Tales from the Ville: Under the Big Top-Be a Clown

Something else that made 1979 my favorite year was my debut on the Palace Showboat stage soon after the ghost town closed for the season, joined by my fellow desperados in arms, Bill Humphreys and Grant-Lee Phillips. I've already recounted the melodrama part of the story, that being DOWNFALL OF THE UPRISING or WHO DO THE VOODOO,  so let's take a deep dive into the second half of that double bill, so break out your pool noodles, gang, and float along. 

WHO DO THE VOODOO?

Since the shows at the Ville were traditionally two parters (melodrama AND vaudeville, the peanut butter and chocolate of show biz), the second half of this particular show debuting at the end of 1979 was to be entitled UNDER THE BIG TOP as directed by Mr. Phil DeAngelo. At first glance, conventional thinking would at least assume these might be a circus themed olio. Well, yes and no. At our first rehearsal, Phil laid out his plans for the show. Yes, there would be circus acts, basically recycled bits from shows past. However, he wanted to expand on the concept and rattled off his ideas like clues on The $100,000 Pyramid.  The finale was to be gospel-themed along the lines of a tent revival. Midway there would be a big production number featuring the entire cast ala Broadway or, more accurately, in the manner of Music Circus. "Things found under the big top, Phil!" Grant-Lee Phillips added "How about mass camping expeditions?" As for that production number, we'll bookmark  that for now.

Being full of youthful piss and vinegar combined with the chutzpah I felt I earned from my year in the Ghost Town and working on the melodrama with Bob Gossett, I desired to creatively contribute to the olios as well. I wrote a few bits, mostly duds, but one made it through, a two-piece blackout I called it "Tex McKenna and His Dancing Bear". When introduced, cowboy Tex would draw his pistol and make his bear dance by shooting at his feet. For the payoff, the roles were reversed with the bear holding the gun, shooting at Tex to make him dance. Blackout. I played Tex with the one and only Goldie Pollard as the bear. As director, Phil changed the name of the cowboy to Wild Willy for some reason, but didn't alter it any further. For its inclusion to UNDER THE BIG TOP, I have to thank Goldie for going to bat for me. From this point on, I realized I had found a theater angel or, better yet, she found me. Because of her shining the light, I had an in-road into the theater that lasted for the next decade an. as I always said, allowed me to do everything I've ever wanted to do in show business, amazingly under one roof or big top, as it were. One stop shopping.

Joining the vaudeville cast were Lisa DeAngelo, Vincent Warren (despite what the program says, which is Joel's middle name) and Neil Pollard himself, pulling double duty managing the Chicken Kitchen and schlepping across the parking lot for a few choice moments in the spotlight. More about him later. As for Lisa and Vince, it should definitely be noted that this was where and when their relationship began, resulting in a marriage that has lasted after all these years. That's probably because they didn't get married on the Palace Showboat stage. Take it from one who knows.

UNDER THE BIG TOP began with Lisa's solo rendition of the Sondheim classic "Send in the Clowns", transitioning into "Be a Clown" with most of the cast in full costume and makeup. Over the standard six month run of the show, the clown facial paint had its variations. For example, someone (maybe me?) once drew a tic tac toe on their face. Another time, three of us-Grant (his suggestion), Cory Troxclair and myself-made up our faces as the members of KISS. Kids. Whudda ya gonna do?

Following the opening were the various circus "acts", per se, called for us to don tights (hello, dance belt!) and perform parodies of three ring performances. One of them was Grant in the role of Jugglini, a rather one note bit that he ended up transforming into comedy gold. He gathered up a bunch of whatever he could find backstage, studied them and came up with gags that were spot on hilarious, prop comedy at the speed of light. To see that teenage mind at work was awe-inspiring. He still worked in the juggling gag, lame as it was, as his "big" finish or finale (He would tell the audience in broken Italian accent, "I know that it you say. Finale.") His best gag involved the can of mixed nuts with the spring snake inside and announce that he would now recreate a scene from the movie ALIEN. He'd hold the can up to his chest and say "I can't eat no salad", then open the can to release the "chestburster" within. Absolute freaking genius. 

NEXT UP-WORKING WITH NEIL POLLARD

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