspects of being female. We had a piece about putting on makeup, a piece about women and their handbags and what was inside them, and we created a clown-like circus using solely household items e.g. an old-fashioned handle-operated eggbeater became a unicycle, a rolling pin was weight-lifted by a strong(wo)man and an old fashioned hairdryer with hood was used as a mask to create an elephant and so on.
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I started to teach clown decades ago because a female theatre company begged me to teach them. They said they wanted to know how women could become clowns. I remember at this time, people actually had conversations about whether or not women could be funny.
 
I teach and direct in the Dark Clown genre but have not performed in this style – yet. I hope one day to create a piece where I do that. Someone once described Chastity Belt to me as ‘dark’ clowning but for me it is not in the style that I teach and direct as Dark Clown. There are serious points made in the show (moments of bite but with the humour going on around it)  – and perhaps that is what that person meant.
 
When I created my show Topless – about breast cancer, lost love and ‘getting things off your chest’ I thought it would only appeal to female audiences, but in the creation of each beat, I had my eye on what would be entertaining, and a strong instinct to avoid sentimentality or self-indulgence. I wanted the show to be funny and entertaining. I knew it needed to capture the attention at the beginning, have a sense of suspense about the outcome and a good finish. When I was small my parents went frequently to vaudeville and the pleasure of those early experiences of silliness and sexiness and a little bit of scariness and skill all performed live must have left a deep impression.
 
AS: Within these themes of loving, fragility and the survivor how does the costume identify your stage personas in Chastity Belt and InVocation for example?
 
PL: From 2002- 2008 I did not perform at all. I made InVocation between 2008 and 2010 and with Chastity Belt it was all still quite new.
 
In the early days when my work was funded I had an aesthetic to have as few props and costumes as possible. Then when I was returning to the field, I was creating work unfunded.
 
As in the early days, a new project always needs to have a photographic image to promote it – often created before the funding is secured. I asked a designer friend if she might be able to loan me a corset for a photo shoot. I thought I would wear a corset and wear boxing gloves. My friend (designer Nadia Malik) could provide no corset but there were two tutus. A red one and a white one and they served very well. It was only on the last outing of the piece that I realized these colours served the passion that was being farewell-ed and the pristine alternative (the silvery autonomous Goddess Diana) that was being embraced.
 
I always thought the tutus were glamorous. My director Di pointed out to me one day that they were clown-like! So there you go – as a mature performer, if you can’t afford glamour, then the clown will serve you well. A bit of tat = the equivalent of Chaplin’s tramp costume?
 
InVocation as a piece had a long gestation. In the creation of the piece I was healing the difficulties of events of the non-performing years…it turned out one of the themes was that of identity. The same theme that pervaded Topless I discovered, only towards the end of creating the piece and realized in fact through the creation of the piece: how do I live now I am divorced, now that I am older? With InVocation I wore rehearsal gear, yoga gear and a business suit (and of course, the breast plate). Nadia Malik had ghostly see-through plastic torsos hanging as part of the set.
 
In the recent remount of InVocation, Andie realized certain new elements to the set and costumes. In the end I strip out of the business suit and what in heck was I going to wear? It was a struggle bravely faced and satisfactorily solved by Andie. What undergarments will suit the older body, not be too revealing, not too unitard-like, not be too sexy, not too unsexy, not too sad-sack looking, not too period-specific. At the end I needed to don the breast plate again - Di wanted me to perform a speech from my play The Porter’s Daughter to highlight my decision to leave business coaching and return to theatre.
 
AS: In your performance of Crystal Lil (costume conceived, designed and made by Nadia Malik; piece directed Anton Mirto as part of the LCF MA Costume and Performance degree course show produced by Donatella Barbieri), the costume becomes an inhabited sculpture. Can you describe how this performance differs from your own work, for example did you feel restricted working within someone else's direction or was this liberating?
 
It was a great process. Director Anton Mirto made a wonderful piece and got a very different performance out of me. She also accepted my moments of collaboration during the process. And both Anton and I were both serving to realize Nadia’s concept and the story she had chosen. The costume needed to be managed well to make the most out of each moment for the character and to clarify what the character was doing. In my 1988 show Wendy Darling I had a plethora of props and before each performance would rehearse carefully each moment of prop manipulation. It’s a skill and a discipline to make your props look magical.