Jan_Feb_1992

January/February, 1992
••••
~ Cal's
comments
···•-----------------------------------
Casual observers of the clown's world can be forgiven
if they think that January and February are fhe low points of
the joey's year. Certainly that would seem to be the case in
the cooler climes: Where are the parades, the fairs, the
outdoor walkarounds? Gone, alas, until the weather
becomes more, well, clown-y.
But, while the months of deep winter may put a damper
on most outdoor clowning, there's more to this crazy
business than walking down a parade route. Kids are still
having birthdays. The need tor clowns to visit hospitals and
nt..Ksing homes is probably greater now than at any time of
the year. And the enterprising and imaginative clown can
find work under a dozen roofs.
costuming, to devise new and funnier props, to become a
better juggler, to develop a new magic routine, to construct
another puppet -- the list goes on.
These are the essentials of clowning that the casual
observer never sees -- that the casual observer should not
see -- the hard work and relentless preparation t1:1at goes
into the creation of a professional performer. And that's the
name of our game, friends: Professionalism.
Beyond that, don't forget to stay involved in the work
of your alley during the winter months. The fellowship of
the craft is one of the greatest rewards we can be given.
So the wonderful work of clowning goes on, weather
(sorry!) or not. But in addition, the wise clown is taking
some time to get ready for the busier times a-coming.
And finally, I hope you're using this time to save up the
money so that you can attend COAi's International
Convention in Jacksonville, Fla., April 2&-May 3. Now
there's an event -- just thinking about it sure helps to
shorten up my winter!
Gal Osoo, Ecla
THE NEW CALLIOPE is
published by Clowns of America
International, Inc., P.O. Box 570,
Lake Jackson, Texas 77566-0570
for members of Clowns of America
International, Inc. Entered as third
class mail in Bluffton, Ohio.
Articles and advertising for THE
NEW CALLIOPE should be sent to
the editorial office:
Cal Olson, Editor
THE NEW CALLIOPE
3107 Summit St.
Sioux City, Iowa 51104
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Late renewals: Add $3 late tee.
Send all membership fees
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Deadline tor the March/April
1992, issue, February 15, 1992
2 The New Calliope

i:: • •
Thca1 ::ne
... r-
Published for members of Clowns of America International, Inc.
January/February, 1992
JANUARY/FEBRUARY, 1992 VOLUME 9, NUMBER 1
CONTENTS
Cal's Comments............. ................... 2
Letters... .......................................... 4
Calendar of coming events................ 6
Alrededor de la Region Latina............ 6
A journey by joeys............................. 8
They're 'fair'-ly married ....................... 20
Jolly Jesters co-host Clown'rama ........ 29
Just ask Aunt Clowney ...................... 30
COAi Board stays active .................... 34
Leave the driving to us .............. ........ 36
800 attend 10th Clownfest................ 37
From the President........................... 40
Income, expense statements ............ 40
Grock: the clown king ........................ 42
ON THE COVER -- A clown in
Red Square: David "Shorty"
Barnett poses in front of St.
Basil's Cathedral outside the
Krem1in in Moscow. Shorty led a
delegation of American clowns
through Poland, Russia and
Hungary late last fall. The story
and pictures of that trip, by Ruth
Erkkila, begin on Page 8.
BOARD OF DIRECTORS
PRESIDENT: Donald E. Berkoski, 4149 Golden Eagle Dr.,
Indianapolis, IN 46234. Home Phone: (317)
299-2816. Office: (317) 248-1408.
Fax: (317) 248-0587
EXEC.VICE PRESIDENT: Betty Cash, 2181 Edgerton St.,
St.Paul MN 55117. Ph. (612)771-8734
SECRETARY: Brenda Marshall, 7128 Oldham Place, North
Richland Hills, Texas 76180. Ph (817) 281-6610
TREASURER: Judy Quest, 906 S. 117th Court, Omaha,
NE 68154. Phone: (402) 334-4857. Fax: (402)
330-8783
SERGEANT-AT-ARMS: Walter R. Lee, 1347 Ava Road,
Severn, MD 21144. Phone: (410) 551-7830
DIRECTORS
Barbara (Maher) Amber: 10651 Steppington
Dr., Unit 2054, Dallas, Texas.Ph. (214) 691-7926.
Dennis Phelps, 5340 So. 67th St., Lincoln, NE 68516
Phone: ( 402) 421-2167
Patricia Roeser, 1720 Archibald Circle, Northfield, MN
55057. Phone (507) 645-5595
Hunter Stevens, 1342 Sylvan Way, West Bend, WI 53095.
Phone ( 414) 338-3569
REGIONAL VICE PRESIDENTS
Northeast: Leo J. Desilets, 30 Roswell St., Milford,
Ct.06460 Phone (203) 877-3869
North Central: Dan Lake, 13005 Lakeridge Dr., St. Louis,
MO 63138 Phone (314) 355-0220
Northwest: Andi Rothweiler, E. 803 St. Thomas Moore
Way, Spokane, WA 99208 Ph.(509) 467-6216
Mideast: Paul C. Glares, 3800 Pughsville Rd., No. 82,
Suffolk, VA 23435. Phone (804) 484-7230
Midwest: Freeman Smith Sr., 7225 W. Higgins, Apt. 103,
Chicago, IL 60656
Southeast: Jack Anderson, 4560 Sussex Ave.,
Jacksonville, FL 32210. Phone (904) 778-3977
South Central: Linda Williams, 18 Hackberry, Houston,
Texas 77027. Phone (713) 960-8228
Southwest: Allen Pearson, 5291 Ogden St., San Diego,
CA 92105. Phone (619) 582-7795
Canada: Thomas S. Oswald, RR#13, Lakeshore Dr.,
Thunder Bay, Ont. P7B, 5E4, Canada. Phone:
(807) 983-2032
Latin Countries: Pedro Santos, Box 3859, Bayamon
Gardens Station, Bayamon, Puerto Rico 00619.
Phone (809) 786-3759
Foreign: Blue Brattle, 30 Sandpiper Close, Marchwood,
Southampton SO4 4XN England.
The New Calliope 3

January/February, 1992
••• • •
. ·---­ •••
: Letters
He likes Dr. Isaac's article
I would like to acknowledge and thank you for Dr.
Isaac's article, "Laughter: A great mental tonic," which
appeared in the September/October, 1991 issue of The
New Calliope.
I am the regular (volunteer) clown one day a week at
Kaiser Permante Hospital in Sacramento, CA. Dr. Isaac's
comments were helpful to me and we have used them to
help medical staff look at themselves and view Mr. Bumbles
as an adjunct to the treatment of sick people.
There have been many excellent articles relating to
clowning in hospitals since I have been a member of COAi.
I appreciate any ideas I can find to help make people smile
or forget for a moment the stress they find themselves
under at clinics, waiting rooms, in Pediatrics, cancer or
other wards or just waiting for doctors.
Thanks for your magazine. I look forward to its arrival
every other month and still read it cover to cover!
Gene "Mr. Bumbles" Luttrell
1812 Wayside Lane
Sacramento, CA 95864
~r
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Convention get together: From left, letter
writer Tere "Amiga" De Los Santos, Oscar "Timi"
Flores, of Mexico City, and Ceslee Conkling , Ft.
Worth, Texas.
Of friends and baby powder
Do you ever attend a COAi convention? If so, you
should make plans for next April 28 at Jacksonville, FL. You
will find seminars, dealers, competitors and, of course, your
friends. Yes, old friends that always remember you. But
especially new ones from different places and styles.
We all share the same feelings in our hearts and the
same smell -- baby powder(!!!).
Tere "Amiga" De Los Santos
Box 2304
Guaynabo, Puerto Rico 00970-2304
Notes from a First of May joey
I'm new at being a clown. Attended a clown meeting at
Granite State Clown Alley #190 in Nashua, N.H. Wow, what
nice people. These clowns not only work for dollars but do
a lot of freebies for charity.
In my first attempt at writing to a magazine, I would like
to share an idea with my fellow clowns. Make an apple
balloon and place it on another clown's head. Take a bow
and fire a shooter balloon at the apple. Whether it hits the
apple or flies through the crowd, it will be a big hit.
Mike "Pockets" Wexler
380 Paquette Ave.
Manchester, NH 03104
The show must go on
Throughout my lifetime , there are events that are
indelibly imprinted on one's mind. Let me relate one such
incident that happened while at the art of clowning.
First, let me say that I act as a Whiteface clown, while
Jesse "Digby" Gasper is an unbelievable Tramp clown. We
live in Dover, Delaware, and were about to set out for
Georgetown , some 40 miles to the south . The time was
4 The New Calliope

late October, nearing Halloween. We had decided to
service the car prior to leaving Dover. We made a right turn
into the service station when whammo, we were hit on the
right of the rear bumper.
Imagine the other driver's surprise when, lo and
behold, out jump two clowns from our car. We did not
sustain much damage, so we serviced the car and
proceeded happily on our way to the Howard T. Ennis
School in Georgetown.
Now, about five miles from our destination on Rt. 113,
the car goes dead as the proverbial door knob. As time
keeps marching on, we try to catch a ride. You can imagine
how many people were willing to stop with it being so close
to Halloween, and it is not every day that you see two
clowns trying to hitch a ride on the highway. Here I am
standing on the side of the road frantically waving a white
handkerchief when finally some good soul from
Pennsylvania decides to stop.
I asked him to stop at the State Police station just
outside Georgetown to see if they could possibly help us.
Soon, one of Delaware's finest came out to assist us. We
loaded all the goodies into the car and headed for our
destination.
I called my daughter in Dover and she contacted her
husband to let him know of the mishaps that we had
endured and to also make arrangements to have the car
repaired. After all this was completed, the show went on
and everyone had a wonderful time.
After the show my son-in-law came to the school. You
can imagine his surprise when he arrived because my
daughter had failed to mention to him that we were
dressed as clowns. We loaded up his car with all the
goodies and proceeded to the breakdown area. We had
been hoping that he would have brought the roll back with
him so that we could wave to everyone as he drove us back
to Dover. Happily, he was able to repair the car and we were
once again merrily on our way.
So, even though an accident, a broken car,
hitch-hiking and even beinQ delivereci in a oolice car
hindered us somewhat, the old adage still holds true: THE
SHOW MUST GO ON.
This is just one of those days in the life of a clown.
There have been many such wonderful times while clowning,
but none that were ever quite the comedy of
errors this seemed to have been.
Happy clowning, and may all your adventures be happy
ones.
Bob "Arturo" Simmons
525 N. Governors Ave.
Dover, DE 19901
January/February, 1992
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The New Calliope 5

January/February, 1992
( Calendar of coming events J
Feb. 21-23: Circus Magic 92, Williamsburg, VA.
Steve Kissell, 1227 Manchester Ave., Norfolk, VA 23508
(804) 423-6067.
Feb. 28-March 1: Georgia Clown Cavalcade,
Holiday Inn, Atlanta Decatur Conference Plaza, 130
Claremont Ave., Decatur GA 30030. Information, Ph. (919)
881-0240.
March 13-14: Performing Arts Ministries Workshop,
Houston, Texas. Contact Mirthworks, Inc., 1227
Manchester Ave., Norfolk, VA 23508-1122.
April 22-26: 10th Annual World Clown Association
Convention. Hosted by Lucky 7/11 Clown Alley. Contact
Ron "High Top" Kerfoot, 3342 S. Sandhill 9-100, Las
Vegas, NV 89121. Ph. (702) 435-3243.
April 24-26: Christian Clown Connection Retreat,
sponsored by St. Mark's Lutheran Church Clown Ministry,
Lost River, WV. Contact Sally "Burple" Dowdy, 7204
Jillspring Ct., Springfield, VA 22152. Ph. (703) 569-7726.
April 28-May 3: Clowns ofAmerica International
Annual Convention, Holiday Inn East & Conference
Center, 5865 Arlington Expressway, Jacksonville, FL
32211. Contact Tom "JoJo" Davis, 1662 Flagler Ave.,
Jacksonville, FL 32207. Ph. (904) 398-3735.
May 8-9: Performing Arts Ministries Workshop,
Virginia Beach, VA . Contact Mirthworks, Inc., 1227
Manchester Ave., Norfolk, VA 23508-1122.
MAY 22-24: Clown Fun '92, Black Knight Inn, 2929
50th Ave., Red Deer, Alberta. Sponsored by Let's Clown
Around Alley #191 , 408 - 13 Stanhope Ave., Red Deer,
Alberta, Canada T4N 087. Ph. (403) 347-5681.
June 19-21: Fourth Annual Felix Adler Days,
Clinton, Iowa. Contact Phyllis Luckritz or Gwen Miller, 95
M~in Ave., Clinton, Iowa 52732. Ph. (319) 242-5412.
Oct. 9-11: 4th Annual Northwest Festival of Clowns,
Embassy Suites, Bellevue, WA. For information contact
Cascade Clowns, PO Box 3422, Kirkland, WA 98083. Ph.
(206) 223-1551 .
Por Pedro Santos (Piruli)
Bayamon, PR
Con gran exito se celebr6 la primera convenci6n de
payasos Latinoamericanos e lnternacionales Alley 212
durante los dias del 10 al 13 de octubre de 1991. Nuestro
companero de Nueva Jersey, Memo Clown , ofreci6
seminaries de maquillaje nunca vistos en Puerto Rico.
Personalmente ofreci seminaries de ingresos a C.O.A.I. y
los beneficios que nuestra organizacion ofrece. Tambien
se ofreci6 un seminario de Walk Around y director de
competencias. La convenci6n culmin6 con un banquete y
felicidades al nuevo Alley 212.
*********
El Alley 126 celebr6 su actividad de la toma de
posesi6n para la nueva directiva 1991-92, siendo las
siguientes personas elegidas:
Elias Miranda (Blony), presidente; Jose R. Perez
(Tache), vice presidente; Zoraida Perez (Cascabelita),
secretaria; Julio Capazeti (Trombon), tesorero; Jose D.
Merchand (Junito), S.G.T.
and
Peachey Keene Props
Present
Mountain Madness '92
April 2•5. 1992
Featuring
"Great Lectures•
"Hands on seminars•
"We ll stocked Vendors room•
"Ter rific Competitions•
"Best All-Around Clown•
•classic Skit Competition•
• And Much More•
For more information,oontact
Up,Up and Away
POBOX147
Beallsville, Pa. 15313
412-769-5447
Durante los dias 22 y 23 de noviembre de 1991 asisti a
la reuni6n de la Junta de Directores de C.O.A.I. en la
ciudad de Jacksonville, Florida. La reuni6n estuvo muy
interesante y se me aprobaron varias mociones en
beneficio de los companeros que participen en las
competencias en las convenciones anuales de C.O.A.I.
Pr6ximamente les enviare un brochure de las
facilidades del Hotel Holiday Inn, cede de la convenci6n de
C.O.A.I. en 1992.
La actividad de la noche tipica latina sera el martes, 28
de abril a las 7:30 p.m. en al area recreativa de Jacksonville
(Playa).
6 The New Calliope

