Brecht, Banana Shpeel And Samuel Beckett
BROADWAY MAGAZINE- The new show Banana Shpeel at The Beacon Theatre is a mixed bag. The production is part old vaudeville variety show and part new-age reality-clown-theatre. Between a range of cirque acts (twisting bodies, juggling hats, and a Russian who flies incredibly on a pole), we meet a variety of clown-employees of the show and follow the story of impresario Schmelky and his journey from irritable ring-master to loving host.
Tongue always firmly in cheek, at its best the routines and acts of Banana Shpeel offer audiences the unique metaphors of life that the best circus acts provide. The give-and-take silliness of the clowns, the feats of juggling and contortion, even the flying Russian serve as a fun house mirror through which one can reflect on their own experience: What amazing things humankind can do! What silly things humankind does!
The influence of vaudeville and music halls on the work of Samuel Beckett and Bertolt Brecht is well established. Banana Shpeel offers a modern taste of the old form.
Perhaps the strongest piece in the production is the Act II clown act “a night out,” a revival of a delightful audience participation sketch that was remarkably effective in Fool Moon on Broadway. David Shiner, director and writer of Banana Shpeel, was also part of the pair that birthed Fool Moon. Romance never seemed so silly, as a female audience member is whisked on-stage to be safely and silently wooed to the experience of clowning with a tango tossed in for fun. What ridiculous things humankind can do!
At heart, Banana Shpeel plays like the crazy uncle of Fool Moon.
While Banana Shpeel never rises to the level of high art (nor does it aspire in that direction), it does offer a bit of a taste of the uniquely theatrical experience of vaudeville in a re-vamped form.
Inside the elegant Beacon Theatre, the laughter peels loudly enough to remind even the most jaded audience member how silly this whole thing is.
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