Play with your food

American clown Peter Pitofsky returns to Teatro ZinZanni’s magical spiegeltent in the all-new show “A Suitcase Named Desire,” opening Thursday, March 20 and running through June.

Uncanny timing, a malleable face and a willingness to do anything for a laugh have all earned Peter the title of “Human Cartoon.” His years of street theater on the infamous Venice Beach walk, along with go-for-broke stand-up sets at L.A.’s Comedy Store, earned him opening slots with some of comedy’s heavyweights, including Mel Brooks, Jay Leno, Penn & Teller, and more. “A Suitcase Named Desire” is Peter’s eighth engagement with Teatro ZinZanni.

Teatro ZinZanni Owns Monday Night’s Sonics/Lakers Game

It’s 4:00 p.m. on  wintery Seattle Monday afternoon. The rain is falling sideways as we load up Liesl’s car with Thelma Houston’s costume and my Subaru with Korum, my colleague, and our French acrobats, Les Petits Freres. We’ve been invited to perform at the Sonics/Lakers game. Even though Key Arena is only four blocks away, it feels like it takes us twenty minutes to get through traffic.

We unload at the media entrance and Korum ushers everyone inside while I go park the car. When I finally get back to the arena, I follow Thelma’s voice to the center of the basketball court. Empty of fans, the Key Arena feels weirdly intimate. The lighting is subdued and the only people walking around are wearing official-looking jerseys and headsets. TZ Associate Artistic Director Reenie Duff and her daughter, Madelaine, are seated across the court from where Thelma is doing her sound check. Next to them the Freres have tossed their jackets and scarves on the courtside seats. The three Freres (Domitil, Mickeal and Gregory) cluster around Damian, the Sonic’s Entertainment Manager. They are busy discussing entrances and exits, sound cues and defining the performing space with Damian asking and answering questions in his rapid-fire sports-guy American English, while the Freres confer with each other in French and then one of them (not always the same one) answers Damian’s question. After the sound check and walk through, conversation veers towards the mysteries of Will Call, where do we go? Everyone gets on their cell phones. Girlfriends and wives, boyfriends and parents are alerted to correct location of the Sonics Ticket Office, envelopes are quickly scratched out and imprinted with new names.We decide not to go back to the spiegeltent and wander backstage to check out the dressing rooms and the crew meal. Backstage the ushers are handsomely dignified and incredibly helpful. Thelma Houston is already set up in her dressing room, busy with her make-up. We talk through the logistics, how much time she has to get ready, whether we should go eat now or later. The backstage food is not so bad. Chicken and burgers, bbq potato chips. Lots of bottled water. Finally it’s time. Thelma, resplendent in her Madame ZinZanni costume with her feathered headdress, emerges from her dressing room into the hallway. We joke around with the matronly usher and all have our pictures taken in various combinations with Thelma. The Refs emerge from their secure dressing room and despite the armed police escort, flirt with Thelma as they parade by. We walk briskly around the stadium perimeter, skirting the underneath of the grandstand risers, Thelma’s high heels clicking confidently on the concrete floor. The pulse of the place has picked up significantly and with the surge in the volume of people, it’s as though the place has vaulted up several stories. Lights are blindingly bright, the music is relentlessly upbeat. We stand in the vom leading into the court, waiting, smiling like our faces will break, ready for Thelma’s cue to sing. The Lakers are practicing down at this end. Graceful as cheetahs, they lope effortlessly down and back to the half court line, stopping and popping up to swish balls in from mid-court. A horn blasts and the pace picks up even more, the announcer’s voice booms, lights spin. The Lakers exit the court walking past Thelma, most nodding to her, some stopping to shake her hand. A Seattle Times photographer stops me and we chat about a recent online audio slide show about El Vez that appeared several weeks ago. We agree that camping out at the tent and working closely with the performers yields the best work. She wishes us luck and vanishes into the crowd. Suddenly the Freres arrive, fluttering around Thelma like butterflies, kissing her on both cheeks for luck and disappearing as quickly as they came. The announcer introduces Thelma: “Ladies and Gentlemen, please welcome Grammy award-winning performing artist Thelma Houston, now appearing as Madame ZinZanni at Teatro ZinZanni. Please rise as she sings our national anthem.” It’s a force four goose-bump moment when Thelma hits the “rockets red glare.” Then just like that, boom, the song is over and the game begins. Both teams are comprised of this amazing race of tall, slender muscular men who gracefully navigate the length of the court, speaking their own silent language of body cues and strategy, making their own kind of mesmerizing music. Liesl and I join the rest of the ZinZanni cast in their seats and watch as the Sonics take the lead from the Lakers. Suddenly it’s the first timeout of the second quarter, our next cue for the Freres to get ready. Backstage the Sonics Dance Team Girls are stretching and practicing in the hallway, while Squatch, the Sonics’ mascot, combs out his fur in a full-length mirror. The Freres start their warm up. Finally their cue comes at the top of Half Time. The crowd rises all at once and starts streaming towards the exits for the bathrooms and the concessions stands. Two of the Freres enter from one end of the court while the other comes in on the opposite side, swimming literally against the crowd. Their act is performed to “Sing, Sing, Sing (with a swing),” music made famous by Benny Goodman. The music alone is hard to ignore. Add three saucy Parisian pixies and you have the Sonics crowd stopped in their tracks. A cool minute into their act, the Freres had conquered the crowd. By the time they stack standing up on one another’s shoulders, everyone was roaring. And, oh by the way, the Sonics only lost by two points in overtime.