January/February, 1992
A. You11 never lose your Clown Hall of
Fame ticket with this 'Admit One' T-Shirt.
Adult sizes only: Small to Large-114 00 ,
X-Large-s 15"', 3X - 4X- '2000 92302
B. Be the talk of the town with this colorful
clown T-Shirt welcoming all to the
Clown HaU of Fame. Adult sizes:
Small to Large-11400, X-Large-11500,
3X -4XJ2()0092301
C. This clown makeup guide offers easy to
follow steps for the beginners and tips for
the veterans. Pick designs for your eyes,
mouth, and nose from the color photot
This kit replaces a smaller version which is
no longer available. 1149, 92303
D. This video is a must for all. It includes
makeup and instructions for clown faces,
Halloween faces and Santa too! Great tips
for beginners and veterans. •29"' 92304
E. You11 always look in style in this lightweight, waterproof Hall of Fame Cap. One size fits all, red only. ' I l" 92305
F. Color all 14 of the inductee's pictures and more in this exciting coloring book. Drawings by Bill Eubank: •:zoo 92306
G. I'd walk a mile for one of your smiles (written on back) T-shirt-fun for all ages. Available in children and adult sizes.
50-50 blend. Childrens' sizes small. medium. large. Adult Sizes: Small to Large, '1400 X-Large •1500, 3X - 4X 12000
Childrens Sizes-SmaU, Medium, Large- 1 12'° 92307
Item# Ou1n. Item Descriotion Size Price
Total
Glen "Frosty" Little 1991 Clown Hall
of Fame Inductee is the newest member
to be immortalized in fine pewter.
Standing only 5 ½ inches tall on a solid
wood base , this exquisitely crafted
statue is a must have for any clown
enthusiast. Frosty joins the growng
collection of limited edition statues
and is yo urs for as 10000 tax deductible
donation. 92309
PACKING & SHIPPING
515.01 to 20.0-0 ..... . ........................... Add 5.20
520.01 to 50.0-0 ................................. Add 6.20
550.01 & Above .... . ........................... Add 7.20
Merchandise Total
Sub Total
+ Shipping (chart)
SEND YOUR
ORDER TO ...
+ + CL()WN
-!, HALLOFFAME
6 "f;~IIICH Cf!!,nf!" !"IC ,.,
Up to 58.0-0
···················· ······ ······ .... Add 3.20
58.01 to 15.0-0 .................................. Add 4.20 5% Member> Disc.
114 N. Third St.
WI Res. 5½% Tu
Delavan, WI 53115
(414) 728-9015
Method ol Payment: • Visa • MasterCard O Check O C.O.D. c.o.o. 53.30
Cud No.
Expiration Date Mo. ___ Year _ __
t]•mb~rships &
onauomi
Signature
Total Enclosed
Please allow
4 to 6 weeks for delivery.
Namt ________________ Clown Name ______________ _
Address __ __ _ _ _______ _________ ____________ _
City _____ _ _ ________________ _ State ___ Zip _____ _
NOW YOU CAN BE A PART OF THE CLOWN HALL OF FAME!
The dates have been set for the next
Clown Town Colossal-
April 10th, 11th & 12th, 1992
It is much eartler this year due to Easter,
WCA Clown Convention,
COAi Convention-following
one week after another1
GET THAT ON YOUR
CALENDARS!
This is the front of our new building and it wiU be done in red and white ceramic tile.
These tiles wiU be for clowns; active, inactive or deceased. For a donation ofSI00.00 you can
fund this new building and haveyourown 3" x 6" area on the Clown WaDofFamewith 3 lines
of type- I. your name, 2. your clown name, and 3., your city and state. Name tiles wiU be put
up in the order they are received, starting from the horizontal middle going up and down. So, reserve your spare now by
ftlling out the form and send it to Clown Hall of Fame with your Donation of$ I 00.00. One person per tile, however, up to
two clown characters are allowed.
Print your name on line one, print your clown name on line two, print your city and state on line three. Let1ers
cannot exceed the 26 spaces alloted. Make checks payable 10: Clown Hall of Fame. If you would like to charge
your donation on your Visa or MasterCard. please use the form above. Your donation is tax deductible.
~111 1 111111 1 1111 I I I I I I I I I I I I
The New Calliope 7

January/February, 1992
American clowns and aspiring Polish performers mingle in a
rehearsal hall of the Polish Circus School in Julinek , Poland.
A journey by joeys
By Ruth Erkkila
"Lady, I love you this morning," shouted an
anonymous ·gentleman to Betty Cash as she emerged from
customs at the international airport in Warsaw, Poland.
What a wonderful greeting at the beginning of what
everyone hoped would be a wonderful trip. Eighteen
American clowns from all over the United States had joined
the Citizen Ambassador Program's 1991 Clown Delegation
to Eastern Europe, led by David "Shorty" Barnett, COAi
Business Manager and past president of the International
Shrine Clown Association.
The Citizen Ambassador Program is part of People to
People, an organization started by President Dwight D.
Eisenhower in 1956 to encourage communication
between people in the United States and other parts of the
world. They organize many trips each year for students and
professional groups to visit their counterparts in more than
50 countries. The original invitation for this delegation
came from clowns in Moscow.
Vitali Keleptzishvili, director of the All Union
Administration for Preparing Circus Programs and
Attractions, contacted the Citizen Ambassador Program.
He hoped to meet American clowns and also to start further
communications between clowns in the Soviet Union and
the United States that might include future visits and
training for American clowns by Soviet instructors.
Dawn Davis and Bonni Smythe of the Citizen
Ambassador Program in Seattle, Wash., worked diligently
with contacts in Warsaw, Moscow and Budapest to arrange
a unique tour for this group that would include clown visits
to hospitals and schools, discussions with professional
clowns, and watching ·circus performances in all three of
these cities.
Meals, hotels and transportation were all arranged so
delegates needed only to worry about themselves, their
acts and what they could contribute to and gain from this
experience.
Betty's warm welcome to Warsaw was echoed by
Christopher Piehowicz, guide and translator, and Boleslaw
Kuszak, bus driver and Polish teacher, who would be with
the group for their entire stay in Warsaw. While Christopher
8 The New Calliope

January/February, 1992
and Shorty searched for a piece of lost luggage, Boleslaw
tried to teach us a few words of Polish. We were poor
students, but most learned to say please -- prosze -- and
thank you - dziekuje.
Our first clown performance was at Centrum Zdrowia
Dziecka, a children's clinic on the outskirts of Warsaw. This
is a very large hospital built in 1981 for children all over
Poland. Many of the children who come here have
extended stays ranging from several months to as much as
two years. Our host at the hospital was the Director of
Education; being sick does not excuse a child from school
lessons. The director explained that the hospital has 13
wards and if the clowns formed three teams with each team
visiting about four wards, we could cover the whole
hospital.
We were prepared to visit the children in their rooms,
but as often happens at home, the children were all
assembled In a common area, expecting a show. We did an
impromptu show with a few skits, some balloon animals and
small gifts for the children. It was a test we couldn't talk
because the children didn't understand English, and we
hadn't brought many props for skits because we were
expecting to mingle. But we knew we were going to pass
when the first smile started to show on the face of a child in
the front row.
Betty "Peewee" Cash and I did a version of the Artist
Skit. First Peewee is the subject and I fixed her up with a
giant comb, toothbrush, and a feather duster. Then I drew
a cartoon character that Peewee thought more resembled
a monkey than Peewee, and she chased me towards the
exit. But I came back and asked if I could try again. This time
the subject was one of the children. Peewee groomed
him, while I drew the picture: this time of a clown that more
resembled me, "Rootie-Toot," than the subject. To our
surprise, the subject got up and chased me, just as
Peewee had done. He was smiling, too, happy to be a part
of the show. And he kept his picture. Later we learned that
Don and Ruby Berkoski had done the same skit with their
team.
David "Shorty" Barnett had a change bag, and several
clowns used it to produce a variety of things, including
small coloring books which the clowns gave to the children.
Jim "Strutter" Roberts did the bit of blowing up a balloon,
needing instructions from the audience on how to
accomplish this. It's a little more difficult in pantomime.
When he finally had it blown up and tied, he sculpted a
small dog.
Kenny Ahern's team had an easy time. Kenny was with
the Ringling Brothers Circus for six years and now, from his
home in Lacrosse, Wis., works full time as a performing
clown, doing mainly one-person stage shows. He had his
small trunk of props and was ready to do an hour's show.
He had juggling scarves, hats and clubs, spinning plates
Continued next page
1991 CLO\VN DELEGATl()N
Al\ilHASSADOR PROGRAM
c,\'\'l'l'.ENS
Ready to leave New York, the clown
delegation includes, from left: Front row -­
Lauren Zagoren, Cambridge , Mass.; Judy
Barnett, Lake Jackson , Tex.; Don Redfield,
Rupert, Ida.; James Chastain, Roy, Utah;
David Florida, Flint, Mich. Second row -­
Ruby Berkoski, Indianapolis, Ind.; Betty
Cash, St. Paul, Minn.; Cilia Gallegos, Ogden,
Utah; Brenda Marshall, Fort Worth, Texas;
Stanley Tackett, Kaplan, La. Back row -- Don
Berkoski, Indianapolis; David Barnett, Lake
Jackson; Ruth Erkkila, St. Paul; Charles
Beumler, Gibbtown , N.J.; James Roberts,
Elizabethtown, Ky.; Maxie Eaton, Waterloo,
Iowa; Alvin Goldman, Salt Lake City, Utah.
Not shown, Kenneth Ahern, Lacrosse, Wis.
The New Calliope 9

January/February, 1992
Youngsters at a Warsaw school for the deaf
are delighted with balloon animals.
Joeys'journey --
From preceding page
and a very nice pantomime routine. The other clowns were
as impressed as the children.
In all of the wards, the children smiled, and gave the
clowns presents of art work they had made in their classes.
Some of the children were in cribs, unable to get up;
nurses had pushed the cribs into the common area so they
could see, too. Some of the children were in wheelchairs
and some of them had enormous bandages on their
heads, but they all smiled. And the clowns were smiling,
too, through their tears.
After a three course lunch in a hospital conference
room, our host waved the clowns a heartfelt thanks as we
boarded the bus. Then he ran across the parking lot to
wave again until the bus was out of sight.
At the lmpresariat Artystow Cyrku, the Polish Circus
School in the village of Julinek, a short drive from Warsaw
through farm country and forest, we met the 18 students in
this year's class. They were learning a variety of skills:
acrobatics, juggling, riding and clowning. Even though the
students had only been studying for one month, they were
brave enough to show us a few of their exercises.
We were told that all Polish clowns work in the circus,
but the only one we talked with, Waldemar Novak, did not.
And from all appearances, nice clothes and a fancy car, he
was doing fairly well. Novak was trained at the school but
now works mainly stage shows as a mime/clown. For the
last eight years he has worked as a solo performer, not only
in Poland but in several other European countries. He also
spoke with a lot of enthusiasm about a mime and clown
These smiling children are patients at a
referral hospital in Warsaw.
festival in Jerusalem.
In Warsaw we went to a circus, not the Polish Circus,
but Circus Wielki, a traveling Russian circus. This circus is
one of the first Russian experiments in free enterprise. It
does not belong to the government's circus organization,
but is owned by two partners who act also as directors of
the show.
Even though we were in a tent with little heat, the show
was so good we hardly noticed how cold it was. There was
no ringmaster and no break between acts; all of the
transitions were accomplished with music and dancing.
There were horses and seals and dogs and elephants,
acrobats and jugglers and two clowns.
The clowns wore very little makeup -- a little red on the
cheeks and a clown nose. One wore black tights and had
big knobby knees; he had a long white vest and a black
tuxedo. The other clown wore large plaid trousers with
suspenders, a yellow shirt and a floppy hat.
In one skit the clown in the tuxedo ate a burning
newspaper. The other clown brought cotton candy and he
ate that, too. Then he blew out smoke and finally sparks of
fire. The second clown tried to do the same thing. He ate
burning newspaper and cotton candy, but all he spat out
was soggy bits of the cotton candy.
Warsaw is a city of 2 million people on the Vistula River.
In 1944 it was completely destroyed by Hitler's army. The
old town was reconstructed using the paintings of
Canaletto, a 17th century artist. Now the old town is a
charming area of apartments and shops with artists selling
their works on the street, but only a few on the day we were
10 The New Calliope

January/February ; 1992
there in the rain and the snow.
It was election day: as we drove around the city we saw
people going into and out of polling places. As the election
results came in, people were somewhat unhappy and a
little afraid. There had been candidates from 26 political
parties running for seats in the legislature, and no party
gained a majority. It would be difficult to form a government.
The clowns visited four schools in Warsaw . The first
was a public elementary school that specializes in sports .
We did a show. This time we were better prepared. Our
leader, Shorty, told us to bring everything with us. We did
skits for about an hour. Then we made balloon animals and
asked the teachers to give them to the students. We were
ready to leave, but Shorty said, "They want more. We've
got to do some more skits." So we did .
Brenda "Flower" Marshall made a Christmas ~ee out of
newspapers. Cilia "Silly" Gallegos was a little girl looking
through her mother's purse. Betty Cash wore her cowboy
costume and called herself "Potshot Peewee ." She shot
balloons out of Rootie-toot's hands. Kenny found a ladder
and balanced it on his chin. Then he climbed the ladder
and juggled clubs near the top. David "Raggs" Florida held
the ladder steady and the other clowns cleared out of the
way.
Above , Kenny Ahern makes a friend in
Warsaw's Szkola Podstawowa No. 233, a
public school specializing in sports. Below,
Jim Roberts performs the tightrope skit in
the same school.
Next, half of the clowns visited a school for children
with Down's Syndrome, Szkola Podstawowa Specjalna No.
213. Shorty and Strutter found these children loved to see
clowns throw water at each other. It was equally as funny if
they just flicked water at each other out of a glass or
sprayed each other in the Worker Bee skit .
The other clowns went to lnstytut Gluchoniemych, a
school for deaf children. This is a large school with several
buildings; the younger children were waiting in one place
and the older ones were in an auditorium with a stage. The
clowns split, half going to one place, half to the other,
then switching after about an hour.
After the shows we met with some of the staff in a
crowded conference room for coffee, tea and cookies.
Elizabeth Pmaska-Skrzypczak was with us. She is from the
Children's Foundation and is coordinator of their program
overseeing the care of sick Polish children. She was happy
to see how well the children responded to the clowns,
saying it's important to take the child's mind off his sickness
and give him something colorful and interesting to look at
and to think about. She was well aware of the healing
power of humor , and wondered how she could get
someone to come teach clowning skills to people in
Warsaw, so they could start to use clowns to help the
children heal themselves.
Continued next page
The New Calliope 11

January/February, 1992
Joeys'journey --
From preceding page
Elizabeth's son is a student at a non-traditional school
which was our next stop. It's a semi-private, partly
parent-supported high school where students make their
own rules. In Poland everyone has been told what to do for
40 years; now they are facing democracy and people must
begin to make their own decisions. Parents are hoping the
school's free environment will help students develop the
decison-making skills they'll need in a free society .
Clowns mingled with students in the lunch room. All of
the students spoke English. Charlie "Peewee'' Beumler
brought out his rope tricks ; Al Goldman taught some
students how to use a yo-yo; and the balloons came out.
One of the students had an 8mm video camera and was
taping the clowns. It's been a long time since I've visited a
high school, but to me these students seemed very
mature.
Back at the hotel, some of the clowns talked with two
businessmen from Connecticut. They had started a
company in Warsaw, working with computers and computer
software, and were planning to build pre-fab houses for
sale in Russia. They said one of their employees .Tommy ,
had grown up in a local orphanage , which they visited
often. They asked if the clowns could visit the orphanage,
too. Yes, they'd fit it in after their final hospital visit.
The Children's Referral Hospital, Panstuouy Szpital
Kuniczny, was founded in 1826. The building was bleak ,
but Elizabeth told us of the good work done there. Some
of the patients in oncology and nephrology were too sick
to get out of bed, so a few of the clowns visited them in
their rooms. The others went to the auditorium to do a
show. Before the show started, clowns spread out through
the auditorium to shake hands and give small gifts to the
children: coloring books, paper Mickey Mouse hats,
balloons.
Our guide, Christopher, commented on this . He had
noticed that the clowns always touched the children.
Human touch was an important part of what they did, and
the clowns were not finished until they had shaken hands
or lovingly touched the children in some way.
Christopher was more relaxed with the clowns now.
The first day he met the clowns in full makeup had been
something of a shock for him. I had seen him standing in
the lobby amongst the clowns, being very quiet. Finally I
asked him if he wasn't feeling well . He said, no, he was fine ;
he was just a little embarrassed. It would take him a little
time to get used to this. He did get used to it and seemed
to enjoy it when people on the street smiled and
sometimes waved as the clowns' bus drove by.
One of the young patients at the Children's Referral
Hospital presented the clowns with a watercolor and crayon
drawing of fish in the sea . It is a beautiful piece of work;
Shorty has arranged for it to be exhibited at the Clown Hall
of Fame in Delavan, Wis.
At the orphanage, Panstwowy Dom Sziecka N. 11, the
children ran to greet and hug the clowns as we arrived.
There were 106 children, 4 to 18 years old. They loved
Kenny's short performance and were thrilled by the
balloons and small gifts .. The American businessman was
so impressed he created the Tommy Fund on the spot with
a $5,000 donation, earmarked for the children's education .
It was a hurry up clean-up and change into street
clothes for the farewell banquet. With traditional Polish
food, wine, vodka, and champagne, we said farewell to the
Circus Wielki directors and representatives of the schools
and hospitals we had visited .
Christopher and Boleslaw wished us well in that
dangerous city they had never visited: Moscow. We knew it
would be cold and probably snowing; we had seen the
weather forecast on CNN on the TV set in our hotel rooms.
We knew, too , that the Minnesota Twins had won the
World Series. Betty Cash and I were especially happy to
see pictures of the victory parade through Minneapolis and
our hometown, St. Paul.
Our hotel in Moscow, the Salyut, was enormous . The
lobby was big enough to be a train station. There were
security guards at the doors to the elevator lobby; guests
needed to show their hotel cards to get in. On the 15th
floor, a matron gave us our keys. We had been advised to
bring presents for the floor matron to ensure the safety of
things in our room. Our room was small; it had everything
we needed, but was just not very clean or well maintained.
The latch on our door was missing, so we had to lock the
door to keep it closed. Some rooms were cold; others were
hot.
The dining room was in back of the hotel, reached by a
dramatic, wide, stone staircase. We had all our breakfasts
and a couple of dinners here. Since we were often in
costume, many people came over to talk and take pictures;
some of the people were from Germany , others from
Monaco. The waiters wanted to sell us caviar for $5 a can.
Shorty met the only people who didn't like clowns. He
was in the elevator alone when it stopped three floors from
his destination. Three men entered. They looked at Shorty
a few minutes and then asked where he was from.
"The United States."
There was a pause.
"Hmnn, ha. We're from Iraq."
Continued page 14
12 The New Calliope

