Performance – Page 3 – Paul Binder Blog

Big Apple Circus Family Benefit for our Community Programs

Nov 252014

This past weekend was the annual Big Apple Circus Family Benefit. It’s a terrific event where supporters of our not-for-profit circus get to see the year’s show and interact with the performers. Before the performance of Metamorphosis kids were invited to join Clown Care Unit members in the reception tent where they get to learn juggling, wire walking (very low), plate spinning, balancing, and other circus skills. During intermission there was an auction for kids (or their parents) to become a guest ringmaster for a future performance. And if that wasn’t enough, after the show there was dessert in the ring!

The auction and event were staged to help raise funds for our five award-winning community programs:

Clown Care, the signature community outreach program of the Big Apple Circus, brings the joy of classical circus to hospitalized children at 16 leading pediatric facilities across the United States.

Circus of the Senses is a unique performance that enables children and adults with vision or hearing impairments and other disabilities to experience the magic and joy of the circus.

The mission of Circus After School is to provide a unique opportunity for at-risk youth to develop life-enhancing skills such as teamwork, commitment, and responsible risk-taking through a structured program of learning and performing the circus arts.

Vaudeville Caravan brings the uplifting power of the circus to delight the residents of nursing care facilities.

The mission of Circus for All! is to give every child and every family the opportunity to see a live performance of the Big Apple Circus. We distribute up to fifty thousand free tickets every year.

Family Benefit - Dr. Ima Conused and Susan Ayala at New York-Presbyterian, photo by Susan Watts

Clown Care: Dr. Ima Confused (Julie Pasqual) entertains Susan Ayala and her mother at New York-Presbyterian, photo by Susan Watts

Family Benefit - Rob Torres teaching Franklin Kocheran how to twirl a plate, photo by Amel Chen

Circus of the Senses: Rob Torres (who appeared in last year’s show) teaches Franklin Kocheran how to twirl a plate, photo by Amel Chen

All of us at the Big Apple Circus are extremely thankful for the support of our contributors, and we enjoy spending the day interacting with them.

Judging from applause, one of the favorite acts at this year’s family benefit––and one that certainly fits the theme of metamorphosis––was the Smirnov Duo’s quick change act. Quick change routines are more than just a little circus magic. They’re a lot of circus magic. They require many, many, many rehearsals to get the exact timing perfect. Olga and Vladimir have been working on their timing for over twenty years, working together on quick change along with their other circus skills. The costume designs are splendid, and the ingenuity that went behind the quick change act in Metamorphosis wins over the crowd. When you come see the show, don’t blink or you may miss Olga magically changing her costume 9 times in less than 3 minutes right in front of us without us having a clue of how it all happens. I know how … it’s magic!

The Smirnov Duo in “Metamorphosis,” photo by Bertrand Guay

Great New York Times Review of Big Apple Circus

Nov 072014

Photo by Piotr Redlinski for the New York Times

I’m thrilled that the Big Apple Circus‘s new show “Metamorphosis” received an amazing review in the New York Times. The review (“Contortions, Clowning and Confetti”) had wonderful things to say about both the production and the company.

“You could say this impressive production starts modestly, only to spread its wings and soar.”

“This company, now in its 37th year, doesn’t only have awe-inspiring acrobatic skills; it has a lot of heart, too.”

Thank you, Andy Webster, for your gracious words.

If you haven’t read the review yet, you can read it on the Times website by clicking on the link here. And don’t forget to visit the Big Apple Circus soon while it’s still at Lincoln Center.

Photo by Piotr Redlinski for the New York Times

The Very First Circus of the Senses

Oct 072014

While writing the blog about my most recent stint with Circus of the Senses, I was reminded of the very first Circus of the Senses in 1988. I was one of three commentators at that very first event alongside two men whom I greatly respected and admired: Marty Glickman and Dave Jennings.

Marty had been one of my boyhood heroes. If his name sounds familiar but it’s difficult to place … Marty was a professional athlete as a young man, born and raised in the Bronx. At the 1936 Olympics he was scheduled to run in the 4 x 100m relay for the United States. However, the day before the race, he was swapped out. Why? Well, Hitler’s Berlin in 1936 was not the most encouraging place for a young Jewish man to succeed. Later in life, Marty went on to be a radio announcer/commentator for several New York sports teams. He was the first television announcer for the NBA and one of the first announcers for the (then) New Jersey Nets. He also worked with the New York Knicks and the New York Giants for over twenty years, as well as on some New York Rangers broadcasting. If any of you can remember back that far, Marty was the man who came up with the slogan “New York Football Giants.”

