Stage 3 Presents Their Production of “A Thousand Clowns”
Cast of a “A Thousand Clowns” at Stage 3.
By Wayne Kirkbride
The 1962 play by Herb Gardner, later adapted to the silver screen in 1965, is a simple, uncomplicated study of primarily two individuals: Murray Burns and his nephew, Nick Burns. Set in a New York City one-bedroom apartment around 1960-62, it explores the life of Murray Burns, an unemployed writer and his nephew, Nick who Murray has raised for several years after Nick’s mother, Murray’s sister, abandoned him.
The main character, Murray is repulsed by a conforming and in his mind, constricting society, especially when it comes to employers who impede his free spirit by requirements of a business that sets conditions and expectations for its employees. Murray, as he tries to explain to his nephew, would rather explore the many movie houses in town and expand his appreciation of this art form than pound the pavement looking for unfulfilling work that will stifle his newfound freedom.
His nephew, Nick, is a gifted 12 year old attending a special school, who finds after writing a paper discussing the unemployment system that also includes the unemployed condition of his uncle, it has raised questions about the stability of his home life. Social workers are assigned investigate Murray. Now there is a dilemma for Murray. He loves his nephew and doesn’t want to give him up to social services, yet he doesn’t want to give in and conform and take a job that he formerly had with Leo, aka “Chuckles the Chipmunk”, a children’s television character whom Murray detested.
Dakota Bankston stars in “A Thousand Clowns” at Stage 3.
Enter the assigned social workers, Sandra and Albert who sit down with Murray and Nick and attempt a serious interview in the apartment. Alienating Albert, but charming Sandra, Murray and Sandra become romantically involved, yet not resolving Murray’s revulsion to work, especially after Murray’s brother Arnold, an agent, sets up a three-way phone call to bring the two antagonists together since they both need each other. After a lecture from both his brother and nephew and with the risk of loosing Sandra, Murray, following a stressful meeting with Leo in his apartment, makes his peace with the world, agrees to go back to work with Leo, and we are lead to believe that Murray, Sandra, and Nick will make the adjustment to their new circumstances.
In the role of Murray is Sid Marsh, who was recently seen at Stage 3 playing Father Flynn in “Doubt”. Marsh easily depicted a man at odds with the world, proudly non-conforming with society’s expectations. Donning a jester’s hat, he dials the recorded number for weather reports, talking back to the message, then yelling out his window the forecast to his upstairs neighbors. Marsh’s delivery reminded my guest and me of some of Jack Lemmon’s comedic acting found in such movies as “Some Like It Hot”.
Fresh to Stage 3 is Dakota Bankston as Nick. Although appearing older than the character’s age 12, Bankston handled his role of the slightly nerdy nephew adequately for the most part, trying to impress the social workers with exaggerations of his relationship with his uncle. He shows off his impersonation (a good one) of Peter Loree, and when asked by psychologist Sandra what his favorite toy is, brings out an object that shocks the social workers and left the audience laughing.
Susannah Allatt, last seen at Stage 3 playing Annelle in “Steel Magnolias”, played Sandra. Her character is an uncertain, untested psychologist not far removed from college who still lives with her parents. Supposed to be engaged to fellow social worker, Albert, Sandra finds she really doesn’t love him and admits tearfully to Murray she is not certain where she belongs. She laments, “I hate Raymond Ledbetter (another case file), and he’s only nine years old!” Assuming a slight Bronx accent, Allatt charmed the audience with her portrayal of a slightly insecure young woman, still searching for her own identity when she meets an unexpected character in Murray and throws caution to the wind.
Playing Albert, the partner social worker of Sandra is Benjamin Adriano. His character was believingly that of a stiff, official and cold investigator who doesn’t see Murray’s attempt at humor or the real affection the nephew and uncle share for one another in a realm Albert deems improbable to permit Nick to live in. His depiction is one most can identify with when it comes to officialdom intractability.
Michael Crich, who has previous Stage 3 productions to his credit, played Murray’s brother Arnold. In the first act, Arnold is seen only briefly when he drops by the apartment bringing fruit to Murray. Arnold is a successful businessman, unlike Murray. As an agent, he tries to help his brother by presenting job positions that he thinks Murray will accept only to have Murray find reasons why he shouldn’t. It is in the second act, where Crich’s talent shines. Confronting his ‘critical of every job’ brother at the apartment, Crich’s character lets his pent up frustration with his brother forcefully out as he dresses Murray down with a long overdue lecture on responsibility. That one scene between the brothers was one of the most impressive.
Last, but not least, is Leo, the children’s TV show character who in his forties really hates the work as some demented chipmunk – a man in a costume who needs the writing talent of Murray to resurrect his flagging career. As Leo, actor John Bell, last seen in “Driving Miss Daisy” at Stage 3, gives life to a buffoon of a character that Murray detests and Nick finds unfunny. Leo admits, “I just don’t get along with kids”, and Murray and Leo must somehow get beyond the past working relationship they had and move on to get what they both need.
Stage 3’s setting was a skillful replica of a New York apartment with a window that looked out upon a fire escape and the side of another building. It definitely looked like a bachelor apartment, unkempt and seldom cleaned. Within the apartment setting most of the scenes take place, other than one scene representing Arnold’s office with desk and chairs.
The characters, all experienced, with the exception of Dakota Bankston, performed their roles with talent and enthusiasm. If there was any criticism of this play, I would have to say listening to Murray expound his free spirit philosophy grew a bit tiresome by the conclusion, but that’s the play the way it was written and not a criticism of the cast. Overall, Stage 3 again provided an entertaining night at the theatre.
A Thousand Clowns” will run at Stage 3 at 208 S. Green St. in downtown Sonora through December 21. The show will run Thursday through Sunday. Curtain times are 7 p.m., Thursday, 8 p.m. Friday and Saturday and 2 p.m. Sunday. There will be no show on Thanksgiving Day. Ticket prices are $15 Thursday, $18 Friday, Saturday and Sunday. Senior Sundays are $15. Students are always $12. Call 536?1778 for reservations and information. Visit www.stage3.org.
SCORE: 3 ½ stars out of 5.