January/February, 1992
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The New Calliope 13

January/February, 1992
Joeys'joumey
From page 12
There were a few nervous giggles and all were happy
when the elevator doors opened again.
After our first breakfast -- a cold, brown paste of
eggplant and potatoes -- we were waiting for our bus in the
lobby when a crowd began to gather. Clown costumes
added a lot of color to the gray lobby, and people came to
just stand and stare. "When God gives you an audience,
it's your duty to entertain them," said Raggs. He was off
strutting his stuff. He lost his tramp's hat; when he bent to
pick it up, he kicked it. There was plenty of room tor this bit,
and Raggs followed his hat across the lobby. The people
smiled and then they laughed.
Soon Shorty and Peewee Beumler were out there
working the crowd, too. Lauren "Miss Ziggy" Zagoren was
in drag, wearing his blue and white dress and calling loudly
in his falsetto voice. Several Japanese businessmen came
closer, and finally two dared to touch his voluptuous
trontside. They had their pictures taken with their heads
resting on Ziggy's chest.
Our bus finally arrived and we were off to a rehearsal
hall of the Soviet circuses. All acts in the Soviet circuses
train here. It was here that the Flying Cranes act was
developed and rehearsed. This act is now on a tour of the
USA with the Moscow Circus.
At the time of our visit, the Soviet Union was still intact.
Since then, of course, the union has been dissolved, so
it's impossible to say just what will happen to the structure
of Soviet circuses and the people who work with them. In
any event, in late October and early November 1991, all of
the Soviet circuses, circus schools and rehearsal halls
belonged to one organization. Besides Moscow, there are
two other training bases for circus performers. There are 60
permanent circuses with their own buildings, and 16
traveling circuses in the Soviet Union. There are about
6,000 circus performers; of these, about 200 are clowns.
Clowns perfonn only in the circus; it is extremely rare tor a
clown to perform any place else.
The Russians asked if any of us would be willing to
perform a short act. We all pointed at Kenny and he
graciously agreed. This time he really worked tor his
applause; the helper he chose was a sourpuss and did not
want to cooperate. In his scarf routine Kenny has his helper
throw and catch a scarf. This helper let it tall to the floor and
sit there. Kenny tried again; still it didn't work. Finally he just
juggled the scarves himself and moved on to the spinning
plates. Usually Kenny and his helper end up juggling the
scarves together. This day it just didn't work. Later, at the
circus school, with the same act, Kenny received a
standing ovation and a request for an encore. Maybe
things came out even.
Left above, Yuri Nikoolin, director of Old
Moscow Circus , met with American clowns
and talked about his 40 year career as a
performing clown. At right, Lauren "Miss
Ziggy" Zagoren, poses with a clown statue at
the Moscow Circus School.
To enter the circus school, children must pass exams
and auditions. They can enter at three ages: 10 years old,
15 and 17 after graduating from high school. For those
who enter before graduation, some time is spent studying
regular school subjects. Circus training begins with general
skills and then becomes more specialized. So a student
wanting to be a clown would also study juggling,
movement, acrobatics, etc. Graduates of the school are
guaranteed a job, but they will be assigned to a particular
circus and must stay three years before changing to
another job.
We were invited into the donnitory of the circus school
to watch a few clown skits. One was presented by a
student who would be performing this skit as his
graduation. He made the sound of several instruments with
his mouth and then played the accordion and the piano at
the same time: the piano with the left hand and the
accordion with his right. It was a funny skit, but not
something that would fit into a Ringling lineup very well. It
worked in this small intimate space, but would be lost in a
large sports arena.
This difference between the Russian and American
circus we would hear voiced again when we talked with Yuri
Nikoolin, director of the Old Moscow Circus.
There are two permanent circuses in Moscow: the Old
Moscow Circus and the New Moscow Circus. Both have
relatively new, modern buildings. The Old Moscow Circus
has the newest building; it is less than two years old. The
old building was 106 when it was torn down. This circus
was given $32 million by the government for construction
of a new building. Construction was completed in two years
14 The New Calliope

January/February, 1992
by a Rnnish company. Nikoolin joked that if a Soviet
company had been given the contract, it would have taken
15 years.
We met with Nikoolin in his office at the Old Moscow
Circus before an evening performance. He talked briefly of
his 40-year career performing as a clown. Most of that time
he worked with a partner. When his partner died, Nikoolin,
too, gave up performing, although he did perform at the
first circus performance in the new building.
In 1974 he visited the United States with a large
delegation of artists. They toured 12 American and 6
Canadian cities. He said the performance was not received
very well because they were booked into large sports
arenas with audiences of 8 to 10 thousand people. He
believes the circus requires a more intimate space with an
audience of no more than 2,000; this is how the Russian
circus buildings are constructed. We were told that the
New Russian Circus actually seats 3,500.
"Clowns are absolutely essential to a circus
performance," Nikoolin said. "Even acrobats are not
necessary ... but clowns are essential." Then he added
wistfully, "Clowns are our only joy in our present life." We
assumed he was talking about the political and economic
confusion in what was then the Soviet Union.
The program for the evening's performance was
dedicated to clowns and titled "Torozhuno Kloon"
(preserve the clown). The two featured clowns in this
performance joined us for the meeting with Nikoolin,
already made up.
Dmitri Alperov is a Whiteface clown. His makeup was
applied only to the front of his face, not on the neck or
ears, and not powdered. Arkady Borisov had a very thin
white on his nose, cheeks and chin, with red freckles on
his cheeks. He wore glasses with black frames, a red wig
and a black hat.
Before the performance we greeted the people as
they came in. The children were all dressed up and looked
excited. Everyone checked their coats in a coat room.
Some had their pictures taken with a bear. Programs and a
few souvenirs were for sale, clown noses among them .
We had front row seats for the performance . It felt
strange to be sitting and watching a performance in our
makeup and costume, but that's what we did. We tried to
be quiet and unobtrusive, difficult for many of us.
The opening was spectacular, with the two featured
clowns entering on the top level and coming down a
lighted staircase , accompanied by a lot of activity from a
cleaning lady and people carrying costumes up the stairs.
Continued next page
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The New Calliope 15

January/February, 1992
Joeys'journey --
From preceding page
Just when things settled down and the spotlight was on
only these two clowns, they introduced the American
clowns. We stood up and took a bow; it was quite an honor.
As with the circus we had seen in Warsaw, there was
no ringmaster. The entertainment continued non-stop
from start to finish. Transitions were built into the acts·
often it was the clowns who worked the transitions. '
Besides the two featured clowns, there were several
other clowns. In one skit a clown came out carrying a heavy
bag, so heavy he was almost dragging it. When he opened
the bag, there was a balloon inside. He took the balloon
out , balanced it on his head, then put it back into the bag
and dragged it offstage.
As a transition, two clowns brought out large
helium-filled balloons and started giving them out in the
audience. Then they used one of the balloons to snatch a
woman's purse, which floated off into the center of the
ring. This introduced an act with a hot air balloon. The hot
air balloon started to rise before both occupants were in
the cage; one fell down and was dragged along for a while.
The balloon continued to circle the circus ring while the two
INTRODUCING
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There were also trained chimpanzees, monkeys,
ponies and dogs. There were even trained cats and a rat.
There were trained bears walking a tightrope , but there
were no horses or elephants.
Besides greeting the people coming into the Old
Moscow Circus, we did two performances for the public.
The first was at Boarding School #45 in the Dzerzhinsky
District, a school for children with speech defects. The
auditorium was up five flights of stairs, but it did have a nice
stage . Stanley Tackett was in charge of the show lineup
and saw that the acts went out on time and that they
returned backstage promptly. At one point he sent
someone out to haul back James "Jimbo" Chastain , when
Jimbo's act was going on too long. We were trying to do a
tight show; a Moscow TV crew was taping it.
Later Elena Galustova, our translator, told us she had
seen about three minutes of the show on TV . They were
talking about the difficult conditions within the country, but
then said , "One happy thing happened ." Then they
showed parts of our skits .
Jimbo and Lauren "Sir Ziggy" Zagoren both had gone
to schools in their home towns and asked the children to
draw pictures and write letters to the Russian children.
They gave out the letters here. We'll all be interested to
hear if any of those children get answers from Russian
children. In return the Russian children gave the clowns
gifts: macrame hangers, paper sculpture and drawings.
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For our second performance we went to Arbat Street, a
street with shops, restaurants and outdoor performers. It
was a cold day so our guides told us, "Only 30 minutes ."
Before we even left the bus, people were laughing. They
gathered around us so we scarcely could make our way
into the street. Peewee and I were going to do the artist bit
again. Peewee would select the subject, comb his hair,
dust him off and pose him. I would draw the picture and
give it to the subject. Of course the picture was always a
clown with some of the attributes of the subject, a
necklace, a hat, or freckles. We expected to work with
children, but it was often adults who crowded around
asking for a picture . And they laughed.
Of the three cities we visited, it was in Moscow that the
people were most able to laugh at the clowns. In Warsaw
the people on the street smiled, sometimes waved and
occasionally laughed. In Moscow they always gathered
around and laughed. In Budapest, people on the street
tried to pretend they hadn't seen us or let out only the
tiniest smile. Not that we weren't well received in Budapest.
At the school, hospital and senior citizen's residence
where we performed, we were very well received. The
people of the street just seemed more reserved.
Moscow is a city of 9 million people on the Moscow
16 The New Calliope

January/February, 1992
River. The Kremlin is the geographical center of the city
and also the center of government. It is the spiritual and
cultural center as well. Without the rifle-carrying soldiers
and the tanks we've seen so often on TV newscasts, Red
Square and the Kremlin are beautiful. And lucky for us, we
did see a little bit of sunshine dancing on the gold domes
inside the Kremlin and illuminating the teardrop shaped
domes and curlicues of St. Basil's Cathedral, built by Ivan
the Terrible in the 16th century.
We made a brief stop in Red Square while we were in
costume. All the clowns wanted a picture of a clown in front
of that fairytale cathedral.
The Animal Theater is where circus animals are housed
and animal acts rehearsed. Here we met a Moscow Circus
photographer. He was eager to take our picture, explaining
that he had a collection of clown ohotographs. Then he
presented some photographs of Russian
clowns to Shorty, including an autographed
photograph of Yuri Nikoolin. These will be
donated to the Circus Hall of Fame and will
be on display by April.
The longest days of the trip were in
Moscow, 15 hours in makeup one day. They
were full and interesting, but everyone was
getting a little tired. One night Peewee
Beumler was so tired he went to sleep with
his makeup still on. He must not even have
turned over, because the next morning his
American clowns
exercise with Pavel
Grodnitsky, chief
choreographer atthe
All Union
Administration for
Preparing Circus
Programs in Moscow.
makeup still looked pretty good. We would all have liked to
do more performances, visited some museums and gone
to the theater, but if we had stayed a few more days , we
probably all would have fallen asleep.
On the flight to Budapest, Don Berkoski started to
relax. His dream had not come true after all. Before the trip ,
Ski had dreamt he was performing in Red Square. Some
KGB agents had come and taken him away. No one else
saw this happen, so no one knew he was on his way to
Siberia.
A smiling Elizabeth Gyalokai met us at the airport in
Budapest. She told us Hungary has been a republic since
1989. The democratically elected parliament is
conservative, with the opposition being liberal and
socialist. The communist party does exist, but has no
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The New Calliope 17

January/February, 1992
Joeys'journey --
From preceding page
representation in today's parliament. The last Russian
soldiers left the country last June.
Budapest is a city formed from the two .old cities, Buda
and Pest. The Buda part on the west side of the Danube
River is hilly, mostly residential and has the castle and nice
views of the Pest side, which is flat, has the parliament
building and the commercial and downtown area.
Our schedule was not so busy in Budapest. We had
time to enjoy the Korona Hotel's delicious buffet breakfast
and free time to go shopping in the downtown shops, and
to bargain with the gypsies for their embroidered goods
when the police weren't looking.
We hadn't done well with the Russian language; some
of us had learned good morning (dobraye utra) and thank
you (spaseeba). I was practicing goodbye (da svidaniya) ,
but was so busy at the airport in Moscow with luggage,
passport and visa, I forgot to say it to anyone.
Maxie Eaton was determined we should learn more
words in Hungarian and prepared a crib sheet for
everyone. Clown is bohote ; nose is orrr, with a long rolled r.
Half the students dropped out here, but Maxie was
determinec1 Thank you, ku su num; please, kay rhem.
"If your costume is not becoming to you,
you should be coming to us."
Choose from
our many styles.
Design your own
or we will design
one for you.
We are the leader in Gir1 Clown costume creations, offering many styles
and fabric selections. We offer competitive prices and outstand ing
quality.
Finish up your total look with accessories ... suspenders, socks, gloves,
shirts , tee shirts, bibs, dickeys, vest and cella rs.
You may also order from our full line of wigs , make-up and noses.
- Workmanship Gua ranteed--
COSTUMES
by Betty
2181 Edgerton Street • St. Paul, Minnesota 55117
(612) 771-8734
Sir Ziggy, Peewee, Rootie-Toot, Ski, Cookie
and Ta-Dah, ready to perform at a Budapest
school for children with special needs .
There's that rolled r again. The rest of us thought maybe
we'd try pantomime.
The Hungarian Circus was out of town and the art
director of the circus was in the hospital, so we missed
meeting any of them. However, there was a circus in town,
Mcngol Nemzeh Cirkusz, a Mongolian circus, performing in
the permanent circus building.
Long ago I read that Mongolians were strong, fierce
horsemen. These men fit in pretty well with that
impression . I met my prejudice, though, when the lone,
male clown came out. He had a round, cute face and a silly
grin. His soft black, round hat suited his baggy green jacket
and dark trousers. Soft leather boots, curved at the toes,
came nearly to his knees. Just his walk was funny. He
usually worked alone with no props, but had excellent
sound effects . He used a microphone to show us how the
heart of a young girl beat faster as he approached her. We
heard the sound of an electric spark when he touched a
wire and the sound of a camera's shutter when he tried to
take his own photograph.
But what was a fierce horseman doing in the center of
the circus ring wearing a pink dress, a turquoise turban and
black patent leather high-heeled shoes? I had to laugh at
myself as much as at the clown. I guess they're not all fierce
horsemen. A white-suited man-about -town kept asking the
pink lady to dance. She/he wasn't interested , but kept
being dragged out onto the dance floor . Finally she/he fell
down and burst the balloons that had shaped the pink
lady's attractive derriere.
The American clowns made three appearances in
Budapest. Half of the group went to a hospital and home
for orphaned children ; they performed for nearly 300
children , 12 years old or younger. Shorty and Strutter's
Worker Bee skit was popular here; even the children in the
way of the spraying water enjoyed it. Jimbo gave away
more letters from children back home in Utah and the last of
his gifts.
The rest of the group performed at the Peto Institute , a
18 The New Calliope

school for children with special needs. Some have mental
retardation, others have physical disabilities. This was kind
of a wild group; they shouted when the clowns arrived and
cheered the clown skits. They loved the balloon animals
and wanted more. Don "Cookie" Redfield was still out there
making balloon animals, even though he was using a cane
to ease the pain of his injured knee.
The last clown performance of the trip was at a senior
citizen's home. They cheered and clapped their hands
when we walked in. And they laughed at our skits. The
clowns had gotten bored with watching each other;
Cookie, Jobalo and Flower were in the back room making
balloon sculptures so they would be ready when the show
was over. Even the screaming patient in the Dentist skit
didn't get them to look up from their work. When it came
time to take our bows, Raggs was outdoors getting a
breath of fresh air and Jimbo was lost.
A smiling silver-haired gentleman came backstage and
patiently waited for all of us to sign his autograph book. We
relaxed for a moment, sipping tea and eating cookies
served by the staff. Some of the senior citizens were
putting on their coats, preparing to go home. There aren't
enough facilities like this, so if some people are able to take
care of themselves a little, they only come for the day.
Jimbo was found visiting those residents unable to
leave their rooms. He didn't want them to be completely left
out of the good time downstairs.
Our farewell dinner served buffet style featured some
unusual dishes: vegetable strudel, roast pork with goose
liver, boiled eggs with caviar, green salad, sliced sausages,
ham rolls with a creamy stuffing, wine, chocolate-chestnut
cake, coffee and apricot brandy. We certainly did eat well in
Budapest.
A doctor from the children's hospital we had visited the
previous day was a guest at the banquet. She said she'd
asked some of the children if they remembered the clowns
who had visited the other day, and told us that as soon as
she asked the question, the children's faces lit up and they
smiled . They don't usually get any entertainment in the
hospital except perhaps once at Christmas time.
Peewee Beumler told us of an American pilot he had
been talking with in the hotel lobby. After Peewee told him
what the clowns were doing, the pilot said, "People like
you make me proud I'm an American."
We all hope this is but a beginning, that there will be
many more opportunities for many more COAi members to
participate in this kind of adventure. We hope
communication and understanding and peace will continue
to grow between American clowns and people all over the
world. Then maybe we can really say Clowns of America is
International.
January/February , 1992
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The New Calliope 19