ZinZannis About Town

Monday, January 14th is Teatro ZinZanni Night at the Sonics/Lakers Game
Disco Diva Thelma Houston is on tap to sing the National Anthem while our very own Parisian pixie sprites, Les Petits Freres are the featured half-time entertainment. We can’t wait to see Thelma in costume up on the jumbo tron at Key Arena or see how the crowd reacts to the comedic antics and athletic feats of the Freres. Check back for photos.

Christine Deaver Continues the Tradition of a ZinZanni Artist at Gage Academy’s Annual Drawing Jam
On December 1, Seattle’s own Christine Deaver posed in costume at Gage Academy’s 8th Annual Drawing Jam, following in the footsteps of Voronin and Kevin Kent. Dressed in her Voluptuous Panic costume and accompanied by live music, Christine posed for an hour as students and members of the general public made sketches.

El Vez Participates in McSweeney’s 826 Writing Program for Youth.
Also in December, El Vez stepped in at the last minute to participate in the highly successful 826 Writing Program.

Sergiy Krutikov Helps the Moore Celebrate 100 Years
Beloved Gentleman Juggler Sergiy Krutikov  was part of the marathon  Moore Theatre’s 100th Anniversary Celebration on Monday, December 10th.

Hanging Out with Mickael & Vita

 

As the publicist for Teatro ZinZanni sometimes I get to sit in on interviews with cast members and the press.  A couple weeks ago, John Longenbaugh, a reporter for the Seattle Weekly, interviewed two young ZinZanni performers, Russian contortionist Vita Radionova and Parisian acrobat Mickael Bajazet. 

Here’s a link to John’s story which ran last week: 

http://www.seattleweekly.com/2007-12-12/arts/longenbaugh-on-theatre.php 

 

In our show at Teatro ZinZanni, these two sexy, young and vivacious performers usually have some comic romantic antics where Mickael, as a bumbling accident-prone waiter, tries vainly to gain Vita’s attention. In our current show, “Hearts on Fire,” Vita plays an uptight, clock-watching secretary, whose laced up garment eventually gets discarded so she can segue into her amazingly sensuous act. 

Later in the show, Mickael performs as one of Les Petits Freres in a gravity-defying acrobatic act.

In real life they are married to each other. 

 

The interview was held on the Saturday right after we reopened on Mercer Street. We met John at McMeniman’s right across the street from the tent. John and I ordered frothy foamy coffee drinks while Vita and Mickael ordered peppermint tea.

John was spot on in his profile when he called them easily the most physically beautiful people around. They radiate health, athleticism and pure physical grace. 

Mickael’s humor is infectious and Vita’s charm is delightful. They both seem always on the verge of bursting into laughter but their answers to John’s questions resonate as the voices of serious, seasoned and clear-sighted performers. 

“In a large venue I have five or six minutes to convince people with our act; at Teatro ZinZanni we have two or three hours to meet the audience.”  

“My body is stronger and faster than ever before. When I was in Circus School, we would do crazy things - like doing as many standing back flips as we could in a row before the Metro came. Now a few years later, I find that I have to warm up a little bit more…”

“To be natural is the hardest thing. You cannot fool the audience.”

“As long as there is the spark, I will do this.”

 

 

 

We Got Our Mojo Working!

Grateful to be free (at last!) of the confines of the airstream trailer that served as our box office all summer, Box Office Manager Tim Gonzalez-Wiler proudly shows off the new box office.

