By Bruce “Charlie” Johnson
There is a lot of information here. I decided to include all of it because instruction on presenting a critique is not readily available in variety arts.
I was graduated by California State University – Long Beach with a BA in Technical Theater. I took several makeup classes taught by Bill Smith. The classes that I took taught by Herb Camburn included theater graphics, set design and construction, prop construction, costume design, and costume crafts. I knew that Herb was a great teacher, but it was only later that I learned how fortunate I was to study from him. He was eventually inducted into the Set Designers Hall of Fame.
Both Bill and Herb stressed learning about the critique process. One reason is that it is a tool used during the production of a show. The Director critiques the work of everyone on the production.
Another reason is that it is part of continual growth. A good critique identifies strengths that you want to continue to take advantage of and suggests alternatives that you might consider for future projects.
Both men stressed learning to critique your own work. They said that if we relied on their assessment of our projects, our growth would end when we graduated. However, if we learned to evaluate our own work we would continue to grow.
They also stressed learning how to present a critique. They said asking peers in our field would continue our education. For example, a set designer should ask other set designers for feedback. In order to do that, you have to reciprocate by providing feedback when asked for that.
Finally, the critique process is part of being an educator. When I am on staff at educational programs, I have to be able to provide participants with a valid critique to guide their growth.
In addition to my theater classes, I had many art courses in college. We sometimes used the critique process in those classes.
Here is what I learned about presenting critiques from my college professors combined with what I learned during fifty years presenting critiques for variety artists. I have toured with circuses as a producing clown, directed variety arts shows, presented critiques as part of educational programs, and done individual critiques at the request of my peers.
Appropriateness
Do not offer a critique unless it is specifically asked for. Sometimes people will ask, “What did you think?” That may be a request for affirmation instead of a critique. They may be hurt or bewildered if you start making suggestions for improvement when they are not prepared to receive them. You may have a valuable comment to make, but if it is done in the wrong way it will be rejected.
Often before a performance somebody will ask, “How do I look?’ They are not asking for a critique. They are looking for reassurance. Unless there is something easy to fix, for example, their top button has come undone, the only appropriate response is “You look great.” Do not say anything that will shake their confidence just before they begin performing.
I was asked to do critiques of people entering makeup competition at a clown convention. That was to provide them with more feedback than the judges were able to provide on the score sheets. I made sure that they had already appeared in front of the judges and been scored, before I did my critique. I did not want to shake their confidence in front of the judges. Being relaxed because you are confident has a positive impact upon the judges.
While a critique is not always appropriate, compliments are always appropriate and appreciated. You can, and should, compliment without waiting for an invitation. I try to let an entertainer know if I liked something during their show. You do not know how much that may mean to the other person. At Clown Camp, a relatively new staff member was beaming when she saw me at lunch. She told me that she had always admired a person who had been on staff for many years. She had just performed a demonstration show, and afterwards the other staff member told her that she had done a good job. She was excited that somebody she looked up to so much took the time to compliment her.
Try to be specific. When the Circus World Museum Big Top show concludes the performers line up outside the exit to greet the audience as they leave. There was a juggler in the show one year. He spun his clubs incredibly fast. As I was leaving, I said, “I really enjoyed your act.” He thanked me politely, and then turned to greet the next person in line. I said, “You reminded me of Wally Eastwood.” He turned back to me with a big grin, and asked if I knew Wally. I told him that Wally and I had both toured with the Carson & Barnes Circus in 1980. I commented that Wally had also spun his clubs very fast. Understanding that I knew what I was talking about gave my compliment more creditability.
You can give a compliment in person immediately after a show. However, writing and sending a note can have tremendous impact because you have taken extra time and effort to do that. I saw a clown performing in an ice show during the 1980’s. I had purchased a copy of the show’s souvenir program which included the address of the show’s headquarters. I wrote to the clown care of the show and sent it to that address. In the letter, I commented on several things that I liked about his performance.
Over thirty years later, I was lecturing at a magic convention. Shortly after I arrived, I was paged to go to the front desk in the lobby because a man was waiting there to speak to me. He identified himself as the clown who had appeared in that ice show. He said that he wanted to meet me so he could explain how much my letter had meant to him. He said that he received very few letters while he was on tour so mine really stood out. When I asked him about what he was planning to do during the convention, he said that he was not registered for the convention. When he heard that I was going to be there, he decided to drive to the hotel to talk with me and then return home. He gave me his address and said good bye. I was not familiar with the town he lived in so I asked one of the local organizers where it was located. I was amazed to learn that it was not nearby. The man had driven several hours each direction so we could meet. I was surprised that a letter that I barely remembered writing was so meaningful to him.