January/February, 1992
Wedding party: Bride,
groom and attendants
were all in costume at
the wedding of Jan
"Cranberry" Shoor and
Howard Potter, the
"Snow-a-Ranger." Here
the masked groom
prepares to embrace
the bride, while
everyone else clowns
around.
They're 'fair'-ly married
Jan "Cranberry" Shoor has been entertaining crowds
at the Altamont, N.Y., Fair for the past five years. But last fall
her fair appearance included an extra-special event Her
real-life "in love for sure" wedding.
A year earlier, Cranberry met another showtime
personality known as the Snow-a-Ranger. The mysterious,
masked man visits various northern New York ski areas and,
with his snow dancers, puts on a show which, some faithful
believers say, brings on the frosty precipitation every time
-- well, almost.
Anyway, Cranberry and Snow-a-Ranger fell in love at
first sight. They were engaged last March 13.
Wanting a very special place, time and friends around
them for their wedding, Cranberry and Snow-a-Ranger
chose to be married on the Altamont Fair's Grandstand
stage last Aug. 16, with all of Cranberry's fair fans and
friends as witnesses. Snow-a-Ranger arrived on his white
horse, attended by his Snow Scouts, a Snow Critter and,
as his best man, Old Man Winter. Cranberry wore a specially
designed clown 's bridal gown, and nine clown friends were
bridesmaids. Her faithful puppet, Sara, was maid of honor.
The ceremony was performed by Altamont's Mayor,
James Caruso, and the Royal Hanneford Circus organist
provided wedding music.
Why did Cranberry want to marry in face?
"Down deep, we're both kind of serious people, and
we're very serious about our vows," Cranberry said. "But
we still believe that the secret of a good life and loving
relationship is having fun and good humor. The world just
doesn't seem to enjoy itself or play enough ."
(From the Sunday Times Union)
\Flea Market
Ads in The New Calliope's Flea Market are offered free
of charge to all COAi members. Ads must include no more
than 25 words, plus name, address and/or phone number.
Please include COAi number as proof of membership.
Ads must be received b_v the 15th of the month
preceding month of publication. Ads for the
March/April 1992 issue must be received by Feb. 15. Send
to: Cal Olson, The New Calliope, 3107 Summit
St., Sioux City, Iowa 51104. The New Calliope assumes no
responsibility for offerings made in the Flea Market.
FOR SALE: "The World of Clowns," Bishop, 184
pages, $15. "Bring on the Clowns," Hugill, 225 pages, 47
color, 161 black and white illustrations, $18.50. Roger
Montandon, Box 711, Bixby, OK 74008.
20 The New Calliope

Clown Camp '92 will be holding four week-long
training sessions beginning May 30 on the campus of the
University of Wisconsin-La Crosse . Each session begins on
a Saturday evening, and concludes on a Friday morning .
Other session start dates are: June 6, June 13, and June
20 . Participant numbers are limited to 165 persons per
week, and enrollment is on a first-come, first-served basis.
(Individuals may register for one or more weeks .}
Your clowning needs can be
met by the 1992 University of
Wisconsin • La Crosse-sponsored
Clown Camp program. Are you a
baby clown just starting out and
need assistance ln finding your face
or deciding what to do? Are you an
expertenced performer who wants to
develop skills ln puppetry, juggling.
"My family thought I was
crazy when I left for camp -but
now they want to be clowns tool"
G.P., Boaz, KY
or magic? Are you a sertous
professional wishing to embark on
clowning expertences ln hospitals or
nursing homes? Do you need a
place to recharge your clown
battertes? Are you ln need of new
costuming, props. makeup, and
other clowning supplies? Do you
want to work with the finest
professional clown Instructional
staff ln North America? If the
answers to any or all of the above
are YES. then Clown Camp ls for
you.
Durtng each week of Clown
Camp you can pre-register for up to
three ongoing. week-long courses:
attend daily classes and alley
meetings: visit the camp store: have
makeup crttiques, and eat and sleep
clowning. You"ll be housed ln a
university residence hal l, double
occupancy-unless you pay an
upcharge for a single room. You'll be
eating with all the other clowns at
the university food service building.
and share skills, stories, and
sertous silliness with fellow clowns
from throughout the world.
Eighty percent of the courses
are the same any week you choose
to attend. For exarnple. lfyou ·re a
beginner, the beginner basics tract
ls offered each week. If you want to
develop skills ln juggling and
comedy magic, those courses are
offered each week. Therefore , it
doesn·t matter ln most cases which
week you attend, the program
offertngs are pretty consistent.
However, some courses are
selectively offered only once or twice
during the summer·s sessions, so
examine the registration form to see
exactly when each of your desirable
sessions Is offered.
One special emphasis focus
will be provided during each
summer session. These focus
sessions will be: Week I-physical
comedy; Week 2 -gettlngyour act
together : Week 3-the cartng clown/
therapeutic humor: and Week
4 -clown education/teaching. Extra
coursework on these topics will be
available during the weeks
specified. So, if any one of those Is
of particular Interest to you, then
register for that particular week. If
none Interests you. thafs okay too .
as the general courses described
earlier are all available each week.
Clown Camp attendance has
grown successively each year. We're
at the point where registrant limits
have to be Imposed. (Durtng 1991,
1,500 persons have registered for
one or more of the Clown Camp
programs offered.) Summer Clown
Camp weeks ln 1992 will be
restricted to 165 persons. So, don't
delay --reglster today! (Last year's
highly successful program followed
this type of restrtcUve enrollment,
and It proved to be very successful.)

From The Director
Greetings from th e University
of Wisconsin-La Crosse. Personnel
here on campus , as well as over 30
professional instructors from
throughout the United States have
been working diligently to assemble
the four, week-long programs for
this coming June. We have reviewed
thi s past s umm er 's participant
eva luations and have restructured
the '92 program to reflect th e
suggestions we've received . We've
retained what peop le like. and h ave
added new features and eliminated
some old.
I'm pleased that both assoc iate
Clown Camp directors, Irene Doll
(Shawn ee, Kansas) and Barry
DeChant (Livonia, Michigan), are
once again back working with me.
Their experience and exce llent
managerial ski lls have made it
possible for us to accept the
challenge of offering four, backto-back,
one-week sessions , with
higher enro llments than we
experienced last summer.
For over a year now I've been
working to enable u s to bring back
the multimedia slide shows we
produced in years past. I'm happy
to report that new equipment has
been ordered, and we will be ab le to
open eac h camp week with a six to
ten projector show feat uring clowns
from throughout the wor ld.
Many participants have
expressed a desire to be able to
present a program at Clown Camp.
This year we are setting aside time
slots for participant -lead sessions.
Do you have some favorite techni ­
ques you'd like to shar e with
othe rs? Do you have some informa ­
tion, collection, or ideas which you"d
like to present? If so, please send a
short note with title and a short
description of your session, along
with the registration form. We'll see
that this is incorporated in the
published sc hedu le of all our
sessions. I'll also write back and
confirm the arrangements we've
made in your behalf.
Expectations are running high
for exciting and full -to-capa city
summer programs. With each week
restricted to 165 participants. I
must encourage you to get your
registration in early. (Vve are
expecting registrants from through ­
out the world.) Once you register
you'll immediately receive a
confirmation back from us. Don't
book vacation time or purchase
airli n e tickets until you've been
admitted to the program week of
your choo sing. With your confirma ­
tion we'll accompany information on
an optional air travel package you
might want to consider. It should
save you an add itional 5% off of the
lowest s up er saver rates.
I look forward to seeing
hu ndred s of you this coming June.
Because our mailings now reach
over 10,000 persons, I can·t say I
look forward to seeing all of you.
But.I do want to see YOU!
Richard Snowberg
1991 Photo Contest
After each year's Clown Camp
we ask participants to submit
copies of any espec ially outstanding
photographs they take while in La
Crosse. These are then entered into
our photo contest to be judged by a
panel of professional ph otograp her s.
Winning photos provide the
indi vid ual who submits the entry
with a sc hol ars hip for the next
yea r's program. Hundreds of
submissions were sent in by last
year's campers. You'll see some of
the best reproduced in this ed ition
photo contest winning entry by Christine Sopczak
of The Funny Papers. In addition, if
you attend Clown Camp '92 , you'll
see all of them on display.
The first place winner of the
$200 scho larship is Christine
Sopczak , from Calgary, Alberta.
This is th e second consecutive year
that she has taken first place in the
competition.
You can get in th e action thi s
year by bringing your camera to
Clown Camp . Look for those magic
moments, and next year your work
may win you money towards camp
registration and n otor iety in The
Funny Pap ers.
Multimedia Extravaganza
Returns to
Camp
Have you ever seen a show
featuring slides of over 350 clowns?
Have you ever seen a six to ten
projector multimedia clown show?
Attendees at this summe r's ('92)
Clown Camp sess ions will see a
brand new program entitled, 'Those
Crazy Clowns!" This production
promises to be bigger and better
than those witnes se d in the past. It
will feature hundreds of differ ent
clowns.
During the past two years,
Clown Camp's multim edia slide
show has not been seen. This was
due lo the lack of reliable equipment
to support the performance.
Now, howe ver, new equipment has
been purchased which will make
this production bigger and heller
than ever! You'll see friends from
near and far. Famous clowns and
foolish clowns. American clowns
and European clowns. You·u see
clowns at camp, in circuses, at
conventio n s-even the international
convention held last year in
England. You'll laugh, applaud, and
per haps shed a tear at the sight of
Tlwse Crazy Clowns.

Are You New to Clowning?
If you're new to clowning, or wish to get a good strong foundation
in the art.form, we have some suggestions for your benefit. The first of
these has to do with selecting which courses to take at Clown Camp
You have the opportunity to
register for three courses during
your week stay at Clown Camp .
There are two courses which the
faculty feel are Dlll.S.t experiences
for all beginner clowns. One of
these is apUy called "Beginner
Basics." This course will provide a
strong base of information to assist
new clowns, and give them a degree
of confidence. The second course is
"Makeup and Costuming."This
course will provide lectures,
demonstrations and hands-on
experiences in establishing the Zook
ofa clown.
Kathy German's $150 contest entry
The one remaining course
period you have available will
provide you with five or six different
experiences from which to choose.
"Character Development" is highly
recommended for most beginner
clowns. However, if you'd like to
gain some in-depth skills at skits,
juggling, or whatever else is
available during the week you plan
to attend, then enroll in that
course.
As a new clown you'll be better
served not devoting large amounts
of course time to narrow fields. You
can taste some of the narrow
subjects with one hour classes.
These are offered throughout each
afternoon, and throughout the day
on Tuesday. You'll also learn much
from the daily general sessions and
evening performances.
You don't have to arrive at
camp with a fully stocked makeup
case. Many vendors will be on site
with quality makeup and costum ­
ing available for purchase. If, before
arriving, you don't know what to
purchase, wait until after you've
arrived and been to your first day's
course sessions.
As a new clown, don't be
nervous about "being the only
dumb clown." All clowns are
supposed to be dumb. and if you
think you're alone in not knowing
about everything that's going on, be
comforted by the fact that
approximately 30% of our
registrants are brand, spanking
new, .baby clowns. Then again,
we've had participants that have
returned year after year, and they
still don't know what's going on!
Everyone at Clown Camp
becomes a member of a group of
clowns known as a clown alley. We
have between 10-15 alley groups
each week. Within your alley you'll
get to know many experienced and
newer clowns. As a new clown,
you'll be matched up with an
experienced buddy clown to help
you, advise you, and basically
answer your questions.
Registration
Includes:
• Six nights double or single
room occupancy in a university
residence hall
• Eighteen meals served in the
university's Food Service
Center
• Admission to all Clown Camp
workshops, performances,
classes, and special events
• Three-Ring Clown Camp
notebook with relevant
instructional materials and
schedule
• Group color photo of your
clownalJey
• Black and white individual
photo
• Award of complelion
• Clown Camp beach towel
• Engraved identificalion badge
• Evening paddle wheel riverboat
cruise on the Mississippi River
• Shuttle bus transportation
from La Crosse airport to
campus (service only available
on Saturday)
Cost
$385 Double Occupancy
$440 Single Occupancy
If you choose to attend without
utilizing the room and board
portion of the registration fee,
your cost is $225,
Mindee Liske's $75 contest entry

Information
on Course Offerings
Clown Camp provides learning opportunities in many di!Terent
forms. The most structured of these experiences are courses .
Courses focus on a single topic and run for the duration of the
camp week. Therefore . if you sign up for a Juggling course that
meets at 2 p.m .. you'll daily attend that course--at that time.
Courses have specified topics and instructor guidelines that
provide you with advance knowledge about what is planned for that
particular experience. You will find descriptions of each of th e
courses being offered at the 1992 Clown Camp outlined below . All
courses are available during each camp week. unless otherwise
noted . Consult the course schedule for specific times and weeks for
each course. You may, at least in part, determine which week of
camp to attend based upon which courses are being offered.
Prior to your attendance at Clown Camp you have the opportunity
to pre-register for up to three courses you'd like to attend.
(Because some of the courses have supply needs. it is imperati ve to
register your wishes as soon as possible. Enrollment management
will be based upon earliest dates of choice. There will be three
periods, two in the morning and one in the afternoon when courses
are scheduled. You can register for only one course in any given
time period. Consult the table. found elsewhere in this brochure to
determine the available options and your specific choices.
A staff of professional instructors will be provided to teach all
courses. Staff will change on a week to week basis. Rest assured
that a ba lanced roster of staff members will be available each week
of the program. With four weeks of programming, and a limit of 165
participants each week, you will be assured of quality personalized
attention.
Courses:
Balloon Sculpturing
This Is a basic and Intermediate
level course. Learn about different
styles and types of balloons. See how to
Inflate, twist, sculpt. and tie professional
quality entertainer balloons. This will be
a demonstration and hands-on learning
course In creating rubber creations with
single and multiple balloons. Instruc ­
tors:Week 1--T. Myers, Week 2--P .
13iggio, Week 3--P. Biggio . Week 4--F.
Harvey.
Beginner Ba sics
This Is a must at tend session for
novice clowns. It will cover basic clown
knowledge- -clown types, clowning
hi s tory, ethics, arenas for performing,
terminol ogy , and lots of pra ctical
lnfonnatlon to provide a valuable
foundation for other course experiences.
It Is recommended that this course be
taken In conjunction with the Dasie
Makeup and Costuming course. The
courses complement one another, but do
not overlap. Instruct ors: Weeks 1 &
2- -R. Snowberg. Week 3--D. Ahem,
Week 4--B. Cash.
*
Birthday Party Clowning
Perhap s the most popular venue In
clowning -the birthday party. Learn
booking tips, how to handle groups and
parents, games, routines, and othe r
bir th day party activities. Demonstration
performances will be provided. This will
be a lecture and demonstration course.
You'll have the opportunity to take lots
of useful notes. Instructors: Weck 1--0.
I3urda and I. Doll, Week 2--P. 13igg!o and
V. Pagliano. Weck 3--P. Biggio and D.
Cash, Week 4--1. Doll.
The Caring Clown
Discover how to share oneself a nd
your comedy characte r with those
Individual s who are res idents of
hospitals, nur sing h omes, or other
"special" populations. Attention will also
be given to working with you th and the
terminally ill. Lectures and discussions
will deal with how to perform, length of
visits, overcoming fear, gluing and not
taking, organizations that can provide
assistance, dealing with the hospital
staff, and other related topic s. Instructors:
Week 1--J. Tucker, Week 2--0.
Miller, Weeks 3 and 4--R. Snowberg.
*
The Caring Clown­
Emphasis Week Course
This will be an olT campus
experience taking class members to
various facilities desiring the services of
cari ng clowns. Visits will include nursing
h omes. hospitals, and special care
facilities for the multiply hand icapped.
Following each visit a debriefing
experience will take place . Weck 3 (only
week olTered)--R. Snowberg.
Character Development
You will learn to develop your
personal comedy clown charac ter by
using techniques of body movement,
voice, emotiona l motivation, theater, and
Improvi sation. Par ticipants will be
involved in ongoing. activity oriented
exercises as they discover and continue
to develop their pe rsona l clown. This is a
course with significant growth potential.
strongly recommended for novice or
In termediate level performers. Instructors:
Weck 1--T. Dolhun and D. 13urda,
Wc.-ck 2--Don Durda, Weeks 3 and
4--Arina Isaacson.
"I applaud your hard work
and dedication in providing an
educational program to enhance
the art of clowning."
J.R. . Ocilla. GA
Clown Education ­
Emphasis Week Course
Two aspects of clown educa tion
will be addressed In this unique course.
The first is utilizati on of a clown
ch ara cter as a teaching tool. Drug
education is one example .. The second
aspect will be the actual teaching of
clowning skills. Curricular materials will
be shared, as well as techniques for
u tilizing clowning sk!lls in public schoo l
classrooms. Instructors: Week 4(only
week offcred)--B. Ahern and F. Harvey.
Clown Ministry
Clowns can serve as very successful
vehicles for ministering to the needs
of people. This cou rse will focus on
clowning in a religious setting, to
develop understandings of respons ibi lities
of clowns, the development of sk its
and routines, and the steps In structur ­
ing clown units in churches. Instruct ors:
Weck 3 (only week olTered)--0. Mitchell.