 

Senior Graphic Designer Korum Bischoff takes a spin around the lobby on Penelope Wilde’s chopper while waiting for the camera crew from KING TV to show up.

Contessa DeLuxe Louise DiLenge inspects the installation of our starry starry night exterior.

Meanwhile inside the tent, we’re rocking. Mastro Norman Durkee tickles the ivories while El Vez, Zinga (Rachel DeShon) and Christine Deaver perform on stage.

The Spirit of the Place: Christine Deaver Comes Home

To say that Christine Deaver is big hearted is a massive understatement. Teatro ZinZanni’s comedienne is as generous with her praise as she is with her laughter.

Tall, well-built with a dusky voice and a hefty bosom, Christine’s gestures are delicate and light. Silky blonde hair peeks out from beneath her baseball cap.

Christine is itchy to get back into Teatro ZinZanni’s spiegeltent. She just arrived in Seattle on Monday night after the long slog of a drive up from LA.

“I’m really looking forward to having just one job for a while. It’s great to be home,” she declares. “In LA you’re always dodging fires or mudslides or earthquakes or O.J.”

A graduate of Ballard High School, Christine completed her undergraduate and graduate studies at the University of Washington, emerging from the Professional Actor Training Program in 1989. All along the way she was performing around town – at Seattle Rep, Seattle Children’s Theatre, The Group and ACT Theatre. She appeared in “Strike,” directed by Peggy Shannon, at the Empty Space Theatre when it was in Pioneer Square. For several years she appeared at the Cabaret at 111 Yesler, also in Pioneer Square, singing in Sh’Bop, a musical she wrote herself. “It’s as if Saturday Night Live did a 1950s show. Great music, excellent harmonies. I was joined by three great guys. We took that show all over the place, including Ashland.

“I left for LA right after I finished the PATP program. When I left, the Empty Space (may it rest in peace) was the limits of fringe theatre in Seattle. Now the place is crawling with small edgy companies. It’s great.”

Christine has been a member of LA’s Zoo District Theatre Company since 1998. “I love that stuff. It keeps me sane. Every day in LA is an artistic adventure. I do voice-over, film and TV work. I used to teach at a performing arts high school. It’s a constant hustle, LA is.”

Cast as the first female chef in Teatro ZinZanni in 2004, Christine took to the concept of busting through the fourth wall instantly. “I love the fact that audience’s participation is key to the whole success of the show. Choosing the right audience member is something I’m totally at home with. It’s a social study in a way. I choose people who send out a great vibe. Their body language and energy tells me everything. People think that by keeping their eyes on the tablecloth when I pass by they’re safe. That whole idea of no eye contact is a total myth!

“My intention is never to embarrass or humiliate people. If I pick you, it’s because there is something about you that’s unique and fun. The right person is the real star of the evening. When you succeed, then so do I.”

Paradoxically Christine does admit to some empathy for audience members who don’t want to be chosen.

Her last engagement with Teatro ZinZanni was in San Francisco. She and Kevin Kent (another Seattleite) created an all-new show entitled “Beaumont and Caswell.” Loosely based on the Lunt-Fontaine dynasty of 1930s Broadway, their characters were constantly bickering, upstaging, marrying and ultimately remarrying each other, using the audience as foils for their fights, flirtations and reunions.

“On a night off, Kevin and I decided to go see a show at the Berkeley Rep and as we sat down, we learned from the people next to us that the show involved quite a bit of audience participation. Since we had these great seats down front and on an aisle, I just knew we were easy marks. So we moved! So you see, I do have some empathy – somewhat.”

Christine’s characters are completely original. “I tend to develop characters from an outward-in approach. For instance, right now, I’m fascinated by women with big hair who wear ridiculously small barrettes. That image can spark a whole new character.

“My idea for “Voluptuous Panic” started out as a German performance artist type. I saw her as a little darker with a militaristic look, but not too traditional. Beaver Bauer, one of TZ’s two amazing costume designers, would meet me over lunch and start sketching as we talked. She is very open to creating collaboratively.

“Penelope Wilde is a smoothie of Dame Edna, Madame Arkadi (a character from a Noel Coward play Blithe Spirit) and Mabel Albertson (from the film What’s Up, Doc?). I love the image of older women who wear clothes that are way too young for them, go go boots, mini-skirts for instance.

