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The Sweetest Crazy Clown
By MARK BLANKENSHIP
Tuesday, July 08, 2014  •  
Tue Jul 8, 2014  •  
Off-Broadway  •   0 comments Share This
She’s about as angelic as it gets with this twisted show.
Welcome to Building Character, our ongoing look at performers and how they create their roles

Considering all the gunfights and sex and dirty jokes in their show, you wouldn’t think anyone in Clown Bar would base their performance on It’s a Wonderful Life. But that’s one reason this raucous play has become such a downtown hit. It never met a vintage reference it couldn’t use.

Written by Adam Szymkowicz and presented by Pipeline Theatre Company, the show is a noir parody about the gangster underworld of professional clowns. Dressed in full makeup, the hardboiled characters gather at their seedy local watering hole, pausing between songs and jokes to make threats, run rackets, and occasionally kill each other. Even Happy, the local cop who’s trying to clean up the scene, is a former gangster clown, and there’s no guarantee that the life, the power, and the dangerous dames won’t pull him back in.

But like any good noir, Clown Bar has an angel among the devils. Or at least, she’s about as angelic as it gets with this twisted show, which plays on Saturday nights at The Box. Her name is Petunia, and even though she’s a prostitute with a foul mouth, she’s still a swell dame.

That’s why actress Jessica Frey’s performance is inspired by It’s a Wonderful Life—specifically Gloria Grahame’s turn as flirty bombshell Violet Bick. “I was trying to use the style of that era as a baseline, and then pump it up,” she says, adding that even though Petunia is a hooker, she’s not a hopeless case. “She’s so sweet, and she’s just trying to do her best by everybody. I think that makes her very endearing. It potentially makes her the audience’s ally in the show.”

Frey adds, “In her mind, this clown bar is nothing seedy. It’s nothing disgusting. She’s trying to spin horrible things that have happened to her into positive things. She makes light of her STDs. She makes light of being a prostitute. She has to remain positive, or the audience won’t root for her as much.”

Not that Frey has always been the good clown. Last year, when the play had its first successful run, she was cast as Popo, a sociopathic enforcer. But when Kelley Rae O’Donnell, the original Petunia, couldn’t return to the role, Frey changed characters. “I have such respect for Kelley, and her performance was intimidating from the beginning,” she says. “I couldn’t get it out of my head, and during the first couple of weeks of rehearsal, I was thinking to myself, ‘I’ve made a horrible mistake!’

“Then [director] Andrew [Neisler]and I found a little in. I attached to this notion that she’s acting out her version of a movie in which she and Happy are reunited lovers. It was the little in that I needed to spark my imagination.”

Frey’s performance has also grown during Clown Bar‘s elaborate pre-show. While patrons order food and drinks or simply wander through the elaborately decorated venue, cast members race around performing songs and comedy sketches. Some of the bits happen in the main playing space, but audiences are just as likely to see Petunia making out with a clown in the bathroom. “I’m already sweating buckets by the time the actual text of the show begins,” Frey says.

However, she refuses to break character once the pre-show begins, even if she’s alone in a room. “It’s crucial that people feel like they’re able to explore without thinking they’re sneaking up on actors,” she says. “They need to feel like they’re sneaking up on the actual characters. And it’s not the easiest thing in the world to constantly maintain that character, but it’s certainly fun.”

Mark Blankenship is TDF’s online content editor

Photos by Suzi Sadler




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