The other commentator was Dave Jennings. Dave was a football punter who played for the “New York Football Giants” and the New York Jets. After his career with the NFL as a punter, he worked as a radio commentator for both the Giants and Jets games from the booth and in the locker room, covering player interviews both pre and post game.

The commentators at the first Circus of the Senses. This picture is from a plaque that reads: THANK YOU FOR MAKING "CIRCUS OF THE SENSES" A TRULY MEMORABLE EVENT FROM YOUR FRIENDS AT WCBS NEWS 88 NOVEMBER 18, 1988

The commentators at the first Circus of the Senses. This picture is from a plaque that reads:
PAUL BINDER
THANK YOU FOR MAKING
“CIRCUS OF THE SENSES”
A TRULY MEMORABLE EVENT
FROM YOUR FRIENDS AT WCBS NEWS 88
NOVEMBER 18, 1988

The photograph above is the only one I know about from the first Circus of the Senses. In the back row from right to left are Marty, me, Dave, and Mr. Gordoon (Jeff Gordon). The three boys in front were visually impaired and are listening to our commentary through their personal hearing devices.

All of this to say that my fellow announcers knew their stuff. In fact, Marty was such a great radio announcer, that comedians often joked that he could describe things that weren’t happening. Marty could fix any improper call with a “lateral”: “He’s tackled on the five yard line. Wait, wait … it’s a lateral, and it’s a touchdown!”

Now, can you imagine how excited I was for the very first Circus of the Senses as I stood between Marty and Dave? Me, a Brooklynite, sandwiched between two iconic New York sports celebrities. I was thrilled.

My longtime performance partner Michael Christensen joined me as commentator during the third year of Circus of the Senses, and since that time, the two of us have done many events together.

Circus of the Senses, Dulles 2014

Oct 032014

This past week, I was delighted to be able to participate in the latest Big Apple Circus presentation of Circus of the Senses in Dulles, Virginia. Circus of the Senses is always a positive experience, and it truly demonstrates the power and joy that the circus can provide its audiences.

Jenny Vidbel’s animals were a favorite during the Touch Session for the sight-impaired kids after the show

During Circus of the Senses, the Big Apple Circus performs a slightly abridged version of its full productions. But in order to assist the children with various disabilities, the program offers accommodations to the audience members. There are sign language interpreters for the hearing impaired. And for the visually impaired, there are typically two commentators situated in the back row of the big top who describe the circus acts in vivid detail into microphones whose audio is transmitted to personal listening devices. That’s where I came in.

(I have a whole other story to tell you about my first two narration partners for Circus of the Senses… but that’s to come next time.*)

Here are the trampoline acrobats, the Aniskin Troupe, performing a different act, flying trapeze, from the Big Apple Circus “Metamorphosis”

I was commentator to the wonderful descriptions of Bill Boots. Bill is a clown in the Washington and Baltimore Clown Care Units, serving both the Children’s National Medical Center and Johns Hopkins. Of course, he wasn’t in his clown costume for Circus of the Senses. He is a great describer of the acts and a generally big-hearted fellow. To say the least, he makes it easy for me to comment on the acts. He describes so well that I only need a few words to add some humor and liveliness to the description experience. Take for example …

During the trampoline act, Bill described in detail the various flips and tricks that the acrobats were performing. He needed absolutely nothing from me. Remember, the purpose of the commentary is to enable visually impaired audience members to experience the circus acts. Descriptions are important for this audience because their image of the act must be created entirely by words, along with the musical accompaniment of course. But that doesn’t mean that a simple play-by-play of the action as it’s taking place will be sufficient enough to communicate the entire circus-going experience. So, as Bill was creating the visual picture, I was able to add colorful commentary. For the trampoline act, I chimed in a very soft “boing” alongside Bill’s description of the act every time the acrobats would hit the trampoline and fly back up into the air. Bill actually started giggling during his description. Humor and lightheartedness in the commentary helps create a better sense of the circus experience. It’s great fun working with Bill. He was so good that I got to enjoy watching the acts while being a silly version of my usual self.

And I received positive feedback after the performance as well. One of the funders from a foundation came up to me and asked, “Are you the one doing the ‘boing’? That was fantastic.” And that’s what the Circus of the Senses is about—creating a positive performance experience.

The circus is for everyone.

Well, the Big Apple Circus is finishing up in Dulles, VA this weekend, and then the big top is making its trek to its home at Lincoln Center.

*Footnote: My performance partner Michael Christensen joined me in the third year.

