Thanks to my friend and neighbor Ute Luxem for facilitating this donation by Profile Bank to HAVEN to support the Safe Kids Strong Teens educational program!
On May 21 I held a workshop on “Finding Mindfulness Through Clown” at Yoga in ME to benefit HAVEN. This was an experiment to see if I could bring my ideas and interpretations of clown to non-theatre audiences through the yoga setting. Well–and I actually laugh out loud whenever I think about this–the answer for now is a resounding NO! We had a marvelous time working for three hours with our host, yoga teacher and Yoga in ME owner Nancy Garnhart, and several of my dear friends from the theatre community, who were eager to explore clown through the particular lens of mindfulness.
Yogis and HAVEN supporters stayed away in droves, attesting either to the difficulty of picking a good day for a workshop during graduation and wedding season . . . or to the ongoing hard sell that is CLOWN in a world haunted by real-life Bad Clowns like John Wayne Gacy and Stephen King’s fictional predators. (Lately I have been noticing that some people in law enforcement or who create fictional police procedurals call criminals “bad actors.” I agree that bad acting can FEEL criminal when you watch it, but it isn’t technically illegal. And all actors must do it in the course of their careers,a t some point.)
So I’m accepting any suggestions for the Great Clown Re-Brand! The term “Physical Theatre” sounds kind of clinical, but “improv” misleadingly points to other forms of theatre. I probably need to repurpose an innocuous word like “skylight” or “purple.” Please give it some thought and get back to me on that, will you?
But the workshop was a blast and I loved every minute! We explored physical leads and their relationship to status, we created soundtracks as well as physical “zeroes” for our clowns, we allowed clowns to meet and have little status battles, and we wound up the afternoon with classic solo turns interacting with the environment and a prop. Everyone brought some new character to life over the course of three hours–it’s my favorite kind of theatre to watch and I’m always thrilled to make a space for that work.
Thanks to Nancy Garnhart for hosting and for publicizing the event to bring more attention to HAVEN in Southern ME and Portsmouth.
A few days later, I was honored to help represent HAVEN at the Seacoast Women’s Network’s networking night. I joined Joi Smith, Lori Waltz-Gagnon and Debra Altschiller. I really love spending time with every member of the HAVEN Board of Directors and Staff. I look forward to meeting more of you in the future!
Happy and healthy summer to you all, and I’ll keep you posted on my next adventures . . . MAKE SURE IT’S ME will be popping up in various ways in 2016!
Last fall I shared with you my work exploring the connections between Yoga and Clown. I was working with Giving Tree Wellness in Haverhill to bring a workshop there. Well, it didn’t quite pan out due to Holiday Madness! But I have found a home for the debut of Finding Mindfulness Through Clown at my dear friend Nancy Garnhart’s studio, Yoga in ME.
The workshop will happen on May 21 from 1-4 and all proceeds will benefit HAVEN. To learn more or sign up, click here. And I have great hope that I will bring the workshop to Giving Tree at some point in the near future.
Here’s a video Nancy shot after our “preview” of the workshop of me discussing Clown. That’s probably enough hyperlinks for one post, so I’ll wish you happy springtime for now.
I am delighted to share the news that I’ve been invited to serve on the Board of Directors for HAVEN NH, the new umbrella organization formed when SASS (Sexual Assault Support Services) and A Safe Place merged last November. My Mom was a SASS Board member for many years and I have hoped to find some way to contribute my energy to their cause. Now I’m thrilled to help them pursue their mission of protecting, sheltering, advocating for and educating New Hampshire families grappling with domestic violence and sexual assault. HAVEN provides a crisis hotline; advocates who can escort victims to emergency rooms or shelters; classroom educators who use puppets and role play to discuss body safety, boundaries and other issues; and a shelter for women and families in need. While HAVEN is based in the Seacoast, they also coordinate with the NH Coalition Against Domestic and Sexual Violence to help families across the state.
