“The Party Clown” at Larking Playhouse

Using humor to tackle a most unhumorous topic

By Joel Beers

There are several reasons to think that “The Party Clown,” a play receiving its world premiere this weekend courtesy of The Larking House, will be a laugh-riot:

• The playwright, Olivia Carter, is a working stand-up comic in New York City.

• It’s a fourth-wall-smashing piece in which audience members are the invited guests at a party celebrating a major life event.

• Did someone say clowns?

But the real cherry on top of this fun sundae is the event the hostess is celebrating:

• Her first abortion.

OK, one of those things doesn’t belong—two, if you’re among the estimated 1 in 10 people who have coulrophobia, an intense fear or revulsion of clowns.

While it’s not really much of a party, there aren’t any actual clowns, and one of the most divisive subjects imaginable is at the play’s center, it is still a very funny play, says Larking House Artistic Director Lizzy McCabe.

However, humor isn’t the only reason McCabe was struck by the play when it was selected from approximately 300 new play submissions in Larking House’s inaugural New Play Intensive in 2021. It’s because “The Party Clown” does something that stand-up comedy excels at: it makes people uncomfortable by tackling messy, emotionally charged topics. It uses humor to push people out of their comfort zones and expose them to perspectives they might not otherwise consider.

That carries obvious risks, especially when those perspectives relate to something as emotionally fraught and politically divisive as abortion. McCabe is well aware of those risks but also believes that taking risks is fundamental to the theatre’s mission.

“Based on everything we’ve produced to this point, “The Party Clown” is, in terms of its subject matter and how it conveys its message, the most challenging play we’ve done,” McCabe says. “I think a lot of artistic directors would look at a script like this and think, ‘This isn’t a good fit for us.’ Especially in a place like Orange County, which has historically been very conservative, or in a year like this, when abortion is such a hot topic.

"But I’m not interested in burying my head in the sand and pretending that some things aren’t important to talk about. And I think dangerous theatre in a place like Orange County is really important.”

McCabe is quick to point out that while abortion is not funny, and the playwright doesn’t make light of it, the play isn’t about abortion as much as it is about how the main character, Her, played by Feyara Bellefleur,  processes the experience—why she had it, how she feels about it, and how she navigates her emotions. And that, McCabe says, is funny.

“Abortion is a very serious subject, and how it’s discussed may feel off-color at first. But the way the play approaches it, it isn’t so much about abortion itself as it is about the experience of being a woman and the things we sometimes have to go through. So while abortion may not be funny, what is funny is how having one has made her feel and how she’s processing it. And if we don’t laugh at those things, the only alternative is to let them plunge us into despair.”

This is Carter’s first full production as a playwright, and for the director, Larking House turned to first-time director Coleman Blue Summers . A resident artist at The Larking House with a strong background in improv comedy, Summers admits he was initially intimidated.

“The show is written from the perspective of a woman who has gone through things I never have, and some things I never will,” he says. “I was intimidated by the subject matter at first—mostly, I was afraid I wouldn’t be able to do the material justice.”

But as he delved into the play, Summers became increasingly excited about helming the project.

“On the first read, I was so struck by Olivia’s voice,” he says. “It’s written with so much naturalism and creativity. It was fun to read the first time and still fun after the 50th.”

He’s also been impressed by how deep the play is.

“As we’ve continued working on it, my respect for the show has only deepened. There are layers that may not be apparent at first. There are callbacks and hints that reveal themselves upon closer inspection. And the main character, Her, has depths we’re still discovering. Even after working with these words and these characters for so long, I still find myself saying, ‘Oh, that’s what she meant there!’”

McCabe acknowledges that some audience members may find the subject matter difficult, but that, she says, is the point.

“People might want to leave, but the space makes that a little tricky,” she says with a laugh. “Besides, the show is only about an hour. People can come in, and if they feel strongly about it, I’ll be outside afterward for them to cuss me out. But in my opinion, if you leave the theatre feeling worked up in any way—whether you’re sad, happy, laughing, or want to punch somebody in the face—then I’ve done my job. If I’ve affected you in some way, absolutely, that’s a success.”

Joel Beers has typed about Orange County theatre longer than he would freely admit. You can visit him at his rarely updated blog, www.fermentedbeers.com.

‘The Party Clown”

The Larking House 

March 27 -April 5, 2025 

www.thelarkinghouse.com