Comedy Magic
*
Makeup
and Costuming
Physical
Emphasis
*
Comedy-
Week Course
Comedy magic can be used to
This course explores the total look
entertain any type or size of group.
of the clown . Design considerations.
This course will be a continuation
Magical effects will be demonstrated for
costume selection (purchasing or
*
of Physical Comedy. Class members will
use during walkarounds, birthday party producing), wig types, application
take clements of physical movement and
type routines, or stage magic shows. techniques, and color and makeup
combine them Into a total performance.
Some tricks will be demonstrated that
brand selection will be addressed. Live
*
/\ Thursday evening show will be
can be produced by class members, demonstrations and daily exercises in
assembled for viewing by all camp
while others utilize common materials . application skills will be featured. On
participants. Instructor: Weck I (only
Hands on practice will be employed as
day two every student will apply a
you learn by doing. Instructors: Week
*
week offcred)--0. Dechant.
whiteface design. On day three everyone
1--V. Pagllano and T. Myers, Weck 2--D. will apply an auguste face , and on day "Everyone has fun, and
Ginn, Weck 3 and 4--L. Mullally and D.
four everyone will experience a tramp
*
that's the best way to learn ."
Mitchel l. makeup. Students must provide th eir
own makeup. This can be purchased at P.B., Albuquerque, NM.
"I had a great time at Clown
*
camp following the first class session
Camp again this year , and hope to
dealing with se lection of makeup tools
Puppets & Vent
be back next year ." and paints. Ins tructors : Weeks I and 2--
Learn techniques to add life and
C.S .• Calgary. Alberta, Canada
*
T. Bothun, Weeks 3 and 4--B. Cash.
*
sound to your puppets and vent figures.
Movement and Mime
Pronunc iation skills for vent work.
Comedy Techniques
and handling puppet and
Find out what your body can do to vent figures, routines. construction tips ,
Learn to create, write and perform complement your performance-whether and walkaround ideas will be covered In
you r own creative comedy material.
*
you are a silent performer or a speaking
*
this course. This is a hands-on
You'll learn th e principles of skit and gag clown. Learn simple mime principles as demonstration and activity course. It Is
construction through daily exercises. well as basic economy of movement. most appropriate to brin g along a puppet
These assignments will elicit a consider-
*
Instructor. Week 2 (only week offered)-
*
and vent figure to this session. lnstrucable
amount of new material for your .J . Rivera. tors: Week I and 2--R. Munson, Weck 3
personal clown character. Instru ctors:
(this week course will not include
(Course only available weeks 2 & 4)
Nose Making
Donaldson, Weck
Weck 2-.J. McMullen, Week 4-- •.
4--D. Mitchell.
Clown noses are very "personal"
Johnson.
*
parts of a clown's visual character. Learn
Getting It Together-
Foam Prop Construction . through demonstrations and actual
laboratory exercises to make a reversal Emphasis Week Course
Participants will learn to produce
and craft your own nose mold. You will
This course Will review show
their own foam rubber comedy clown
then pour your first actual nose while
construction, and break down into
props in this hands-on course. Tips and
still at camp. Instructor. Week 2 (only
bite-sized hands-on activities the task of
techniques on foam rubber selection, week offcrcd)--B. Dechant.
getting an act together. You'll ident ify
designing. cutting, bonding, and coloring criteria! and determine if any com -
will be first demonstrated and then
*
"Clown Camp was sensapracticed
by each class member. A
ponents might be added to pow er up
tlonal. It was a fun filled week and your performance . You'll generate
minimum of two useful clown props will
a learning experience I will always original bits of business, and learn to
be completed during the week. lnslruc-
*
cherish!"
*
link unrelated items together Into
tors: Wc,-cks I and 2--R. Munson, Weeks
rou~ines and a framework of a show.
3 and 4--L. Mullally. J .H., Prairi e du Sac, WI Inst ructor. Week 2(only week offered)--!.
Juggling Basics
* *
manipulating
* *
vcntriloquism)-B.
* *
Doll.
Physical Comedy
* *
Skits: Old and New
This basic to intermediate leve l
course will feature lccturc/dcmonst - Learn how to use physical energy This course will focus on learning
rations, practice, coaching. and for getting the emotiona l response you some standard routines, as well as
individual as sistance In mastering basic
want from an audience. Facial exprcs-
developing skills for evolving new
Juggling techniqu es. You'll sec , and sions, exaggerated movements, slaps material. You'll be Involved In developing
practice with, a variety of different props. and falls, and other Isolated acts will be new skits throug h creative brainstorm-
You'll work on independent Juggling
demonstrated and practiced to produce
ing. writing and producing. Starting with
skills, as well as team exercises and laughs. You'll work on spc,-cific bits and a few old standard skits . participan ts
techniques. Special emphasis will be skills, as well as work on entire skits.
will learn the basic clements of skits
*
pla ced on develop ing Juggling skills that
This is a hi gh-ene rgy activity course. through demonstration and personal
produce laughs. Bring along Juggling Come dressed for movement activities. practice. Laugh and learn together.
props if you have any. Instructors: Week
Instru ctors: Weck 1--K. /\hem. Weck
Instructors: Weeks I and 2--V. Pagliano
1--K. Ahern, Week 2-..J. McMullen, Weck
*
2-.J. Rivera, Weck 3--not offen.-d, Weck
*
and J. Rivera , Weck 3--•. /\hem and J.
3--8. Dechant, Weck 4--8. Johnson. 4--K. /\hem. Howle, Weck 4--K. /\hem and J. ll owlc.

Clown Camp '92 Daily Schedule
7:00a.m.-8:00a.m. Breakfast
8:30a.m.-9:20a.m. General Session (on Sunday
this will be a clown mini stry service)
9:30a .m. - l 0:20a.m. Course Period One•
10:30a.m. - l l :20a.m. Course Period Two
l l:30a.m. - 12:00a.m. Clown Alley Meetin gs
12:00a .m.-l:00p.m. Lunch
l 2:45p.m.- l :30p.m. Camp Store Open
l:30p .m. -2:30p.m. MakeUpApplicati on
2:30p.m. -3 :20p.m. Course Period Three
3:30p .m. -4:20p.m. Optional Class Sessions
4:30p.m.-5:00p.m. Participant Practice ___ _,, ·-..
Relaxation Time
Clown Camp Staff Meeting
5:00p .m .-6:00p.m . Dinner
6:00p.m .-7:30p.m. Camp Store Open
Free Practice Time
7:30p.m.-8:30p.m. Evening Perfor ­
mance/ Activity
8:45p.m.-10:30p.m. Open Mike
Opportunities
•on Tuesday no course s will meet .
All morning course times will have
optional classes offered instead. The
afternoon course will be replaced with
the group and individual photo shoot.
Sue Evenson's
$150 contest entry
1992 All Star Clown
Camp Instructors
Brenda Ahem
Kenny Ahem
Paula Biggio
Tricia Bothun
Don & Dee Burda
Betty Cash
Eloise Cole
Barry Dechant
Irene Doll
Bonnie Donaldson
David Ginn
French Harvey
Jim Howle
Arlna Isaacson
Bruce Johnson
Jeff McMullen
Dorothy Miller
David Mitchell
Lee Mullally
Randy Munson
Tom & Merlanne Myers
Vincent Pagllano
Jose Rivera
Richard Snowberg
Janet Tucker
Auction Fun
photo by Roger Grant
Each year charitable auctions
are held at Clown Camp , and this
year will be no exception. Each
week on Tuesday evening, clown
props, costuming, momentos, and
artwork will be sold to the highest
bidders. Proceeds go to the Clown
Hall of Fame and Res ea rch Center,
the Bo Dino Educational Scholarship
Fund of the World Clown
Association, the Wishland Pony
Express, and the Mark Anthon y
Scholarship Fund .
Items sold at the auction are
frequently donated by participants.
You can use thi s opportunity to
donate the clown sho es th at no
lon ger fit or the prop from which
you can't get a laugh . Maybe you
can create some clown mem entos
for the auctions. We've had
contributions of stained glass
windows, hand-made sweaters,
quilts, ceramic pieces and painting
s. We've had gag items and
designer clothing. An annual
high!Jght is assured ly th e pink
dress. Anyone buying it has to
promise to bring it back for a
re-auction the following year.
Previous yea r's auctions have
drawn laughs, applause, tears, and
favorable financial returns. In 1991
over $8,000 was raised durin g the
four auctions held. Please consider
bringing something along to add to
the fund and benefits of this
worthwhile endeavor.

Clown Camp 1992 Registration
Registration can be initiated by sending a S50 deposlt for each program week In which you wish to enroll.
made out to UW-La Crosse. This is a refundable deposlt if you notify us. prior to April l 5, 1992. of your plans not to
attend the program. The remainder of your registration fees are due by April 15, 1992.
Please advise us at the time of registration if you are handicapped and desire special accommodations.
Please indicate this Information on a separate sheet of paper. Requests will be kept confidential.
You will receive a confirmation of receipt and acceptance of your registration and deposit. In mid April we will
send all registrants a full schedule of the weeks' activities, Information on the residence halls, what to bring. etc.
name
a
ress
city/state/postal code
telephone number
(All payments required in US dollars)
(Please print)
clown name
Register me for:
double occupancy 0
single occupancy 0
smoker 0
non smoker 0
roomate preference:
IRsgistrant IFess :
Dout;>le occupancy: $385 per week
Single occupancy: $440 per week
v Check your preferred week(s) -Select one course per period/per week you'll attend
...... .............................. ........................... ..........................................
.............................................................
..................
.........
Week One Period One Period Two Period Three
May 30-June
•
5 O Balloon Sculpturing Birthday Party Clowning o The Caring Clown
O Birthday Party Clowning Character Development O Comedy Magic
O Character Development o Comedy Magic o Foam Prop Construction
0 Physical Comedy O Beginner Baslcs O Makeup/Costuming
O Puppets/Vent o Physical Comedy o Juggling Basics
O Skit Develop. Old & New (special emphasis session) O Movement & Mime
Week Two
June 6-June 12
•
Period One
O Balloon Sculpturing
O Nosemaking
O Character Development
0 Comedy Magic
O Puppets/Vent
0 Skit Develop. Old & New
• Juggling
Period Two
O Birthday Party Clowning
O Character Development
O Comedy Magic
O Beginner Basics
O Getting It Together
(special emphasis session)
Period Three
O The Caring Clown
O Comedy Techniques
0 Foam Prop Construction
O Makeup/Costuming
O Physical Comedy
O Birthday Party Clown ing
Week Three
June 13-June 19
•
Week Four
June 20-June 26
Period One
O Balloon Sculpturing
O Clown Ministry
O Character Development
O Comedy Magic
O Puppets
• Juggling
Period Two
O Birthday Party Clowning
O Character Development
o Comedy Magic
O Beginner Basics
O The Caring Clown
(special emphasis session)
Period Three
O The Caring Clown
O Foam Prop Construction
0 Makeup/Costuming
0 Skits
o Birthday Party Clowning
Period One Period Two Period Three
•
0 Balloon Sculpturing O Birthday Party Clowning O The Caring Clown
0 Physical Comedy O Character Development O Comedy Techn iques
0
.............. ................. ...........................
Write down on a separate piece of paper your course selections. If you later wish to change your choices, you will
need to do this on site. once you arrive In La Crosse.You can not make changes over the phone or In advance of
your arrival. Now. have you indicated which week you wish to attend? Have you checked one course per period you
plan to attend? Have you indicated room type, and. if you have one. a roomate preference?
0 Character Development o Comedy Magic o Foam Prop Construction
Comedy Magic Beginner Basics O Makeup/Costum ing
O Puppets/Vent o Clown Education o Skits
• . Juggling ·······..············ ..···················"
(special .emphasis session) ....................... .................................
~ Send completed registration and your deposit of $50 for each week you plan to attend to: Summer Camps
Registration, 227 Main Hall, UW-La Crosse, 1725 Slate Street, La Crosse, WI 54601.
.....................