Shakespeare in the Park

Jun 122014

Lily Rabe and Hamish Linklater as Beatrice and Benedick
Photo by Joan Marcus

If you have the opportunity to go see Much Ado About Nothing in Central Park, do it. And if you don’t have the time, consider making some. It’s a wonderful production well worth waiting in line for tickets (… or paying someone to wait in line for you).

I saw Much Ado last night and was a joyous celebration of great theater. The Delacorte Theater in Central Park is a special and wonderful venue, and the free Shakespeare in the Park program has a reputation for putting on great productions. Much Ado is no exception. The direction is creative, the set is incredible, and the actors are all terrific.

If you have some doubts about how amazing the production looks, check out this promotional video put out by the Public Theater.

Brian Stokes Mitchell as Don Pedro with Steel Burkhardt
Photo by Joan Marcus

I was actually in a production of Much Ado just out of college. At Dartmouth in the Summer of 1962 I was in the Hopkins Center Repertory Theater. Of the company, half of us were students and half professional Equity actors. I played Borachio who conspires with the villainous Don John in his plot against Claudio and Don Pedro. Borachio in Italian means “drunkard.” When I was in the play, though, my Italian was … how shall we say … a little rusty, so it never occurred to me to play the character as a drunk. Well, hindsight is 20/20, and I’m happy to say that the Borachio in Shakespeare in the Park’s production is a little better than I was at Italian. Go see him and the rest of the marvelous cast led by Hamish Linklater and Lily Rabe.

The show runs Tuesdays through Sundays until July 6, and on July 22 performances of King Lear starring John Lithgow will begin.

Hamish Linklater eavesdropping on John Glover, Brian Stokes Mitchell, and Jack Cutmore
Photo by Joan Marcus

Performing Showtunes

Jun 062014

Almost two months ago, I was invited to a “dinner and going away party” for a couple of friends. Bradley Jones coordinated and would host the party in celebration of his colleague Donna, an eminent psychologist. Donna, who was retiring, was headed to California with her husband Don. The gathering was arranged so everyone could send them off with warm wishes. After dinner, there were to be tributes planned for Don and Donna: many shared thanks and reminiscing about old stories and times shared. I … had prepared a surprise.

A couple weeks before the party, Bradley (an eminent psychologist in his own right) sent me an e-mail asking if I thought he should have a pianist at the party. Bradley—in a former life—was in an original production of A Chorus Line on Broadway and he happens to have a baby grand piano in his Greenwich Village apartment, so I’ve come to expect some sort of music when I go to his parties. I told Bradley that of course there should be music, and he teasingly responded, “Fine, but only if you sing.” I jokingly retorted, “I only sing in the shower,” but Bradley cleverly offered, “I’ll supply the shower.” It seemed like I wasn’t going to get out of this one.

Vivian Blaine, the original Miss Adelaide in the Broadway, London, and film productions
Photo from the Suzanne Thierry archives

Bradley and I agreed that we could lead the entire room in a couple choruses of “California Here I Come” as a final send off, but I was going to have to sing something on my own as well. A couple days later I was sitting with the Lotos Club Theatre Round Table discussing what song I could sing. Someone suggested “Adelaide’s Lament” from Frank Loesser’s Guys and Dolls. I’ve always thought that “Adelaide’s Lament” is one of the cleverest Broadway showtunes ever written. The character of Miss Adelaide is a showgirl. Vivian Blaine originated the role on Broadway in 1950 and was so good she also starred in the 1955 film with Frank Sinatra and Marlon Brando. Gail VanVoorhis’s voice boomed from across the room, “You absolutely must do that song.” Fellow member Gloria Shafer even agreed to help me practice.

So, the program was set. I would sing “Adelaide’s Lament.” Bradley decided he could perform the song “Very Soft Shoes” from the show Once Upon a Mattress, and together we settled on the duet “Brush Up Your Shakespeare” from Cole Porter’s Kiss Me Kate. It’s a great song with lots of revery (and more than a couple of hilarious puns).

However, I still wasn’t sure how to introduce “Adelaide’s Lament” as a tribute. Bradley asked, “Do you want to do the number in drag?” “No,” I said, “I’m sure there’s another way to present the song where I can still perform in Adelaide’s voice.” By the way, the room was FULL of psychoanalysts because they were all Donna’s friends and colleagues. When I rehearsed with Bradley’s brilliant accompanist, Dennis Buck, he had a fantastic idea to incorporate the idea of psychology into the performance.

