Stage Struck Review

Reviews for theater within the greater Los Angeles area.

A Clown Walks into a Bar – “Clown Bar” sends up Noir, sort of

The cast of "Clown Bar" and the seedy underbelly of clown life, at redwhite+bluezz in Pasadena

The cast of “Clown Bar” and the seedy underbelly of clown life, at redwhite+bluezz in Pasadena

Update: This show has been extended for four more Thursdays, through the end of February.

Perhaps the most copied and parodied form of suspense is Noir – the hard-bitten detective both investigating and swept up in the dark underbelly of society. If Noir is your thing, then a new ridiculous-disturbing spin on the genre has just landed at redwhite+bluezz, the restaurant attached to the Pasadena Playhouse. There, on Thursday nights, a slim dinner lets you into the underbelly of funny, as you become part of Adam Szymkowscz’s “Clown Bar” – a slimy, scatological speakeasy run by the clown subculture’s own mob.

Just how this will sit with an audience may depend entirely on just how spooky each individual finds clowns. Regardless, do not expect a circus atmosphere.

The plot has former clown Happy Mahoney return to his roots as he searches for the murderer of his hapless brother Timmy. In the process, he must face his own past and the consequences of his brother’s inability to live up to Happy’s successful level of funny. In his investigation, he rubs shoulders with the comically grim lounge singer, a stripper-clown, clown toughs and clown has-beens. It’s all noir, just with face paint, and tongue stuck firmly in cheek.

Shawn Parsons is Happy, managing a physicality somewhere between Sam Spade and clownish with significant sincerity. Joe Fria gives Timmy a wistful quality, and a gentle desperation, which fits the standard Noir ne’er do well character. Emily Goss provides the stripper with, or without a heart of gold, and Erin Holt becomes the sincere but hampered gangster’s moll. Surrounding these are bleak clowns and mobsters, some funny, some more grim, including Amir Levi, Chairman Barnes, the over-the-top Esteban Andres Cruz, Rafael Goldstein, the homicidal Mandi Moss, and Bruno Oliver. Richard Levinson provides the piano accompaniment to the original songs by Adam Overett which propel the proceedings.

Under the direction of Jaime Robledo, and in the tight performance space of a long, skinny restaurant, there are a few timing issues which still need addressing for the truly clownish to win – entrances must happen from too far away, and sometimes the rhythm of the thing seems forced. And it is just possible that the whole thing takes itself just a tad too seriously. Still, the concept is fascinating, and the sense of subculture – and the dangers inherent in stepping in and out of that culture’s single-focus, creates both the occasional humor and the pathos.

The price of this production comes with a meal which, though tasty, is small – itself almost a comical version of what nouvelle cuisine is like. Come early, as significant entertainment is to be found in the bar beforehand, where clowns hang out along with other patrons.

“Clown Bar” has a fascination, especially for those who find clowns creepy to begin with. For those for whom clowns are not innately disquieting, it sometimes struggles for a balance between its Noir concept and humor. In the process it is most, most definitely an adult entertainment. This is, after all, a seedy bar scene, not a big top. And it is a curiosity – one of those things one does not see everyday. As such, it may be worth a look.

What: “Clown Bar” When: Through January 29, Thursdays only, 8 p.m. dinner/show with 7:30 p.m. pre-show Where: redwhite+bluezz at the Pasadena Playhouse, 37 S. El Molino Ave in Pasadena How Much: $60, including prix fixe dinner with three entree options Info: (800) 838-3006 or http://www.BrownPaperTickets.com

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