Mark Anthony
Scholarships
Mark Anthony, Clown Hall of
Fame ind u ctee, circus great, and for
ma ny years a Clown Camp
instructor, passed away in July of
1990. Past Clown Camp participants
and other friends have
fost ered his memory a nd sharing
at titu de by genero usly estab lishing
and contributing to the Mark
Anthony Scholarship Fund The
Unive rsity of Wisconsin -La Crosse
Foundation, trustee for the funds,
has already received over $5,000
worth of contr ibuti ons in Marks'
name during the firs t eighteen
months of the fund's existence.
Two $250 sc holarships will be
awarded on March 1 for the
summer of 1992 program sess ions.
Around 25 persons applied for
awards last year . Winners this year
will be se lected from a revi ew of
app lications received by th e Jan. 31
deadline.
Once again at Clown Camp
'92 , char itable au ctions will be held
to sustain the funds for future
sc holarsh ip app licants. Part of the
aucti on reven ue rece ived will go
toward this scho larship endeavor.
Individuals may a lso, at any time,
make tax deductible cont rtbuti ons
to this fund. All ch ecks shou ld be
made out to: The Mark Anthony
Scholarship Fund .
Theresa George's $50 co nte st entry
The Red Nosed
Philosophers
Noted clown artist Jim Howle
will be continu ing his work on his
newest series of clown works, The
Red Nosed Philosophers, d urin g
eac h of the four weeks of the 1992
summer Clown Camp .
New hono rees will be unveiled
and new paintings will be started.
Jim will be active ly working on oil
paintings as participants come and
go to their var ious classes.
Additionally, a community art show
Is in the planning stages which will
feature n ear ly all of Jim's past and
present works . At camp, prints of all
of the previous paintings will be on
display as well as ava ilab le for sa le.
The first se ries of clowns that
Jim captu red with oils Is ca lled 'The
Contemporary American Clowns ."
This highly -acclai med work has
been see n by million s In museums,
at art shows, and on television. His
work has been recognized by the
Barnum Muse um , the Smithsonian
Museum, the Clown Hall of Fame,
and th e Leningrad Museum.
Jim has created memorable
posters for each of th e last three
Clown Hall of Fame Induction galas .
These pieces of art feature all of the
Inductees so far honored. They will
also be framed and on display at
Clown Camp.
Attention All
Registrants!
All registrants for s ummer of
'92 programs will receive an
additional copy of a mid -April
edition of The Funny Papers. This
editio n will con tai n specifics s u ch as
residence ha ll assignments, maps, a
lis t of what to bring, and an
hour -by- h our sc hedule of all
sess ions planned for the wee k (s) of
your atten dance. This mailing will
only go to actu al registrants.
Clown Camp Mailing
List
The nu mber of names on the
Clown Camp ma iling lis t now
exceeds 7500 Individuals. It is
ass um ed that some of these are no
~
longer interested in receiving m'ailed
materials, or p erhaps have moved.
Therefore, Clown Camp Is now
reach ing a point whe re it needs to
determine whi ch Ind ividuals want to
continue to receive pe rtin ent clown
training brochur es.
If you are registering for the
1992 programs, or have participated
in any of the fall 1991 Clown Camp
On The Road programs. we will
reta in your name on ou r ongoing
mailing list. However, anyone else
wis h ing to continue to rec eive
mailings from Clown Camp sh ould
fill out the attached form and mail lt
back to the university.
r-----------------------------------------------
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: Cily/State/Zip_________ __ _ _______ :
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: Please return this form to: Cl own Camp Regis tration Offic e, :
! Extended Education and Exten sion, Univ ersity of Wisconsin - !
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January/February, 1992
Jolly Jesters co-host Clown'rama
Members of one of COAi's newest clown alleys, Jolly
Jesters Alley #203 of Charlotte, N.C., did not waste time
getting active in clowning: In November, they co-hosted
the first clown seminar ever held in Charlotte.
The Jolly Jesters teamed up with the Oasis Temple
Shrine Clowns to sponsor Clownaroundarama '91 under
the expert guidance of Chairman French Harvey, who as
COAi's National Competition Chairman is no stranger to
clown seminars. French patternea the event after the very
successful Minnesota Clown Days, conducted by
Minnesota Alley #19, of which he had previously been a
member.
Both of the hosting groups donated all of the
proceeds to charity, the Jolly Jesters to a local ministry that
provides aid to the underprivileged in the Appalachian
Mountain region, and the Shrine Clowns to the ISCA
Sneaker Fund for burns research.
The seminar concentrated on new and beginning
clowns. Lectures provided by Betty Cash, Jack Anderson,
French Harvey and Steve Brogan (a local
·ventriloquist/magician) included topics on characterization,
makeup design and execution, costume design, wig care,
parade props, balloons, simple magic for clowns, and
information on now to continue education in the art of
clowning. After the makeup demonstration/lecture, all
participants donned their own makeup.
In addition to lectures, participants were treated to a
traditional North Carolina barbeque dinner cooked and
served by Oasis Temple clowns under the direction of
Bobby Osborne. Dinner was followed by a clown show that
included performers from the two hosting alleys and Jack
"Freckles" Anderson. Steve Brogan, a member of the Jolly
Jesters, and one of his "friends" acted as master of
ceremonies for the 1 1/2 hour show. Since the seminar
was conducted at Charlotte's Oasis Shrine Temple
mosque, local Shriners were invited to bring their families
to attend the clown show.
Dealers included Costumes by Betty, Freckles Clown
Supplies, LaRock's Magic, Comanche Shoes, a local
airbrush artist and a name tag manufacturer from upstate
New York. New clowns were like kids in a candy store
looking at all of the costumes, shoes and clown supplies.
Approximately 100 clowns and "wanna-bes" attended
Clownaroundarama '91 , including some from outside the
Carolina region. Advertising was limited to a listing in the
Coming Event columns in the various clown magazines
and a limited mailout. About six clown clubs/alleys from the
Carolinas were represented .
"Stars' of the Ck>wnaroundarama '91 Clown
Show held last 1811 in Charlotte, N.C.
LYNCH'S
We carry a complete
line of:
*Make Up (Stein's Bob Kelly,
Kryolan, Mehron, & Ben Nye}
*Make Up Books
& Instructional Videos
*Woochle & Other
Clown Noses
*Clown Wigs *Hats
*Clown Shoes *Gloves
*Clown Accessories
*Costume Fabrics
& Much, Much More!
Please send $5.00 for our New 100 Page
Catalog. You will also get our
20 Page Make Up Catalog.
The cost of the catalog will be credited
to your first order of $25 or morel
LYNCH'S
939 Howard Dept. C. P.
Dearborn, Ml 48124
1-800-24-LVNCH
The New Calliope 29

January/February, 1992
Got a question for Aunt
Clowney? Write to her c/o:
Pat Lay Wilson
Books by Mail
P.O.Box 3128 Dept. COA
Santa Ana, CA 92703
Just ask
Aunt Clowney
Hi, Gang!
Hope you all had a wonderful, busy and fun Christmas
or Hanukkah (boy, that was a hard word to find in my
dictionary). Now sit back, put your feet up, pour a cup of
warm cocoa and let's see-which questions need
answering.
First of all, this is a situation that happened to me last
month: A puppeteer friend called and said she had
scheduled a show for the next day, for a seven-year-old
boy, but she had severe bronchitis and would I do the
show for her? I checked my calendar and was free, so I told
her I would be happy to do the show .
Then I called the lady, told her the circumstances ,
described my show, and she seemed happy enough until I
mentioned my price. "But Emily only charges $50," she
told me, very indignantly (about half what I charge). I
explained that Emily does the show from a basket on her
lap, while I have a real stage, complete with lights and
music, and provide a puppet show, magic, and face
painting . And my show lasts a full hour, not just a half hour.
But the lady wouldn't be placated. She asked me if I
could do a shorter show for a smaller price. Haggle haggle
haggle. I finally told her that because I was doing a favor for
a friend, that I would cut my price to $75. She said no and
hung up.
The next morning she called and decided to hire me
after all. (I think she called some of my competitors, found
what their prices were, and decided my show was a a
bargain after all.) I did the show, the kids loved it, and
everything was all right.
My question to you is -- did I do the right thing? How
would you have handled the situation? Ask for the full
price, or perform for $50? I'd love to hear your answers.
Something else this points out is how important it is to
have contact with your competition -- for those days when
you don't feel good or break a leg or something and have
to give a show or shows away.
Now, here's somebody else's quandary:
Dear Aunt Clowney:
How do I find out about the Clown College
held in Wisconsin during the Summer? Also , I'm
a clown who needs sunglasses to work in bright
sun, but can't find quality glasses suitable to
wear with my costume. Any ideas?
Puzzled in Pennsylvania
Dear Puzzled:
Talk about timing! The answer to your first question can
be found in a special eight-page Clown College insert in
the center of this copy of The New Calliope .
And don't forget the big national clown conventions.
COAi will be in Jacksonville, FL., April 28-May 3. For
information, contact Tom Davis, 1662 Flagler Ave .,
Jacksonville , FL 32207. And the World Clown Assn. will be
in Las Vegas , NV, April 22-26. For information, contact
Gene Lucas , Box 15341, Las Vegas, NV 89114.
I heard from Bob Gibbons that he and Cathy have
decided not to hold their Laugh Makers convention in
1992 -- maybe the year after. This is another very rewarding
convention for all variety entertainers.
Here's one more plug: The Puppeteers of America will
have a regional "Festival" next July 16-19 in Phoenix , AZ.
They have workshops on creating and performing
puppetry , storytelling , and feature some marvelous
performances, also . For information on this Festival,
30 The New Calliope

contact Ellen Schulze, Box 7001, Phoenix, AZ 85012.
There will be six other puppetry festivals held all around the
U.S. next year. If you want to learn which are near you, just
drop me a line at PO Box 3128, Santa Ana, CA 92703.
Now to answer your second question : eyeglasses
continue to be a problem for some clowns. Perhaps the
best thing to do is consult with your optetician, er,
opthalmogouse -- EYE DOCTOR -- and see if he (or she)
can order rims that will color coordinate with your
clownwear. Petey Frank has a darling pair of prescription
heart-shaped glasses. Maybe you can do what Sherry Fast
did: find a pair of comedy frames and have your
prescription lenses placed in them. Her funny glasses spell
out the word "LOOK" with the lenses in the two O's.
What Frank Wisniewski did was find a pair of brightly
decorated sunglasses and replace the lenses with his own
prescription lenses. If you search around, I'll bet you can
find some comedy sunglasses yourself.
A lot of the above comes
from Jim "Strutter" Roberts'
book, "Clown Makeup,"
available from most clown
suppliers. Jim does state in
his book, "Do not wear the
photo sensitive lenses which
darken in the sunlight.
Nothing looks worse than a
clown in sunglasses."
Sorry, Jim, but I have to
disagree with that remark. I
think there are some clowns
who have pale eyes and are
especially sensitive to the
sun, and have to wear dark
glasses. Just look for the
funniest, largest pair you can
find and pop them on!
Dear Aunt Clowney:
As you still might
remember, I am an
ever-searching, learning
clown, and with the very
limited information
sources in our country
on the art of clowning, I
always need some
information from my kind
friends in the USA. Last
week I was contacted by
a local entertainment
agent. He was impressed
when I told him that I am
a member of the COAi,
January/February , 1992
and he asked me if my clown face is registered
on an egg in the Clown Hall of Fame. Well , that
is my first question:
What , where and when is it necessary to do
that? I kindly request more information on it.
I can't remember if I had mentioned last time
that one of my future dreams is to start the first
South African clown alley. Well, I am glad to say
that it looks like things begin to take shape, as I
have in the meantime contacted several local
clowns and there is a positive attitude amongst
them.
What I need now is some basic ideas and/or
guidelines so as to be able to form a clown alley.
Bubbels the Magic Clown
Pretoria, South Africa
Continued next page
Kibbey The Clown
presents
FREE 3-DAY CLOWN SCHOOL
February 11, 12 & 13
Plus 3 Days of On-The-Job Training
at the
HOUSTON LIVESTOCK SHOW & RODEO
AND PARADE
LEARN:
•H istory & Tradition of Clowning
• Clown Make-Up • Costuming
*Balloo n Sculpture • Party Magic
• How to Promote Your Skills
Make-up & Balloons will be provided.
To register, call or v.'l'ite:
Larry Kibbey
Houst on Clown Schoo l
12843 Carvel Lane
Houston, TX 77072
713-495-7523
Classes will be held at the Marriott Hotel
on West heime r across from the Ga lleria.
~
--, .. ,..,._ ··
~

January/February, 1992
Aunt Clowney
From preceding page
Dear Bubbels:
How nice to hear from you again. I am delighted you are
on the way to your own clown alley in South Africa!
The Clown-Faces-On-Eggs person is Mrs. Leon
McBryde, 21 Main St., Buchanan , VA 24066. There is a
fee for the service; just write her for further information.
Then send her a photo or sketch of your clown face, and
she will p.ut it on a large egg and place it on file with the
many hundreds of others. There is no legal or formal
necessity to put your face on an egg, but it may help to
keep other clowns from looking exactly like you.
I guess you realize that there isn't any real way to
"copyright" your own clown face. But all the clowns I know
take pains to not copy somebody else's face, name or
routines exactly.
We had a problem on the above very recently . A very
cute and popular clown , I'll call her "Snickers ," had used
that name for many years. But then she decided to relocate
to the East Coast. In the meantime, a new clown came to
town and chose the name Snickers, got business cards
printed up, ads out, etc. Unfortunately, the original
Snickers decided she didn't like the East Coast and
returned to California to find a new Snickers in her territory.
She was very upset. The newcomer promised to change
her name to "Miss Snickers," so I think everything is okay
now. But it just points out the problems with identical
names.
Dear Bubbels: I have some other information for you -­
it's very easy to start a clown alley. You need five clowns
who are members of COAi, and a $50 entry fee. Send the
names and money to Dan Lake, COAi Alley Coordinator,
13005 Lakeridge Dr., St. Louis, MO 63138. I know he
would be delighted to have a brand new alley in South
Africa .
(P .S. If anybody would like to correspond with Bubbels
the Magic Clown, his address is PO Box 2525 , Pretoria,
0001 , South Africa.
Dear Aunt Clowney:
With regard to your question in the
September/October 1991 issue of The New
Calliope about the meaning of the word,
"clown," I offer a copy of my diploma when I
made the plunge from liturgical clown class to
real life clowning. "The word 'clown' is derived
from an Anglo Saxon word which means 'clod,' a
lump of earth .. .in the beginning God took a
lump of earth, breathed the Divine Spirit into it
and something powerful happened ... The clown
becomes a new creation by first becoming dead
to being controlled by the past .... ln these steps
between death and new life the clown becomes
non-verba l and communicates without words."
I once wondered out loud how a commercial
clown could bring joy same way as a liturgical
clown and I was soundly put in place by a wise
man who correctly stated the truth: What matters
is the laughter. If a clown brings laughter , that's
what counts . Thus, if we are funny it doesn 't
really matter if we are descendants of farmers or
the earth they hoed. We make people laugh.
That's what counts.
Terri "Rainbow" Detmo ld
Hampton, VA
Dear Rainbow:
I so agree with your message .. Whether we are
clowning for Christ or the joy of Children (or both!) we owe
it to ourselves to be the very, very best clowns we can. To
work on our routines, balloons , magic, wardrobe, makeup -­
and always be a quality clown, no matter where or when we
are performing.
Dear Aunt Clowney:
There is a puppeteer in my town who is
telling clients who call for birthday parties that
"Children are often afraid of clowns, and a
puppet show is much better than a clown." How
can we make her stop doing this?
Mad-As-Heck Clown
Dear Mad:
Well, some people will do anything for a booking! I
know, things are tough and we all want as many shows as
we can get, but competition is getting fiercer all the time.
I guess the best thing is to tell your clients who call for
information that you have a great deal of experience in
dealing with small children, and are very careful to never
frighten them. Tell your caller that you can provide
references where you worked with toddlers. And that the
party starts the moment you arrive - unlike a puppeteer
who probably has a long setup time . And hope like heck
you get hired!
Okay, gang, that's all for this month. And if you still
haven't made your New Years Resolution, here's one for
ya: I promise to be the very, very best clown I can be by
studying, practicing, and learning throughout this brand
new and shining year of 1991 !
Love am la.ujta-,
AutCloNney
Bump a nose!
32 The New Calliope

January/February, 1992
Limited Enrollment!
SEBIOUSPUN
with l'rosty and Buttons
June 8 thru June 13, 1992
TIMBER RIDGE 85 miles West of Washington, DC
at the Mountain Top Camp/Resort
in West Virginia. Timber Ridge recreational facilities include
Tennis Court, Swimming Pool and Nature Trails.
CLOWN HALL OF FAME INDUCTEES
"FROSTY" Little & Leon "BUTTONS" McBryde
present
ADVANCED STUDIES I
In the Performance Art of Clowning
featuring:
• Performing • Entertaining • Character Development • Movement/Mime
• Writing - Show Material • Improv • Gymnastics • Physical Comedy • Drama - Sets, Lights, Sound
.--- CIRCUS ---.
Clown Car • Clown Cannon
Walk Arounds • Ring Gags
Track Gags, etc.
* Showcase pe,jormance by Sta.ff & Students *
Your Choice of Afternoon Sessions:
REGISTER
CHRISTIAN
Bible School
Church Services
Serving Community
NOW"!
HOMETOWN
(Recreational)
Birthday Parties • 1V
Grand Openings • Corporate
Balloon Sculpting
for the weeklong mountain top experience - Dorm Room $400, Private Room $550, Couples $1000 (Private Room)
Send $100.00 deposit per person to : Timber Ridge Camp Office, 10 Old Court Road, Baltimore, MD 21208
Name
Address
Telephone Afternoon Session Choice -
1.
2.
3. -------
For More Information Call Camp Office 301-484-2233 or Frosty Little at 208-532-4164
The New Calliope 33