I saw him again at the 2024 International Brotherhood of Magicians convention. He sought me out and repeated how much my letter had meant to him. In sharing our memories, we decided that I must have seen him perform in 1984. So, the impact of that letter lasted for forty years.
The effort of writing a note can give compliments greater impact. That also gives negative comments greater impact. Putting it in writing makes if more permanent and important than it should be. Somebody kept asking me to do a critique of their show They had done some very nice work in the past. I kept avoiding giving my feedback because most of my impressions were negative. They repeated that they wanted to start booking this show soon, and I thought doing that would be a disaster. Finally, I gave in and wrote a critique to send in the mail. When I showed it to my wife, she said, “That is what they need to hear, but they aren’t going to like it.”
She was right. I was wrong in sending it. That person’s response consisted of seven words. That person wrote, “Who cares what holy Bruce Johnson thinks.”
I think that the most effective critiques are given verbally in person. That way you can interact with the recipient. Your tone and body language helps to indicate the importance of each statement. You can clarify points if they do not seem to be understood.
It has been said that you should praise in public and criticize in private. Some educational programs like to have critiques done with other participants listening. That can be a good learning experience for everyone. However, that situation changes which comments are appropriate. Identifying strengths is always appropriate. Instead of identifying flaws, you should offer alternatives for consideration. You should be cautious about making negative comments. (A few times I made most of my comments in public, and then afterwards offered a few criticisms in private.)
A comment can unintentionally offend someone. The shows at one variety arts conference were performed on a portable stage in a banquet room. The conference organizers arranged for a group of volunteers to set up additional lighting instruments for the stage. The entire group of participants were invited to offer a critique during an Open Mike show. After one act performed, I commented that every stage has hot and cool spots in terms of lighting. The areas where pools of light overlap are brighter. I told the performer that it was a minor point, but I thought he had stood in an area of the stage that was shadowed. I showed him how to determine the location of the brighter areas. I suggested that if he stood in one of those areas, his act would look a little better. Unfortunately, the lighting crew was offended because they thought I was criticizing them. Lighting a banquet room with a limited number of instruments which are close to the stage is extremely difficult. They had done an excellent job given the constraints they were working within. I had said every stage has hot spots, which is true. I have never been on a stage which did not have them. Sometimes they are intentionally caused in order to draw audience attention to certain areas. The lighting crew did not pay attention to my critique. They just perceived it as unjust criticism.
Be Prepared
Be sure that you have what you need. If you are doing a performance critique, be sure to have paper and a pen so you can take notes. That way you will not forget important points afterwards.
Have supplies to communicate clearly. I got an idea from Vicky “Ruffles” Miller for doing makeup critiques. She printed out basic outlines of faces. That way she could sketch out her ideas. That is even more effective if you have colored pencils or felt pens. Her method gives the person something tangible to preserve your idea.
Another excellent aid during makeup critiques is a mirror. That way they can see their face while you talk about it.
When I critique a juggler, I often have some of my own props available. That way I can use the props that I am used to handling when I demonstrate a possible idea. You should never handle another entertainer’s props without permission. So, if I do not have the prop that I need, I will sometimes ask if I can borrow their prop to do a demonstration. It is especially important to not touch a magician’s props without permission and supervision. They may be something that has to handled gently.
Ask for Their Input
A critique is a collaborative effort.
In college, it was common for a critique to begin by asking the subject for their opinion. That had several advantages. First it helped everyone get used to analyzing their own work. Also, it revealed their concerns. Sometimes they were aware of a flaw that the rest of us had not noticed. Then we were quickly able to find an alternative. Surprisingly, people often thought something in their own work was a flaw that everyone else liked.
It was interesting hearing what their goal had been. When they failed to reach that goal, their attempt revealed some interesting possibilities.
Ask questions. Do not assume that you know everything. Ask them why they did something. Sometimes I think that their motivation was not valid. Often though, I help them find another way to reach their goal. If something is not clear to me, I can look for ways to make it clearer to the audience. Remember that your task is to help them find ways to communicate what they want to their audience.