I will be learning much, much more about this great organization’s past successes and plans for the future, but for now I refer you to their website at HAVEN. Also, I have jumped feet-first into the No More Challenge fundraiser, in which HAVEN is competing to win $50,000 from Verizon to further their goals! If you’d like to contribute, I have made a fundraising page linked to HAVEN’s CrowdRise campaign, and you can find it HERE.
I’ll leave you with a great picture of two HAVEN educators, Emily Murphy and Rhiannon Duke, in the classroom with their puppets, a heart-warming image to balance out the seriousness of the cause. Love to you all!
In the last week of January I went to California to attend the 8 Tens @ 8 Festival presented by the Santa Cruz Actors’ Theatre. I went because my playwright mentee, Keith Sanders, had a play in the festival. He could not attend himself because he is incarcerated in Rosharon, Texas.
Keith’s play is entitled Rock, Paper, Scissors. It was directed by Evan Hunt and featured the talents of Matt Clarke, Scott Kravitz, Adrian Miller and Gail Borkowski. SCAT Artistic Director Wilma Chandler corresponded with me and Keith throughout his application to the festival and the subsequent rehearsal period. And, as is always the case with established, successful festivals like the 8 Tens @ 8, there was a substantial team of actors, directors, designers, stage crew, and front of house people working together to make the whole event come together. I was extremely impressed with the entire experience!
The festival was held at the Center Street Theater in downtown Santa Cruz. It is part of the Santa Cruz Art Center, a lovely building with gallery spaces and small arts-oriented businesses in addition to the 89-seat performance space. The theatre itself has a raked auditorium which is cozily carpeted and the sight lines were perfect for the well-lit stage. Rock, Paper, Scissors is an intense and enigmatic short play that was quite unlike anything else in the festival lineup. Set in an execution chamber, Keith’s script specifically calls for an African American woman to represent a prisoner being prepped for execution, while three guards trade quips about religion and philosophies of responsibility. The set-up of the execution requires two guards to push one button each simultaneously, in an attempt to provide a kind of anonymity as to the identity of the actual executioner. But two of the three guards play Rock, Paper, Scissors during the course of the play, in an attempt to subvert the absurdity of the “anonymity” and just assign the job of execution to one person. This appears to be their routine, but it is unclear what the stakes are–will the winner get to kill the prisoner as his reward? Or is the prize a “get out of killing someone today” card? In a flurry of movement at the play’s climax, the winner turns out to be the one who pushes the buttons which execute the prisoner.
The ending of the play is ambiguous as written–do the guards want to win the game so they can be the one to commit the act of execution? Or are they playing to get out of the responsibility, but the “winner” changes his mind at the last minute? The director and cast invited me out for drinks after the show to discuss the script’s challenges and the discoveries they had made as they staged it. In exploring their back stories, the cast had come to a kind of consensus that the guards were essentially good people who did not want the responsibility of executing prisoners, and so had developed this game of chance to give someone an “out” every time they had this duty. But they interpreted the actions of the “winner” to mean that, at the last minute, he did not want the “loser” to have the execution on his conscience, so he pushed the loser out of the way and pushed the buttons himself. I was intrigued by their optimistic read on the script. I had thought the script had an essentially pessimistic view of the guards, in their callous treatment of the silent prisoner and their focus on the game. In my reading, the winner got exactly what he wanted–to be unambiguously responsible for the prisoner’s death. The “why” of his action is elusive, but it could be a lust for power, a desire to see guilty people punished, the rush of competition, a means of fighting boredom . . . it could even have its roots in the specific race of the prisoner.