January/February, 1992
COAi Board stays active
By Cal Olson
Lack of a quorum didn't stop members of the COAi
Board of Directors from considering a vast amount of
business at their annual fall meet ing in Jacksonville, Fla.,
Nov. 22-24 .
With 10 voting members on hand, the Board was one
short of its legal voting strength. But discussions led to
consensus on matters not requiring a formal vote. And it
was agreed that balloting-by-mail will be used to poll the
entire Board on questions requiring such a vote before the
Board's annual meeting in Jacksonville next April.
Among matters considered:
* MONEY: Treasurer Judy Quest reported that as of
Oct. 1, 1991, COAi had a total of $88,207.97 in revenue
during the fiscal year that began July 1, 1991. She
reported expenses in that same period of $47,8096.74,
leaving a net cash balance of $40,401.23.
* CLOWN OF THE VEAR: Hal "Shorty" Horton, of
West Hartford, Conn., was named COAi Clown of the Year.
Horton has been a clown for 30 years and a member of
COA and COAi since 1978. A founder of Alley #107, he's
served as judge, teacher and COAi convention participant.
Horton is the second COAi Clown of the Year. (Betty
Cash was so honored in 1991.) He was selected from a
field of four nominees. A feature story and pictures of
Horton will be featured in the March/April issue of The New
Calliope.
* Clown Hall of Fame: Nine clowns were chosen as
COAi nominees for the Clown Hall of Fame in Delavan, Wis.
They include the late Swiss clown, Grock; Lou Welston, of
Baltimore, Md., one of COAi's founders; Jimmy "Happy"
Williams, resident clown and curator of Circus World
Museum, Baraboo, Wis.; COAi Executive Vice President
Betty Cash, of St. Paul; Yuri Nikoolin, director of the Old
Moscow Circus and a 40-year joey; Glen "Jif" Wheeler, a
long-time COAi clown from Madison, Wis., Al Cunard, Jr.,
who leads a family of clowns in New Jersey; Pedro Santos,
COAi Latin Countries Vice President, who has clowned 42
years in Puerto Rico, and Russian Clown Popov.
COAi is one of three clown organizations (World Clown
Assn., International Shrine Clown Assn.) that each can
nominate up to 10 persons for Clown of the Year honors.
From these nominees, a Clown Hall of Fame committee will
select three to be honored this spring.
* COMPETITION: Formal action on written
recommendations offered by Competition Chairman
French Harvey were tabled to await consideration by the
full Board. Harvey said he has been approached to begin a
dialogue with the International Shrine Clown Assn. and the
World Clown Assn. with an eye to standardizing
competition guidelines.
Harvey also recommended that COAi approve a
Senior's Competition to begin in Jacksonville and a
Character Competition to begin in 1993, basing his
recommendation on a survey he conducted at the COAi
Convent ion in Indianapolis.
French also suggested the Board should review the
policy of requiring seven judges for makeup competition
and discarding the high and low scores. "In the past judges
were selected by host alleys without the benefit of
definitive judging qualifications, thus the need to discard
high and low to overcome possible poor judging or
favoritism," he reported. "The past two years only one
person qualifies and selects judges based on established
qualifications." His recommendation: only five judges, and
all scores counted in the final calculation.
IN A RELATED AREA, Southeast Regional VP
Jack Anderson said he feels that COAi Board and staff
members should not compete in COAi competitions. It
would avoid any appearance of conflict of interest, he said,
as he recommended a formal Board vote on his proposal,
with the action, if approved, to take effect at the
Jacksonville convention.
* EDUCATION: In Betty Cash's absence, Director
Pat Roeser reported that an alley guidebook is near
completion, and that videotapes on skits and props are
under preparation for distribution this year. She added that
all alleys have not received COAi's paradeabilitty tape.
Mideast Regional VP Paul Glaros discussed the
possibility of certifying clown instructors, since, he said,
many clown ''teachers" are not not really qualified, and are
not disseminating correct information. Board consensus:
It's a long-term project, fraught with many problems, such
as -- who teaches the teachers?
• DIRECTORY: Prospects for an annual COAi
Membership Directory took form when the Board told Cal
Olson, editor of The New Calliope, to determine printing
costs and production time. It was felt a membership
directory would be of great value to individual joeys, and
would help promote fellowship among COAi members. If a
Membership Directory is approved by the Board, the
intention is to print it in January 1993.
* RE-ORGANIZATION: First steps to formally
34 The New Calliope

January/February, 1992
These COAi officers and staff
attended the annual fall Board
meeting. Front, from left: Northwest
VP Andi Rothweiler and South Central
VP Linda Williams. Second row:
Mideast VP Paul Glaros, President
Don Berkoski , Southeast VP Jack
Anderson. Rear: Treasurer Judy
Quest, Sergeant-at-Arms Walter R.
Lee, Latin Countries VP Pedro
Santos, Member Services Director
David Barnett, Secretary Brenda
Marshall, New Calliope Editor Cal
Olson. (Photo by Julie Rothweiler)
define and give priority to COAi projects came on the
recommendation of David Barnett, COAi's member
services director. He suggested that areas of COAi activity
should be allocated to sub-committees that would be
directed by COAi Board members, staff or appointed
chairs.
In a brainstorming session, Board members gave
priority to five such committees: Education, region and
alley support, organization and administration,
membership, and conventions:
An EDUCATION sub-committee would deal with
such matters as textbooks and videos, guest speakers (for
national and regional conventions), scholarships,
members' specialties, clown ministry, regional educational
activities, and instructor qualification.
A REGION AND ALLEY SUPPORT
sub-committee would administer activities involving
regional education, membership, travel, alley organization,
and liaison with regional vice presidents.
AN ORGANIZATION AND ADMINISTRATION
sub-committee would deal with member credentials, policy
enforcement, long-range planning, the budget,
investment, auditing/fiscal responsibility, equipment and
Board job descriptions
A MEMBERSHIP sub-committee would deal with
growth, awards, services monitoring, welcoming, and
distribution of membership application blanks.
A CONVENTION sub-committee would have
responsibililty for convention reports, speakers, dealers,
attendance, scheduling, interpreters, hospitality, bidding
criteria and policy, competition, and housing.
Board members agreed the work on sub-committees
was only preliminary, but expected that it will be a basis for
more concrete action by the full Board.
* MEMBERSHIP: Barnett told the Board that COAi
had 4,569 members as of mid-November 1991. The total
includes 94 foreign members. Barnett said that about 600
members didn't renew when membership fees came due
last summer. But he said COAi averages 88 new members
a month, and expects total membership will be well over
4,700 in March 1992.
* ARTIST-IN-RESIDENCE: Treasurer Judy Quest
proposed that COAi initiate a Clown-artist-in-residence pro
gram ''to help alleys and regions make good talent
available to their members." Under her plan, COAi would
help subsidize travel, lodging and lecture tees tor a master
clown to participate in local or regional seminars. Her hope
is that a formal proposal could be offered at the general
membership meeting in Jacksonville next April.
Officers and Board members present at the tall
meeting: President Don Berkoski, Secretary Brenda
Marshall, Treasurer Judy Quest, Sergeant-at-Arms Walter
R. Lee, Director Pat Roeser, Northwest VP Andi
Rothweiler, Mideast VP Paul C. Glaros, Southeast VP Jack
Anderson, South Central VP Linda Williams, and Latin
Countries VP Pedro Santos. COAi's two staffers -- David
Barnett, member services director, and Cal Olson, editor of
The New Calliope -- also were in attendance.
The New Calliope 35

January/February, 1992
Leave the driving to us ...
By Stephanie "Snuffy" Richardson
12600 Shooting Club Road
Raleigh, NC 27613
Does your alley have problems getting members to
attend regional conventions? Is it because of travel time,
travel distance and/or travel cost? Or is it because that drive
home after the convention is the longest trip in the history
of man?
Make it easy on yourself and your fellow clowns:
Charter a bus. The Jolly Raleigh Clown Alley #179 did just
that. Members chartered a bus to transport members from
Raleigh to Gainesville, Fla .. for the 1991 Southeast Clown
Association Convention. Here are the do's and don'ts of
what we learned:
DO: Start early to pick a departure date and time.
DO: Get bids from all bus lines. Don't assume the larger
lines have better prices.
DO: Indicate that your organization is non-profit. This
may get you a discount.
DO: Specify what you want on the bus: tables, VCR,
bathroom.
DO: Let alleys in nearby cities know about the bus.
DO: Publicize the bus trip in association newsletters.
PATCHES & PINS
with COAi logo
are available
to members
Patches, 4" diameter: $3.00 each
Pins, 1" diameter: $3.00 each
Decals: $1.00 each
Make check payable to Clowns of America,
International. Order from:
Walter R. Lee
1347 Ava Road
Severn, MD 21144
There may be single clowns or small alleys along the route
that will ride.
DO: Find a location for riders to park cars -- a secure
location.
DON'T: Be scared off by the total cost.
DO: Have yard sales , bake sales, balloon sales , face
painting events to raise money. This keeps individual cost
down.
DO: Look for corporate sponsors to help with cost.
DO: Have alley gigs dedicated to paying for the bus.
DO: Let convention host alley !

January/February, 1992
444 attend 10th annual Clownfest
The tenth anniversary edition of Clownfest made
history in Seaside Heights, N.J., Sept. 18-22. Registration
for the convention reached 444, with another 800 or more
would-be clowns from the ranks of the general public.
Seaside Hieghts was literally closed down on the final
day; roadways and bridges into town were all at a standstill
and there wasn't a parking space left in town. The
boardwalk was jammed with an estimated 125,000
spectators. This caused clown gridlock, with so many
people crowded onto the boardwalk that the parade could
hardly move.
The coveted "Funny Face Award" went to Glen
"Frosty" Little, RBB&B's retired boss clown, who made a
guest appearance in one of the nine circus big top shows.
Leave the driving --
had our rooms ready and waiting. By noon we were
unpacked, ironed, showered and ready for lunch.
Our bus and driver were hired by the host alley for
ott-site events. He (Carl Long) joined right in, enjoyed the
skits, came to the banquet, bought raffle tickets and won
door prizes. He was a joy and quite a hit with everyone. He
received gifts to take back to the grandchildren in the form
of large balloon sculptures.
After the farewell breakfast on Sunday, we boarded
the bus and headed home, totally exhausted from the
convention. We did not worry because Carl was driving . We
watched videos of our award-winning skits and planned for
the '92 SECA convention. We stopped for the smokers
and for dinner and were back in Raleigh at 9 p.m.
We gaye Carl a cash tip, a clown nose and a poster. It
was great fun and I would advise everyone to try t
Two words of advice: First, have a boss clown to make
arrangements and count heads following stops. Second, if
you have large props, the luggage space goes fast, so
coordinate luggage, props, etc.
Why I am writing this article? Well, the bus was fun. Old
friendships were strengthened , new friendships were
made, first-time convention clowns had a support group.
More importantly, though, the Jolly Raleigh Klown
Alley won the bid. SECA Convention '92 will be in Raleigh,
NC, and we want all those Florida, Georgia, Mississippi,
Tennessee, etc., clowns to charter a bus and come to
Raleigh!
For more information, contact me at (919) 848-2371.
The parade was led by the 389th Army Band, followed
by hundreds of kiddie clowns. VAPPO's Funny Factory
Clown Band and the Melrose Blackhawks Senior Drum and
Bugle Corps enhanced the exitement. Stilt walkers, zany
parade props and several other comedy cars also dotted
the parade, along with hundreds of colorful clowns from all
over the U.S., Puerto Rico, Canada, England and even
Australia. Clown units from COAi, the International Shrine
Clown Assn., and the World Clown Assn. were all
represented.
The list of speakers and performers was a who's who in
contemporary clowning. A keynote speech was delivered
by Leon "Buttons" McBryde during a hospitality buffet
honoring the Clown Hall of Fame and Research Center.
Well over 20 lectures, workshops or critiques were offered,
with such speakers as Lee Mullally, Betty Cash, Trish
Bothun, David Ebel, Jack Anderson, Jimmy Brown,
Marcela Murad, Eric Persson, Jose Rivera, Ed Schmidt,
Fred Collins, O.J. Meyers and Vincent A. Pagliano.
The circus show under the big top was presented by
Vidbel's Olde Tyme Circus. Up and corning honors were
given to Marc Sundberg of Chancellor, S.D. He was
presented with the "Dinkus Award" which included $100.
Here are winners in the professional division:
MASTERS: First, Bob Widdop, MA; second, Rose
Katzenstein, NJ; third, Kelly Miller, NJ.
CHARACTER CLOWN: First, Gerry Giovinco, PA; second,
Theresa George, NY; third, Robert Vaccaro, NJ.
WHITEFACE: First, Modesta Vizcarrondo, PR; second, Lisa
Zaretke, PA; third, Daisy Olivieri Irizarry, PR.
AUGUSTE: First, Lori Bortnick, MD; second, Joan Barrios
Velez, PR; third, Debbie Smith, NJ.
FIRST OF MAY, NOVICE: First, Phillip Stone, NJ;
second, Anna May Bodner, NJ; third, Debbie Castellini, NJ.
JUNIOR CLOWN: First, Samantha Ferrante, NJ; second,
Leah Gourley, PA.
PARADEABILITY : Third, Katrina Morris, NJ.
SINGLE BALLOONS First, Clay Gunderman; second, Bob
Vaccaro; third, Gerry Giovinco and Lorretta DeAuoglus.
MULTIPLE BALLOONS : First, Gerry Giovinco; second,
Eric Swingler; third, Christine Kosnuk.
4th ANNUAL FELIX ADLER DAYS
June 19-21, 1992, Clinton, Iowa
Separate registration required for each clown.
Forms available upon request.
For more information contact The Felix Adler
Days Committee: Phyllis Luckritz or Gwen
Miller, 95 Main Ave., Clinton, Iowa 52732.
Ph. (319) 242 -5412 .
The New Calliope 37

January/February, 1992
1992 COAI Convention
Jj)~®Wfi ~
A chanc·e to get: Your company name Your alley name
Your clown name Your own name
Seen by all the many clowns who attend the 1992 COAi Convention
Fill in the order blank today!
PROGRAM BOOK AD
Please print in ink
Name: ••••••••••••••••••••••••••••••••••••••••••••
Add-:::es 6 : •••••••••••••••••••••••••••••••••••••••••
City: ............... State: .......... . Zip: ........ .
Size of AD:Full page ... 1/1 Page .. 1/4 Page .. 1/8 Page ...
PRICES: Full page $45; 1/2 Page $25; 1/4 Page $12; 1/8 page $6
All ads must be submitted camera ready no later than 3/1/92 ~
Send to: Tom "Jo Jo" Davis "
~~
1662 Flagler Ave. lw::.
Jacksonville, FL 32207
CLOWN HALL OF FAME AUCTION
TO BE HELD SATURDAY, MAY 2, 1992 AT THE
1992 COAi Convention
Let's make this the best auction ever! Send donations to:
Charles "Albert" Lavender
9962 Beach Blvd. #114
Jacksonville, FL 32216
All donations go to the Clown Hall of Fame
All donations greatly appreciated
38 The New Calliope

January/February , 1992
Registration COAi Convention 1992
Please type or print in ink
Name: ................................................................... Clown name ......................... .
Address: ........................................................................................................... .
City, State & Zip ................................................................................................
Early Registration: $65.00
Phone. ................................................... After March 31, 1992: $70.00
At the Door: $75.00
MAKE CHECKS PAYABLE TO:
First Coast Clowns
SEND10:
INFORMATION, QUESTIONS:
Harriet "Tinkerbell" Brown
511 Hopkins St.
Neptune Beach, FL 32233
Phone (904) 246-3393
Tom "JoJo" Davis
1662 Flagler Ave.
Jacksonville, FL 32207
Phone (904) 398-3735
Clowns of America International Annual Convention
April 28-May 3, 1992
$50.00 single or double occupancy $60 triple or quad occupancy
_ King _ 2 Double Beds _ King with sofa bed _ Queen
(Please indicate preference. Room types subject to availability .)
Name ............................ ............. ....................... ............. Phone ................................
Adress ............. ................... ..................... .......... ........ ..................... ........................ .
City ............................................ .... State ...................... ......... .... Zip ......................... .
Credit Card No .................. ..................... ................... Expiration date ........................
Arrival Date ............... ....................... Departure Date ................................................
Number in Party ...... .............. ........ Approximate Arrival Time ................ .................
Reservations are guaranteed only if a deposit equal to one night's room
rate is received or your credit card number and expiration date are given .
Deposit refundable if cancellation is received 24 hours prior to arrival.
RESERVATIONS MUST BE RECEIVED PRIOR TO APRIL 7, 1992
Check-in time 3:00 p.m. Check-out time 12:00 Noon
HOLIDA V INN EAST & CONFERENCE CENTER
5865 Arlington Expressway, Jacksonville, Florida 32211
800-874-3000 Nationwide (904) 724-3410 800-342-2357 Florida
The New Calliope 39