“When we created the Juliet character for the “Elizabethan Elim-i-date” sketch, I had just finished a play in LA where I played a 13-year-old brat called Little Eva. So I softened her up a little bit, had her trying to play Shakespeare. She’s kind of Lucy (from Peanuts) meets Shirley Temple. Juliet is a little bossy, she only plays on her terms.”

She describes her new role in “Hearts on Fire,” opening the new venue on November 28, as Titania meets Glinda the Good Witch. As the Good Fairy of ZinZanni, her mission is to help right the misfired love interests that are happening all over the tent. By the end of the evening everyone is paired up correctly. For the first time, she will not play the role of Chef.

“I’m really looking forward to working with Thelma [Houston] again. Thelma can really light up the audience. The entire cast is a dream.”

Now in her third year of performing in Teatro ZinZanni, Christine finds that she never tires of the show. “I recently saw the show in San Francisco and as audience member, I watch it with a sense of genuine awe and wow. I love watching real joy on people’s faces. And when I’m in the show, one of my favorite parts is visiting with people at their tables between acts.”

Besides reconnecting with family, Christine is looking forward to walking to work every day, undertaking a full exploration of Northwest wines, and seeing how Seattle has changed. “Seattle is a kinder, gentler city. It’s good to be home.”

“Now I am a TZ Star” by Vivi Lundberg

Photo by Michael Doucett

I sat in the ZinZanni tent for what seemed like the millionth time. This time I was waiting for our star Liliane to arrive for her photo shoot. She blew in as stunning as always; gliding through her makeup routine with the ease that only comes with decades of practice and experience. She smiled wistfully during our introduction; I the ZinZanni intern and she our leading lady, and waived away my frets with her painted fingernails–protesting any food or flowers. “No frills,” she demanded, “Just bring me my ’shampoo’.”

From there, I followed the crew (consisting of Korum, Lisa, and Miriam) on my little orange scooter to Michael Doucett’s photo studio in Pioneer Square where we were scheduled for an afternoon of set-up shots featuring Liliane. Stuffing ourselves into an elevator that looked as though it had been excavated from the sunken Titanic, we held our breaths until lifted to our destination; a vintage shared studio littered with ceramics, photos, paintings, and a collection of other artistries. The landlord appeared in time to give Liliane the tour of his studio–a world of brightly colored flowers, music, and statues from around the world. “You are so talented!” Liliane exclaimed at the pictures, “you must teach me! I am, of course, no good–but I must learn this from you!”

Photo by Michael Doucett

Much obliged, the artist agreed. “So, what’s your story?” he asked timidly, still not sure what to make of the woman praising his work, “what do you do?”

She tipped back her head with dramatic flair, “Why, I am a star,” she pronounced. “First, I was a ballet star, then I was a movie star, then I was a Broadway star, and now I am a Teatro ZinZanni star,” she smiled widely upon reflection, “All my life I’ve been a star!”

He shifted his eyes in confusion or embarrassment, not sure where to land. “Good, very good,” now laughing, “That’s wonderful.”

She smiled and laughed back to him, “I know!”

Photo by Michael Doucett

By now, Michael had appeared in the other room, busy throwing together lights and backdrops, playing with the ideas of different props and scenarios. His words fell rapidly from his mind as he filled us in on all the gossip of the photography world, the ideas he had for ZinZanni characters, and whatever else happened to run across the screen behind his eyelids. He melted over Liliane as she walked into the room, “You’re make-up is perfect! Everything is perfect! Hands down, the most beautiful woman I have ever photographed!”

As she changed into her dress, I popped open the champagne and the party began. I asked again if she might need anything to eat to which she responded, “Oh no. I don’t eat, only drink,” she laughed, “and at this age it’s okay to say.”

Must be a good age to be, I thought, probably for the first time.

She dazzled us with her poses–her energy seeping through her pores, capturing the lens with the same charisma she uses to captivate her audiences nightly. She chatted through life stories of living next to Judy Garland, tucking her into bed after wild nights of Vegas parties.

“You knew Judy Garland?” Michael stopped, nearly dropping his camera.

“Oh, yes,” she shrugged, “I only want to be surrounded by talented people. I love talented people! How else can you learn?”

“Judy Garland…” Michael drooled, for once, seemingly speechless.

After a few more costume changes and what seemed like a hundred shots, we rendered it a day. Liliane said her goodbyes to her newly established painting instructor as we cleared the studio.

She seemed to confirm herself that day, proving that which she and everyone else already knew; Liliane was simply born to be a star.