I was on makeup/ costume critique panels with Jack “Blimpo” Frank in the early 1990’s. He would always conclude by asking each person, “How do you feel about you?”
Their responses were interesting. Often, they were visibly surprised to realize that they liked themselves. That is important. In order to relax and relate to your audience you must feel comfortable about what you are doing. Occasionally, their response led to further conversations.
Begin by Looking for Strengths
Synchronicity is a psychological principle meaning that you find what you look for. If you look for strengths in a performance, you will find them. If you think your job presenting a critique is identifying flaws, you will find them and probably overlook the strengths.
The Warner Bros cartoons are considered comedy classics. According to Chuck Jones, each director and writing team would present their ideas to the other directors and writers for critique in what was called a “Yes, Session.” The others could say anything they wanted as long as it was positive. He said that a new idea is fragile and can be crushed by criticism. He said that they realized something was a truly bad idea when nobody could think of anything positive to say. However, when a talented group was intent upon supporting and improving an idea they usually found the best approach to making it a reality.
Being critiqued is a nerve-wracking experience. The beginning can determine the overall effectiveness. If you start with a negative comment, you may trigger the participants defenses and they will not be receptive to anything else that you say.
An initial negative comment may also cause a first impression that they have failed. There is something called confirmation bias. It is a type of synchronicity. Once we have formed an opinion, we look for confirmation that we are correct. We often find, or interpret, things that provide that confirmation. Even if most of your comments are positive, the participant may overlook them and focus on any other negative comments if your first comment was negative.
Starting with a positive comment will reassure them that you are not there just to tear them down. It demonstrates that you care about them. According to an old saying, “People do not care how much you know until they know how much you care.” The perception that you are a kind person interested in helping them will make all of your comments more acceptable.
People tend to minimize their own strengths. Convincing them that they can do some things right may be more important than pointing out possible improvements. This is a good time to use the word “you” in your comments. For example, “You make very good use of your music.” Another example is “You do a great job interacting with volunteers on stage. You make them feel very comfortable being in front of the audience.” Your goal is for them to personally connect with the comment.
Sometimes thinking of a positive comment can be difficult. I am not very musically inclined. I took a ukulele class at Clown Camp. At the end of the class, the instructor went around commenting on something that each student had done right. When he got to me, he paused for what seemed like a long time. Then he said, “Well, you played louder than anybody else.”
Do not make a gratuitous statement just to be positive. People often realize that you are not being sincere. That undermines everything that you say.
Studies show that people remember the beginning and the end of something the best. So, begin with what you want them to remember. That should be the most important positive comment that you will make.
Do Not Personalize Criticism
When people are being critiqued, they are vulnerable. Keep your focus away from them personally and on the work that you are evaluating. Avoid using the word “you” in negative comments. For example, in a clown skit where they pack a suitcase and then leave it on stage when they exit, do not say, “You didn’t make it clear why the suitcase was left behind.” Instead, say, “the reason for the suitcase being left behind wasn’t clear” or even better, “I didn’t understand why the suitcase was left behind.”
Offer Possible Solutions and Alternatives
Your approach should not be that you are telling them they have done something wrong. Instead, you are offering possible alternatives for their consideration that might be better.
Do not just identify problems with a term. First, they may not understand what you mean.
During a costume critique I heard someone say, “Your costume needs to be punched up more.” I knew what they meant, but I could tell that the person being critiqued was puzzled by that comment.
Suggest a possible solution as an example. During that costume critique it would have been helpful to continue, “One way of doing that is to edge your lapels with black bias tape. That will make them stand out and the costume will seem more theatrical.” Then ask them if they can think of any other ways to accomplish the same goal.
While critiquing a magic performance, I might say, “I like the way you pull the scarves out of the bag one at a time and display each one individually. However, I never saw that the bag was empty. You might try reaching into the bag as if you are going to take out another scarf. Grab the bottom of the bag and pull it out as if you think the fabric is a scarf. That will turn the bag inside out and the audience will see that it is empty without you calling attention to that. If you say the bag is empty, you arouse skepticism among audience members.”
Do not act like your suggestion is the only possible alternative. Use phrases like “you might try” or “you might consider.” That invites the participant to accept your suggestion, but leaves open the possibility of experimenting with other solutions. Sometimes my suggestion begins a train of thought that results in them finding something even better.