January/February, 1992
FrOill
the
President
Happy New Year! It's hara to believe that a year has
past. I hope all of you had a most blessed and joyous
holiday.
The clown delegation that toured eastern Europe late
last fall was a tremendous success. Already we have been
contacted by the Russian entertainment organization and
asked to help put in place an on-going program with them .
They are interested in coming to our country to learn and
share our clowning expertise .
While on the trip, we were approached by
representatives from Egypt, Germany and Italy, about
bringing a clown delegation to their countries .
Articles about our trip will be appearing in The New
Calliope beginning with this issue.
******** ********
The fall COAi Board meeting was held in Jacksonville,
FL, at the convention hotel. (See story in this issue of The
New Calliope.) The First Coast Clown Alley #195 will be our
convention hosts April 28 through May 3. Better get your
reservations in early -- this is going to be a great one! The
facilities are excellent.
*****************
Congratulations to Al "Shorty"Horton of West Hartford ,
Conn. , for being selected COAi Clown of the Year for
1992.
****************
Our liability insurance plan will continue in place. An
application blank appears in this issue. Enrollment dates
are April 1 and Oct. 1, 1992. You must be a COAi member
to be eligible . If interested in obtaining this coverage , send
your COAi number, application blank and $90 to COAi
Group Liability lnt:urance Club Plan., 3556 Nlcollet Ave.,
Minneapolis, MN 55408-4558. Our insurance
representative is Michael O'Shaughnessy. If you have any
questions regarding the insurance plan, call Michael at
(612) 822-4243.
........•... ..
1992 is also an election year for COAi. The slate of
those running for office will be published in the
March/April , 1992, issue of The New Calliope. I am excited
in the renewed interest some of you have shown in
wanting to run for office .
COAi is the fastest growing clown organization in the
world today . As we start into another new year , let us all
re-commit ourselves to excellence in clowning -­
individually, in our alleys, and for COAi.
Love, laughter and tears ,
"Ski"
Clowns of America
International
Income and expense statements
From Oct. 1, 1991 ttTough Nov. 30, 1991
CUR'RENT YEAR
REVENUE PERIOD TO DATE
Cash brought forward $46,374.39 $52 ,507.41
Membership 8,598.86 35,097 .79
Magazine ads 1,335.00 3,865 .00
Pins & Patches 398.00 823.00
Convention 0.00 0.00
Interest 389.55 999.72
Miscellaneous 50.00 65.00
CD Maturity 0.00 0.00
TOTAL REVENUE $57,145 .80 $93,357 .92
CURRENT VEAR
EXPENSES PERIOD TO DATE
Returned checks $38.00 $49 .67
New Calliope production 0.00 14,880.00
New Calliope postage $1,052 .52 2,062 .31
Computer service $2,203.00 2,203 .00
Postage 340.62 340.62
Printed matter 186.00 186.00
Pins & Patches 0.00 0.00
Clown Hall of Fame 0.00 20,000.00
Publicity 0.00 0.00
Convention 0.00 0.00
Education 1,998.00 1,998.00
Prorated materials 0.00 0.00
Miscellaneous 25.00 68.81
Fall Board meeting 0.00 0.00
Officers' phone/postage 162.09 428.94
lrophies 0.00 .00
Board meeting 0.00 0.00
Purchase of Certs . of Dep. 0.00 0.00
TOTAL EXPENSES $6,005 .23 $42,217 .35
NET CASH BALANCE $51,140.57 $51,140.57
AMT HELD IN CDs $70,648.68 $70,648.68
40 The New Calliope

January/February, 1992
Application for Clowns of America, Int.
Group Liability Insurance Club Plan
Clowns of America International is proud to offer a liability plan especially for its members. The plan is
designed for the entertainer/clown that needs protection in incidents concerning audience participation.
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The New Calliope 41

January/February, 1992
Second of two parts --
G rock: the clown king
By Blue "Clown Bluey" Brattle
COAi Vice President - Foreign Region
From the first installment: Adrian "Grock"
Wettach was born in 1879 in Switzerland, and spent his
childhood in various cities where his father worked. At
seven, Adrian saw his first circus and his first clown. He
mastered a number of musical instruments as a youngster,
then spent several years unsuccessfully working at various
apprenticeships.
In his teens, Adrian was engaged as a violinist in an
orchestra, then at age 15 joined Massimo Spitz as a musical
clown with the Ratay Circus. He took the name "Grock"
when he joined the Swiss National Circus, and traveled the
whole of Europe with a partner, Marious Galante.
In 1905,Grock went into partnership with Umberto
"Antonet" Guil/eaume, the best whiteface clown of his day.
They appeared in major European circuses, as Grock
slowly but surely began to surpass his partner as King of
the Clowns. Grock's story continues:
In 1910, Grock was contacted by Marinelli, the
celebrated impressario, who signed Antonet and Grock for
the Berlin Winter Garden Variety Hall for nearly 6,000 marks
a month for an initial two-month engagement. This was to
be followed by 12 months at all the largest theatres and
music halls in Germany, Austria, Prague and Budapest.
Their opening show was a disaster. The first shows
during the first three days were all flops. The 17 hall
managers who attended the first night cancelled their
contracts. But Grock had his revenge. He and Antonet
work long hours in their hotel, adapting their circus style to
the variety hall. After four days they got their first laughs. By
the end of the first month, they were billed as the leading
attraction.
The 17 hall managers were enticed back one by one
by the ever-increas ingly glowing press reports to take
another look. But before Grock would re-sign, he
re-negotiated the contracts, increasing their fee to an
unbelievable 7,000 marks a month. (At today's value, this
would be about $4,700. In 1911 it was an absolute
fortune.)
Grock and Antonet had further success back at the
Medrano in Paris before a dream booking at the Crystal
Palace in London, where they got the best of the press
notices and were promptly put on top of the bill. When the
manager, Mr. Butt, wished to extend the 10-week
engagement, Grock negotiated a further 20 pound sterling
per week increase.
During their stay in England, the team performed in
Birmingham, where Grock met Charlie Chaplin for the first
time. Charlie was appearing as the "enfant terrible" in Fred
Karno's pantomime, and Grock was much taken with his
performance.
It was about this time that Antonet admitted to Grock
that he was arranging a return to his old partner, Walter. He
had never been at home in the variety halls and longed to
return to the circus. He was also not used to playing
second fiddle; back with Walter, he would again be
principal clown.
They finished their commitments: appearances in
Vienna, Budapest, Prague and finally the Folies Bergere in
Paris, starring alongside a young man named Maurice
Chevalier and a starlet of the time, Mistinguett. Antonet
and Grock had worked together in a wonderful act for six
years and Grock acknowledged the part Antonet had
played in his succes. Marinelli had already arranged a tour
for Grock as soon as Antonet had left; a tour which
included three months in Russia at 12,000 marks a month.
All Grock had to do was find another partner. But now he
was free, it was his own act, and in future Grock made sure
that he stayed principal clown.
He took on Lole, a clown he and Antonet had known
from Buenos Aires. They first appeared together in a
charity benefit for the widows and dependants of the crew
or tne ''Titanic," and Grock felt the result was satisfactory.
From there they set off for Copenhagen in 1913 for the
start of their first tour. Following Copenhagen, they visited
with great success Chemnitz, Magdeburg, Berlin,
Nuremberg, Budapest and Vienna before, in 1914, arriving
in Petersburg, Russia.
During the long train journey, which took several days,
Grock and Lole learned their act in Russian, checking with
their fellow travellers to get pronunciations correct. After
three weeks in Petersburg, they travelled to Moscow to an
engagement in an outside circus. However, their tour in
Russia was curtailed by the outbreak of World War One. It
took Grock and his partner a month to get home, because
of the travel restrictions.
The Swiss had mobilised, but Grock was rejected
because of his deformed hand, and his request for leave to
42 The New Calliope

January/February , 1992
go abroad was granted. He visited his parents in Paris,
where he had bought them a home, and witnessed the first
bomb to be dropped by the German Air Force. As Lole had
been called up, Grock had no partner, and most advance
engagements had fallen through anyway because of the
war.
However, he had one in England in February, so had
to find a partner to fulfill the contract. He ran across a
50-year-old Italian called Moretti who was exempt from
military service, and it was with him that Grock appeared at
the Brighton Hippodrome, England, for the 16-week
engagement. However, Moretti turned out to be a
drunkard , and after twice missing a performance, Grock
paid him off.
He took on a young violinist named Hayem Freimann,
who came on rapidly, and quickly made an excellent
partner. They toured the provinces in England for two
months, before appearing at the London Coliseum, the
greatest music hall in the world. In May of 1916, Hayern was
also called up, and so the search for a new partner started
once again.
Grock engaged a Dutchman, Max van Emden, and
took to him at once. Max was 21 years old, an excellent
musician, sympathetic, intelligent and so talented that
within a week he knew his part as though he had been
playing it all his life. He supported Grock so well that Grock
was able to add and embroider the act which was now
holding centre-stage for 45 minutes. They conquered
England, and appeared at the Coliseum for three weeks
every year for nine years.They also entertained H.M. King
George V at Buckingham Palace.
During this period, Grock expanded his business
interests by starting a music publishing partnership with a
man named Silbermann, so that Grock could publish his .
own songs, which were very popular. The firm of Grock and
Silbermann became very successful. Lole, Grock's former
partner who was still serving in the army, had married his
sister, Jeanne, and Grock brought her to London to work in
the firm, so that there would be a nest egg for Lole when
he was demobilised. Apart from short appearances at the
Folies Bergere in Paris, where they brought the house
down and had full houses for the extent of their stay, Grock
and Max spent the rest of the war in Britain.
When the war ended in 1918, Grock, who had for
some time been suffering from pains in the shoulder and
had not been feeling himself for months, consulted a
doctor in London. He gave his real name, Adrian Wettach,
Continued next page
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January/February, 1992
Grock: the clown king
From preceding page
to the receptionist. After a thorough examination, the
doctor diagnosed neuritis. He informed Adrian that it wasn't
serious, but that he needed rest and distraction,
something to lift his spirits. He should go and see that
marvelous clown Grock at the Coliseum. Adrian replied he
could not: he was Grock!
Shortly after he returned to France, Grock was offered
an opportunity in America. It was not a time that Grock
subsequently remembered with relish. Their ship, the
"Carmenia," was rammed in fog by the "Maryland," and they
arrive two days late in Halifax, whereupon they had to
continue their journey overland to New York from Montreal.
Their show was not a success, which Grock put down to his
own "English" english accent, and the Americans' taste (n
humour.
Grock returned to more acclaim in Paris, and for the first
time a reporter from a Swiss newspaper, the "Basler
Nachrichten," found out that he was a Swiss, and not
English. The Swiss paper was full of it the next day.
Antonet came to see him after nine years; they fell into
each other's arms. Antonet had split with Walter, and was
tutoring a new young partner.
In 1922, Grock took his wife on holiday to the French
Riviera. It was here, on a hill above Oneglia, that he had the
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Villa Bianca built. However, when it was completed, Grock
thought the garden too large in proportion, so had the villa
knocked down and a castle built on the same spot. When it
was completed, it dwarfed the garden, so Grock bought
the adjoining land: a park and too grand for any little castle,
so he built a large castle!
Grock returned to England for a further two years, and
when he left, Max van Emden did not want to leave
England, so Grock re-engaged his brother-in-law, Lole.
They appeared at the Berlin Scala in 1924, and followed
with a tour of the big towns in Germany, and then to
Vienna. Then a return to Buenos Aires, which was a big
success, the audience being surprised as Grock
performed the act in Spanish. From there they toured to
Santa Fe, Parana, Cordoba, Montevideo, Rio de Janeiro
and Sao Paolo, returning to Paris in January, 1927.
The act was now on stage for more than an hour. Lole
was becoming unreliable, so Grock was glad to take back
Max van Emden in time for a tour of Italy in 1928,
performing in Milan, Florence and Rome with excellent
success, and including a performance for King Umberto I,
his queen and family at the Royal Castle.
He returned to Paris, then toured again to Switzerland,
Holland and Scandinavia. He spent a lot of the next four
years in Germany, where there were more variety halls than
anywhere, and his fee kept rising until he was by far and
away the highest paid artiste in Europe.
In 1911, he was persuaded to finance a film. Although
it was finished and the rights sold to numerous countries,
the distribution company went bankrupt and Grock lost
150,000 marks (as Grock said at the time, a hundred times
more than all his father's failures with his hotels). In 1931,
he played to King Albert I, Queen Elizabeth and Prince
Charles in Brussels, all the more remarkable as the Belgium
royalty had never attended a variety music hall before.
Such was the impact he made on the Royal Family that
when he was in Brussels again in 1948, the queen invited
Grock and his wife to lunch with her on an informal basis.
During 1931, when Grock was playing in Marseilles, he
had another famous visitor, Charlie Chaplin, whom he had
met so long before in England. Now Charlie was a famous
film star. After the show, Charlie visited Grock in his
dressing room, and paid him a marvelous tribute.
He said: "If I am, as they say I am, the best comedian of
the screen, then you are certainly the best comedian on
the stage. And you know, it's a very enviable thing to stand
there on the stage, as you do, and realize your success
there and then."
They chatted for some time, and then Charlie helped
Grock put on his coat. Grock told him that if he ever wrote
his memoirs, he must remember to tell the time that Charlie
44 The New Calliope

January/February, 1992
Chaplin acted as his dresser!
During the next couple of years, Grock continued
travelling Europe and had some fine adventures, including
stints for the Renz Circus in Vienna, and Warsaw in Poland,
where Grock and his agent had to "steal" his fee from the
box office and flee. When appearing in the Busch Circus in
Berlin, 1933, Hitler had been Reich Chancellor for three
months, and Grock was visited at the theatre by Goebbels,
the Minister for Propaganda in the new German Reich.
In 1934, whilst appearing at the Deutsches Theatre in
Munich, Hitler attended with 30 of his high-ranking
entourage, and Grock was commanded by Goebbels to
meet Hitler in the Dress Circle, something which Grock
thought was rather presumptuous, as he had met and
entertained very much better people than Adolf Hitler.
In 1935, Grock sadly heard of the death of his first
mentor, Antonet, the great whiteface clown. Grock always
acknowledged that Antonet was the person with whom he
had spent the decisive years of his artistic development.
Antonet was 65 when he died.
With a large tour of Germany imminent, Grock's
brother-in-law and present partner, Lole, telegrammed
fFOm Paris resigning from the partnership. It was three days
away from the premier opening in Stuttgart, and Grock was
at his wit's end. But a miracle happened when Alfred
Schatz, a 20-year -old German, walked into the theatre
asking for a job. He turned out to be an excellent
performer, adept on violin and saxophone, intelligent and
adaptable: an absolute natural. Over the next few years,
Grock and his new partner toured to all the major cities in
Europe.
In 1939, Grock, now 60 years old, was contemplating
retirement, but then the Second World War started. At first,
Alfred was called up into the German Army, but when Grock
was asked to entertain the German wounded, he replied
he could not as his partner was in the Army. Within four
days, Alfred was delivered back to him, grinning all over his
face, and Grock and Alfred started touring the various
hotels and field hospitals on the Italian Riviera. For once in
Grock's life, he performed for no money. But it was no easy
assignment, entertaining the badly wounded and dying.
In 1941, Grock's father died in Paris, followed shortly
after by his mother, whom he had moved from Paris to his
castle for safety.
Grock and Alfred continued entertaining the wounded
for many months, both in Italy and Germany. However, after
a stray bomber dropped a bomb on Grock's garden,
narrowly missing his castle and his wife Ines, he decided
enough was enough, and he took her to Lucerne in
Continued next page
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January/February, 1992
Grock: the clown king
From preceding page
Switzerland, and they stayed with his sister until the end of
the war.
Grock could not retire. He had lost large sums of
money tied up in both German and Italian banks, and so,
after making a tour of Switzerland, he celebrated the 50th
anniversary of his very first appearance at the age of 15 in
1985, to give an anniversary performance in a small hotel.
As Grock had not heard from Alfred Schatz since 1943
and did not know whether he was alive or dead, he
re-appointed Max van Emden, and they were soon the
toast of France again.
Grock was looking forward to returning to Germany, but
was laid low in his castle for two years with a liver complaint.
When he was well again, he was joyfully re-united with
Alfred Schatz, and they were soon embarked on a post-war
tour of all the German towns and cities that Grock had
known so well before the war. They were unrecognizable.
There were ruins everywhere. Grock had to perform in
makeshift buildings, as all the theatres and variety halls had
been bombed.
It was this that decided him to invest in a circus tent. It
would not be a proper circus, but a variety show touring in a
tent. Grock had not realized what a vast undertaking, both
physical and financial, he had taken on. The tent and poles
alone cost 85,000 marks (it seated 4,000 people), 40
caravans at 30,000 marks each, 40,000 marks for a
traveling crane, plus seven trailers. By the time it was
complete, Grock was broke.
The show opened in Hamburg in 1951, and Grock
toured the show for 3 1 /2 years. He had a lot of fun, but
also endless worry and anxieties. But he always had full
houses, and he gave value for money. His act, which he
had perfected over 50 years, now took up the entire
second half of the show: over an hour of inspired clowning.
Grock gave his last performance in Hamburg on Oct.
30, 1954, aged 74 years. The public gave him a standing
ovation which came from the heart. They clapped and
cheered until they had to wipe tears from their eyes.
Grock retired to his beloved castle and his beloved
Ines.
He once said: "If I could be born again and have the
choice of being what I chose, there could only be one
choice for me. I would be Grock, the Clown."
Adrian "Grock" Wettach died in 1959.
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January/February, 1992
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The New Calliope 47

January/February , 1992
The 1991 Clown Delegation of the
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48 The New Calliope