The cast and director made some phenomenal choices that increased the disturbing power of the script. The intro music was Kanye West’s “Jesus Walks.” From the moment this track started in the dark scene-change interval between shows, the music announced that Rock, Paper, Scissors was probably not a meet-cute story or mild dramatic meditation about race-neutral (read “white”) themes. The cast also had some technical challenges with the set-up: Gail had to be strapped to a gurney held at an angle on a temporary platform, so this took time and careful attention to arrange safely. Evan and the actors decided to start the guard’s dialogue while they were still strapping Gail in so they could have full stage light and all the time they needed to assure that she was safe. Gail told me in an email after my trip that this flexibility came in handy during the final weekend when her straps got bound up and took a long time to arrange. It took so long, she was wondering if she should plan a jailbreak! I actually love watching actors work out this kind of problem, because that’s what people do all day long–fix snagged equipment or pick up things they’ve dropped. Watching people mentally and physically adjust to unexpected changes in the onstage environment is fascinating to me.
Gail did some research on cases of African American women who have been executed and learned that they sometimes sang hymns at the end. And so she added an element to her performance that was completely unexpected to me from Keith’s script: after the guards received the phone call instructing them to follow through on the execution, Gail, who had been completely silent throughout the play, began to sing. It was chilling and sad and massively magnified the tension in the theatre. In keeping with her singing, Evan chose for his outro music “I’m Free” by Milton Brunson and the Thompson Community Singers, a soulful track that sounded like a funeral dirge in this context. I don’t know for sure how everyone around me was feeling, but I’m pretty certain that this audience hadn’t expected to bear witness to a black woman being strapped to a gurney by white men and then hear her sing hymns of praise and hope in the moments before the white men killed her. This was just a ten-minute play, but the audacity of Keith’s writing and the courage of this cast to stage it as written made a huge impact on me.
I have been able to talk to Keith a bit on the phone about the show, although there was a problem with the phones cutting out and we kept getting interrupted. I wrote to him at more length about my response and about the ideas and questions of the cast. I’m waiting to hear if he has more to say about it. I know Keith is proud that his work was represented at the 8 Tens @ 8 Festival, and it was enormously rewarding for me to participate in his collaboration with the Santa Cruz Actors’ Theatre. Kudos and thanks to Wilma, Evan, Matt, Scott, Adrian and Gail for their time and talents!
Happy New Year, everyone! 2015 was a time of sadness for my family, as we lost my mother Elaine in June after her long struggle with lung cancer. I am glad to say that I am picking up the threads of various projects I had put aside while I was caring for her and I hope to report on big doings in the coming year.
To start off, I will mention that Mindfulness Through Clown, which I announced in December, was postponed due to holiday madness. But I am actively developing this workshop with my colleague Nancy Garnhart of Yoga in ME and will let you know when it is ready to roll out.
In the meantime, my prison playwright mentee Keith has had a ten-minute play accepted to the Santa Cruz Actors’ Theatre’s 8 Tens Festival, which opened last weekend! I will be heading there next week to see Keith’s play myself, but the director has already sent me some pictures. Here are some production photos of Rock, Paper, Scissors, written by Keith Sanders, directed by Evan Hunt, produced by Wilma Chandler, and photographed by Jana Marcus:
One of my friendships that grew out of the MAKE SURE IT’S ME project is with Whitney Willman, whose professional work has focused lately on yoga instruction for veterans with various forms of trauma, including physical injury, TBI, and PTSD. Our discussions about using various complementary approaches to heal trauma let me to share with her my passion for European-style clowning. Unlike the Barnum & Bailey style which often focuses on the payoff of a funny gag, the clowning I pursue is about seeing the world freshly through the eyes of a pre-socialized creature. The clowns I unleash in classes and workshops have more in common with young dogs, toddlers, and people on the autism spectrum than with birthday party entertainers (or serial killers driving ice cream trucks in our paranoid fantasies).