Indicate Relative Value
The person receiving a critique will tend to give each comment equal importance. You should tell them which comments are of immediate concern and which ones are for future consideration.
Sometimes clowns will put a red circle on the cheek to indicate that the have “healthy rosy cheeks.” Often, they will put three or five black dots in the circles to represent freckles. During one makeup critique session I saw a woman who had a yellow circle on her right cheek, a green circle on her left cheek, a red circle on her chin, and a blue circle on her forehead. Each circle had four black dots on it. I told her, “I don’t understand the circles on your face.”
“They are buttons. I use them because my clown name is Buttons.”
I responded, “I would stop using those circles right away. It isn’t clear what they are. They distract from your actual features and camouflage your expressions. You will be able to communicate with your audience much better without them. If you think it is important to accent your cheeks, I can help you find something you like that will be more effective.”
By contrast, I was doing a critique for a man had a red plaid coat with black lapels and yellow flaps on his pockets. The coat worked okay. There was no reason to change it right away. However, I thought a change might improve his future costumes. I told him, “This is not something you need to do now. However, the next time you make a costume consider making the lapels and pocket flaps the same color. I think that will tie your costume together a little better. The black accents tie in with your red plaid and give a formal appearance. The yellow accents provide a nice contrast making your coat seem brighter. Both choices are valid. You might think about which one is most important to you and choose that.”
Another way I identify something that does not need immediate attention is to use the phrase “this is just a minor point, but you might think about…”
Do Not Overwhelm
Try not to discourage your subject by suggesting too much. If they have so many suggestions that they feel like they cannot handle all of them, they may not begin on any of them.
If there are many possible improvements, pick a few to focus on. Comment on what you consider to be the highest priority. The process of becoming a good variety artist is a long one. You do not have to be an instant fix solving all their problems at once.
There is a process known as “successive approximation.” That means that you do not try to reach your goal immediately. You do something that brings you closer to your goal, test your progress, and then determine your next steps. The example that I was given is a guided missile. When the missile is launched it is given a course that should bring it to the target. However, things like winds may push it off course. So, periodically the rocket’s location and direction is verified. Then a course correction is made with a change in direction that will lead it closer to its target. Each approximation of the correct course aims the missel closer to the target. (I am not sure if that description of how the rocket is guided is accurate, but it does make a meaningful metaphor.)
When you are giving a critique, you are providing one step in a successive approximation. Your job is to get the person moving in the right direction and give them instructions to help them come closer to their goal. Eventually somebody will give them another critique that will verify where they are in their development as an entertainer and correct their course bringing them closer to the goal. Sometimes you will be the one to do the next approximation.
In addition to commenting on the most important aspects, comment on something that will be easy to change. That way they can make quick progress and improvement. That will motivate them to continue working on more difficult problems.
Offer at Least One Suggestion for Improvement
High wire artist Philippe Petit, in Creativity: The Perfect Crime, said “Do not allow critics to make you think you’re so good it’s impossible for you to become better! Do not content yourself with merely reaching high standards to satisfy your ego. True artists enrich their art, not themselves.”
No matter how successful somebody is, there is always room to grow. When somebody is more advanced, you can more specific and detailed with your comments. You may be able to suggest possibilities that they have not realized were there.
Pay Attention to Details
Look carefully for details. That tells people that you are paying attention to them and considering everything.
Sometimes I have to figure out what a detail means. I noticed that Lee Mullally always put an audience volunteer on his left. Then if they had to do something like take a scarf our of a bag, he held the bag slightly in front of them. He did that several times before I realized the purpose. Since most people are right-handed, putting them to his left meant that they would naturally use the hand closest to him to take something from the bag. They did not have to reach across their body which can look awkward. Holding the prop in front of them meant they did not have to turn away from the audience. That made them look good and the audience could see their expression when they were surprised. He grinned when I commented that I loved his audience control and told him what I figured out about why he did it.
Sometimes I have to ask about a detail. A clown was wearing a tie that looked like a road with cars driving on it. There was a small round hole right in front of his stomach. I could tell that the hole was there on purpose. I asked him what it meant. He responded, “That’s my pot hole.” It took me a moment to realize what he meant. Then I started laughing. I told him that I loved the fact that he had taken something unusual looking and added a joke to it. I like family entertainers who entertain the adults as well as the children. I said that his joke would be understood by adults and that children probably would not be aware of it. He thanked me and said that he was surprised by how few people ask him about it.