Marlon Brando and Frank Sinatra shooting craps in the 1955 film “Guys and Dolls”

In introducing the song, I made up a story about how Donna had told me about a patient–who we would call “Adelaide”—who had turned to psychology for help after her fiancé of fourteen years–who we would call “Nathan”—was an inveterate gambler and refused to set a wedding date. I performed half the song as a psychoanalyst giving Adelaide advice (which I pretended to read from Donna’s own published psychology book), and then I slipped into Adelaide’s voice to respond (having been born and raised in Flatbush, I’m well versed in Brooklyn-tinged patois).

Well … Don and Donna had a terrific time at the party, and “Adelaide’s Lament” was a real crowd pleaser. And for me it was a dream come true. I finally got to sing a Broadway showtune for an appreciative audience!!!

Gloria Shafer has already talked to me about performing for the annual show “Lotos Got Talent.” I’d be excited to work again with the terrific accompanist Dennis, who not only gave me some great musical training but who also beautifully adapted to the surprises of a live performance.

Vivian Blaine from the 1955 film “Guys and Dolls” in her alley cat costume for the number “Pet Me, Poppa”

L’École Nationale de Cirque, Montreal

Jun 022014

L'Ecole Nationale - L'abri

On my brief trip to Montreal this past weekend, I was thrilled to be invited to attend two performances by the National Circus School in Montreal (L’École Nationale de Cirque). These were presented at TOHU, the wonderful permanent circus performance space.

The National Circus School is the largest school in the Americas devoted to circus arts training It offers an enormous variety of programs to prepare students for professional careers including college-level certification.

These were two showcases that exhibited the excellent world class training and discipline imparted by this school, its teachers and staff. In addition, the young artists are extraordinarily well conditioned. The ensemble work is excellent. L’École Nationale de Cirque is to my mind, the finest circus school in the world currently.

The shows that I saw last week were part of an annual showcase that the School produces for graduating students. Each is featured in an act of their own that is a product of the three year schooling and training, tied together in a performance created by a professional team of directors, designers and choreographers.

The two shows were titled L’abri (Shelter) and La Matrice de Morphée (Morpheus’ Matrix). The former L’abri was created around ideas of transition and transience, in-between spaces, and the show’s creator and director Gioconda Barbuto wanted to highlight “the passionate energy of youth.” The second show, La Matrice de Morphée, created by director Michael Watts, was “a journey punctuated with humor and flashes of great energy” that played on ideas of modern life and social reality. Both shows were simple and excellent circus shows, but the real drive and entertainment behind each show came from the student performers. There was some extraordinary talent.

The shows run through next weekend, and if you’re in Montreal don’t miss them. Watching these young people perform, I feel the future of the circus arts is in good hands.

L'Ecole Nationale - La Matrice de Morphee

Bello Mania

Apr 052014

I had the great pleasure of being invited to attend the opening night performance of Bello Nock’s new show BELLO MANIA at the always delightful New Victory Theater.

Bello is a brilliant, internationally renowned clown and “daredevil.” He’s also a great friend. I had the pleasure of working with him at the BIG APPLE CIRCUS during four separate seasons. His repertoire includes a wide range of extraordinary acts, always performed with his unique sense of humor and warm connection to the audience.

Topping all of that, his speciality act takes place on a 42-foot high sway pole. (It looked at least 99-feet high to me!) The sway pole is his family’s trademark. He grew up training and developing his skills, first performing the act when he was only 15 years old.

Delightfully populating the stage alongside Bello in this new version of the show is a handful of talented performers. Matthew Morgan is the M.C. for the evening. He’s a bright and cheerful actor and comedian who brings vitality to what, in the hands of a lesser performer, could be an insignificant part. Especially impressive is his ability to be “present,” to be able to react with humor to whatever is happening around him onstage. He’s very clever.

Matthew Morgan
Photo by Jamie Barker

Angelo Iodice (“AJ Silver”)
Photo by James Keivom

Also in the show is Angelo Iodice, who performs as the character “AJ Silver.” He’s a cowboy from the Bronx, yes THE BRONX! After the show at the opening night festivities I playfully remarked to Angelo that he should be introduced as being from Arthur Avenue, the great Italian neighborhood and the heart of the Bronx’s “Little Italy.” Angelo said that his grandfather was actually from there! Originally trained as a rodeo trick rider, Angelo’s variety acts include trick roping, bullwhip artistry, and boleadoras. A “must see” moment in the show is his bullwhip duet with Bello. I’m not giving away the surprise ending, but I bet you’ll love it.

BELLO MANIA is a super show for families, and Bello’s own family is intimately involved in the show. Joining him onstage is his daughter Annaliese who I’ve known since she was an infant. She has become a very good performer in the air, on the high wire and with feet firmly on the ground. Bello’s wife Jennifer is the highly experienced, well-versed writer and director of the show. She is a rock of support for Bello.