Studying clown requires the performer to slow down their mind and look at or listen to or feel or smell one thing at a time. I mentioned autism because autistic people often feel sensory overload due to inability to prioritize which stimuli to attend to and which to ignore. A clown is similar: everything is fascinating and new to them and they may value a small piece of debris and a new person onstage in the same degree. They may also need to back off of a stimulus if things become too numerous or intense in their environment. These qualities help us to see the value of people and things in new ways and they also give clown its unique rhythm of notice/examine/share discovery with audience/then react. This is the same rhythm you often see with dogs or small children who might like the box a toy came in better than the toy, and who will also check in with their audience frequently for input on how to react. In clown performances, the audience has the rare delight of being included every few seconds, something that does not happen in fourth wall realism, which has dominated American and European stages (and screens) for the last hundred years or so. And the novelty with which a clown approaches things usually leads to marvelous discoveries: a metal flashlight can be deliciously cold against your cheek; the sounds of the street through the wall are like music and can be listened to for minutes at a time in rapt stillness; a potato masher and a laundry basket can play hide and seek together and the rules of this found game can become surprisingly complex yet completely legible to onlookers. (When teaching I usually leave off the list of sensory interactions “to taste,” not because clowns don’t want to taste things but because it’s wise to discourage students from putting random objects or people in their mouths in the studio, as elsewhere.)
After I described some of this to her, Whitney decided she wanted the chance to learn clown from me. So I’m creating a workshop called Mindfulness through Clown which will emphasize the clown qualities of presence in the moment, curiosity, lack of judgment, and access to joy. I’ll be rolling this out for the first time at Giving Tree Wellness and Yoga in Haverhill, MA, where Suzanne Borgioli will host us. I’m handling registration, so you may email me at Leslie@lesliepasternack.com if you’d like to participate. Huge thanks to Suzanne and Whitney for this opportunity! I will report back after the workshop to share what happens.
Last Thursday, October 8th, a group of veterans helped me present my traveling version of Kate Wenner’s MAKE SURE IT’S ME at the Manchester Vet Center in Hooksett, NH. With the help of counselor Mearlene Filkins, who joined me in reading the educational material about Traumatic Brain Injury, and the coordination of Team Leader Colleen Moriarty, we presented to a group of about fifty in the Vet Center’s welcoming, well-appointed conference room.
This was my second time using the model of directing a group of volunteer readers nominated by the venue itself. The first time my readers were members of the student veterans’ group at the campus of Greenfield Community College in Greenfield, MA. This time, Mearlene invited community members who attend the Manchester Vet Center regularly for various kinds of support to step up and share their time and talents by acting in this reading. I was blown away by the intelligence and emotional courage of these readers. These two men and two women, who clearly had put their hearts, minds and bodies on the line in service to their country, were serving again by spreading the word about the effects of TBI on veterans and their families. The audience was extremely responsive to their portrayals of injured veterans and their struggling caregivers. Maybe it was the dueling apple crisps baked by two community members and enjoyed during intermission, but I swear the audience did not want to leave! Many observations and questions were shared during a talkback with Susan Burns, Nina Romano, and Sherry Thrasher, all clinicians from the Manchester VA Medical Center with expertise in treating TBIs. We were even able to connect an audience member on the spot with resources for TBI screening. Thanks again to Colleen, Mearlene and all the staff at the Vet Center for making this event possible.
As always with the MSIM project, I was thrilled and humbled by this experience. There was a lot of support in the room for more MSIM programming, so stay tuned for news as I follow up with my new contacts and continue to spread the word. For more information on the history of the project, or to find resources, visit the MSIM home page.
I’m delighted to bring the MSIM traveling presentation to the Manchester Vet Center on October 8th at 2 pm! A team of veterans will read the dramatic roles and we’ll have a talkback with clinicians from the VA’s TBI clinic. Thanks to Colleen Moriarty and Mearlene Filkins for bringing me and assembling the team. Admission is free but seating is limited, so RSVP by September 30 to Selena.firstname.lastname@example.org!
Well, the cast and crew of Duck and Cover rocked audiences during opening weekend! In the midst of scorching temperatures and electric fans, Kim, Shawn, David, Jim, Alan and Michael elicited applause, cheers and even some appreciative catcalls and standing ovations. Here’s what the critics had to say:
Catch the show for the next two weekends, we close on September 20th! Visit playersring.org for details!