Sometimes a small thing is the solution. A Tramp clown wore a tuxedo dress shirt. He said that it represented that his character was poor but proud, and pretended to have a higher status in society. The shirt seemed to clash with the rest of his costume because it seemed too nice and new. Many tramp clowns either tatter their clothing or cover it with patches. He did not want to do that because he thought his character would not consider such a shirt good enough.
I suggested that he fray his collar a little. I also suggested that he replace all the buttons so none of them matched. He still used white buttons, but the shapes varied a little. Those small details were things that most people would not consciously be aware of. However, they were just enough to make the shirt seem like it was old but cared for. That made it seem to fit with the rest of his clothes while communicating his character’s personality and situation.
Pay Attention to the Audience
While you are doing a critique, you are not a normal audience member. You switch into Left-Mode Thought because you are analyzing and judging. You will probably not laugh while observing the performance. You will not react emotionally the same as audience members who are in Right-Mode Thought while enjoying the performance. Connecting with the audience is the goal of an entertainer. Let the reactions of the actual audience guide your evaluation.
Also, many performers do not really hear the audience. I know a woman who excelled at one-on-one entertainment. However, she had limited experience appearing on stage. That always made her nervous and she had to concentrate on her actions when we performed together. She did not realize how good she was during those performances. There was always a lot of laughter, but she did not notice it. When I critiqued our performances, I had to reassure her that the audience did like our act and had responded well to us. So, when you do a critique point out those moments during the performance that got some type of outstanding reaction from the audience.
Give Reasons
Do not expect your subject to accept your comments uncritically. Give them a basis for evaluating the appropriateness of your idea.
I was critiquing a woman performing the classic Mismade Flag routine. At the start of the routine, you remove a red scarf, a white scarf, and a blue scarf from a bag. When you return the scarves to the bag, the blue scarf accidentally falls to the floor. You tap the bag with a magic wand. Then you pull a flag out of the bag that has red and white stripes but no blue field. This woman had a magic table that was a box sitting on the floor. When she began the routine, she moved over so that she was standing directly behind her table and obviously dropped the scarf on purpose. It fell behind the table where it could not be seen by the audience. When I asked her why she did that, she responded, “I don’t want the children telling me too early that I had dropped the blue scarf.”
I pointed out that the children never told her that she had dropped the blue scarf. I said, “There are two reasons for that. The first is that if you obviously do something the kids tend to not tell you about it because they think you already know about it. Second, if the kids cannot see where the scarf is they do not know how to tell you its location. If you are supposed to do something accidentally you need to find a way to make it happen while you are doing something else. There is something called a silent script which is what you think while you are performing. Your thoughts are communicated by your unconscious facial expressions and body language. So, to make it seem like an accident, you cannot think about making it happen.
I told her, “The strength of this routine is having the audience tell you that you have done things wrong. It does not matter when they tell you that it is wrong. You react to what they say.
“If they tell you right away that you have dropped the blue scarf you can have selective hearing and ignore them for a moment. You can also hear them and react. You look at the blue scarf on the floor, you look inside the bag, and then look at the scarf again. You think, “I wonder what happened.’ Then out of curiosity you pull the flag out of the bag and spread it out. The kids will tell you that it is wrong which surprises you. Then you think, ‘I had better add the blue,’ as you pick up the scarf from the floor.
“If they do not tell you that you dropped the scarf, you pull out the flag and display it proudly. You wait for them to tell you that the flag is wrong. You look at it and realize what is wrong. You think, ‘where is the blue?’ The kids will tell you that it is on the floor. You are surprised that is where it is. Then you think, ‘I had better add the blue,’ as you pick up the scarf from the floor.
“Either way, the kids get to tell you that something is wrong which surprises you. That is what causes them to laugh.”
Saying it is traditional is not a good reason. All tradition means is that is the way that it has been done in the past.
There may be a reason why something that has continued to be done. For example, throughout history clowns have tended to perform as duos. One partner would be a clever rogue who might be an authoritarian. Their partner would be their less intelligent assistant and might be the target of the rogue’s actions. The rogue tended to be the star of the act, and the less intelligent character was a supporting cast member. That type of duo became traditional because it provides dramatic tension.
