PISONI'S ONE-MAN COMEDY AT A.C.T.
                                              By Carol Benet
        artssf.com, the independent observer of San Francisco Bay Area theater
                                                                 Weeks starting Jan. 22, 2012
                                                                 Vol. 14, No. 41
          Two shows that could be called vanities, shows about and created by the main character, just opened in the Bay Area.  The Berkeley Rep’s “Ghost Light” is about Jonathan Moscone’s childhood after his father George, then mayor of San Francisco, was assassinated by Dan White. This show is a slog, wandering all over the place and too early in its production cycle to have been showcased with refinement.
            The second, the much-revised entertainment “Humor Abuse,” just opened at A.C.T., and with its fires, misfires and almost-circus stunts, it defines a new genre.  Both plays have San Francisco roots and both are about fathers and sons. “Humor Abuse” is a retelling of the childhood of Lorenzo Pisoni, the son of Larry Pisoni who, along with renowned actors Geoff Hoyle and Bill Irwin, founded The Pickle Family Circus.
            Lorenzo Pisoni is the sole actor in this work and with the help of his director, Erica Schmidt,  they developed a very funny and very polished one-act, 90 minute work.  And if you think it consists of just circus acts, you are in for a very pleasant surprise. In fact, when I hear circus or mime, I want to head for the exit. And just as The San Francisco Mime Troupe has no mime, “Humor Abuse” is much more than a circus performance. 
            Pisoni grew up living, traveling and eventually as a kid, performing in the circus where he was carefully and meticulously mentored by his exacting father Larry.  As a two-year old, during intermissions he would march onto the make-shift stage (they always performed in public spaces) where he would mimic the acrobats, jugglers, clowns that preceded him in the first act.  
            He tells the story of the tricks he learned -- tripping on the stairs, juggling, backflips, clowning, running into things, dropping others and all the tricks that traditional circus performers do.  While performing these feats for us he tells the back-story about how his borderline abusive father Larry kept making him “do it over” to achieve perfection. And all of this is very funny, even the audience participation part (that usually makes me cringe).
            Lorenzo says that he was his father’s “straight man” and that he is not funny.  The father, however, just wanted to “make people laugh.”  When Larry left the Mime Troupe  that attracted him here from New York in the 60s, he created a non-political theatrical group but still used the commedia dell’arte form.  So maybe this absence of politics today, in a time when the media are so obsessed with the primaries and you can’t get away from them, is the reason that “Humor Abuse” is so entertaining.  There are no politics, just a good laugh at human foibles not created by society or politics, but by inherited talents and proclivities and the lack thereof. 
            Lorenzo says he was “born to be in the circus.”  His forefathers had been entertainers in the old country. In one whole scene Lorenzo speaks a perfect Italian while performing his tricks.  The translation is flashed on the same screen where photos of the young Lorenzo and his father are put on display.
            Sometimes Lorenzo messes up.  He’ll drop the juggling club, he’ll miss landing correctly in a backflip, but this makes him all the more endearing to the audience.  Lorenzo is a very seasoned actor who has appeared in major works on Broadway and Off as well as Shakespeare in the Park in New York City.  He is also a TV and film star.  He is handsome, tall and engaging and this is a show like no other. It defines a new genre.  If you think it just about circus stunts, that misses the point.  Yes they are part of the play, but there is so much more in this polished piece.
            “Humor Abuse” runs at A.C.T. through February 5.  Family discount packets are available and you should definitely bring the kids, especially if you have one who is thinking of running off to the circus. (415) 749-2250 or go online.
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        © Carol Benet 2012
        Carol Benet is a regular theater reviewer for artssf.com.
    These critiques appearing weekly (or sometimes semi-weekly, but never weakly)focus on theater, dance and new musical creativity in performance, with forays into recordings by local artists, and a few departures into books (by authors of the region)as well.
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