After the performance I was happy to meet Heidi Brucker Morgan and Andrew Pratt as well.

I had a great time and recommend that everyone go see BELLO MANIA while it’s in town. The show runs through Sunday, April 20.

Bello Mania - Sway Pole, ELAINE LITHERLAND

Bello Nock atop a sway pole
Photo by Elaine Litherland

Phoenix Sculpture at St. John

Mar 102014

Last weekend (March 1) I joined Mary Jane Brock, the Vice Chairman of the Big Apple Circus Board of Directors, to see an amazing art exhibit at the Cathedral of Saint John the Divine, and I wanted to let you all know about it so that you don’t miss out.

St. John’s regularly houses a collection of visual arts, but they also display travelling art exhibitions. The current exhibition that opened on March 1 is the monumental art project Phoenix by international artist Xu Bing. And “monumental” is the word! The exhibit consists of two sculptures, a male and a female phoenix, that measure 90 and 100 feet long. In case you didn’t catch that … each bird sculpture is approximately 2.5 city blocks in length! Together they weigh an impressive 12 tons, and they are currently suspended in the Nave at St. John’s. Pictures simply cannot do the birds justice, but I’m gonna try.

Photo by Hideo Sakata

Each is composed entirely of debris gathered by artist Xu Bing from amongst Beijing’s numerous construction sites that popped up across the city in preparation for the 2008 Summer Olympics. This is only the second time that Phoenix has been on display in the U.S., and the cathedral seems a great fit for these mythic creatures.

Photo by Joe Griffin

Phoenix - Xiao Di, courtesy of Jewish Children's Museum

Yang Xiao Di performing his “Chinese Chef” juggling act
Photo courtesy of the Jewish Children’s Museum

I attended the opening ceremony at St. John’s both to admire the exhibit and to support representatives of the Big Apple Circus who performed as part of the celebration. Tanya, Teresz and Kim performed stilt walking, and Yang Xiao Di did his “Chinese Chef” juggling routine. Philippe Petit performed on the tight wire accompanied by his fellow artist-in-residence Paul Winter. Both Xiao Di and Philippe are featured in my memoir Never Quote the Weather to a Sea Lion (and Other Uncommon Tales from the Founder of the Big Apple Circus).

Phoenix - Philippe Petit, photo by Fred R. Conrad

Philippe Petit walking on a tight wire to St. John the Divine in 1982 for a dedication ceremony at the cathedral
Photo by Fred R. Conrad

Also, old friend and creator of the Greenwich Village Halloween Parade, Ralph Lee, performed puppetry. It was a spectacular and heartwarming event!

The Synod House at the Cathedral was an early training home to the Big Apple Circus and its school programs. Every time I visit the Cathedral it brings back waves of memories of those very humble early days.

After The Moth

Feb 182014

The Great Hall at Cooper Union after The Moth

It’s been a week since The Moth event, and I think I’ve almost fully recovered. It was an incredible night, and I was honored to share the stage with a handful of incredible storytellers. A stage, I might add, on which Abraham Lincoln once stood. Oy!

First, a correction … Last week before the event I said that Peter Sagal was going to be the MC for the evening. Well as it happened, Peter was one of the other storytellers, and oh boy, was his story excellent! As it turned out, the host for the evening was the writer and performer Jessi Klein.

Photo from Comedy Central Presents: Jessi Klein

Jessi is currently the head writer and an executive producer for the show Inside Amy Schumer on Comedy Central, and she’s a regular panelist on Wait Wait … Don’t Tell Me! And she did a fantastic job as MC. Between storytellers, Jessi shared her own brief anecdotes dealing primarily with the subject of how flirting can lead to disaster—a creative way to tie together the evening. After all, the title of the event was “Flirting with Disaster: Stories of Narrow Escapes” and last week was Valentine’s Day.

The air date is still yet to be determined, but you can be sure that I’ll tell everyone I know when the date and time have been finalized.

I don’t want to give away any of the stories that were shared last week so that you can all thoroughly enjoy them during their broadcast, but I do want to encourage you to be on the lookout for my fellow storytellers: Tara Clancy, Nicole C. Kear, Shannon Cason, and Peter Sagal.

Tara Clancy

Nicole C. Kear

Shannon Cason

Peter Sagal

When you listen to the broadcast, I’m sure you all will be as enthralled by their stories as were the 900 audience members at Cooper Union last Monday night.

A huge thanks to everyone at The Moth Radio Hour for making me (how shall I say?) sweat ….

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