However, the characters playing each role have changed over time. In the 1600’s, Brighella was the clever rogue. Harlequin was their less intelligent partner. In the 1700’s, John Rich made his portrayal of Harlequin more intelligent. He took over the role usually played by Brighella. Brighella faded away. A new less intelligent character was needed, and the Whiteface clown was created. In 1800, Joseph Grimaldi made his Whiteface character more intelligent. During his career, he was criticized for performing routines that were considered more traditionally appropriate for Harlequin. Grimaldi is considered the Father of Modern Clowning because he broke with the tradition of his time. The role of Harlequin faded away. A new less intelligent character was needed, and Auguste was created. Now performers appearing as Auguste have made their characters more intelligent and the Whiteface character is fading away. Now it is common to see two Auguste clowns appearing as partners with one being the clever rogue and the other the less intelligent assistant. So, while it is valid to explain the two roles, it is no longer valid to say that an Auguste clown cannot be the clever rogue due to tradition.
Auguste and Tramp clowns traditionally wear a red nose. There are two theories about their origin. One is that the red nose represents the Tramp’s sun burned nose resulting from living outdoors. Early Auguste characters were often portrayed as slightly inebriated gentlemen attired in formal clothing wandering into the circus ring. The red nose represented their intoxication. If either is true, it is the result of exaggerating something that happens naturally. That is an important concept. There is another reason for wearing a red nose. The general public associates a red nose with clowns because so many clowns have used one. A character can be identified as being a clown simply by wearing a red nose. The cast of the Big Comfy Couch TV program are an example of this. They wore red noses without much other exaggerated makeup. So, performers may want to wear a red nose so the audience understands that they are a clown. However, some clowns wear a nose that is a different color because they use other aspects of their appearance to inform the audience that they are a clown.
Sometimes the reason for something being traditional is no longer valid. When I began clowning, it was traditional for clowns to appear without wearing glasses. One man told me, “If clowns wear glasses it indicates that they are not perfect.” That does not make sense. However, I accepted that tradition unquestionably. I am extremely near sighted. I thought I was doing okay performing without my glasses. My juggling props were blurry, but I could juggle the blurs. Then one day my parents attended a show and I did not recognize them even though they were seated in the front row. I never wore my glasses when I performed for the first fifteen years of my career. When I was appearing at Raging Waters, I would put my glasses on when I took a break outside of audience view. One day I forgot to take them off when my break was over. I was amazed by two discoveries. Nobody noticed that I was wearing glasses. Being able to clearly see the facial expressions of audience members improved my interactions with them. I broke with tradition and have worn my glasses during every performance since then.
If your comment during a critique is based on tradition, take the time to figure out why it has become traditional. If you cannot figure out why it is traditional, it might not be valid any longer and is not a good basis for an opinion. If you can figure out the reason, explain that as part of your critique.
Identify Personal Opinion
Indicate whether something is generally agreed upon or is just your personal opinion.
New clowns often start with what is referred to as a watermelon mouth. That is one that stretches from their nose to chin and extends almost ear to ear. When I see that while I am doing a critique, I say, “It is generally accepted that a smaller mouth is better because it is easier to change expressions. Usually, the upper lip is left white in order to separate your mouth from your nose. Also, your upper lip does not move much as you change expressions. The corners of your mouth should be closer to the actual corners of your mouth because that is where the most movement when you change expression. You can make a small painted on mouth seem larger by bracketing it kind of like having dimples.”
Then I give them an exercise so they experience that. I have them touch their forefinger to their upper lip and ask them to change expressions. They can feel that there is little movement there. I have them put their forefinger on the corner of their painted mouth and ask them to change expressions. Again, they can feel that there is almost no movement. Then I have them put their forefinger closer to the corner of their actual mouth. They can feel a lot of movement there as they change expressions. After experiencing that, I have never had anybody resist changing to a smaller mouth.
Once there was a fad of Tramp clowns wearing gloves that had the finger tips cut off. I did not like that, so when I saw that while doing a critique, I said, “This is just my personal opinion but I do not like gloves without finger tips. I don’t know why somebody would do that. I suggest either wearing complete gloves that you have aged in another way or not wearing gloves at all.”
Some people agreed with me and changed. Other people continued wearing that type of glove. Either choice was acceptable to me. Others must do what they fell is right instead of trying to conform to my opinion.
Your Responsibility for Accuracy
Anyone can give a critique by expressing their personal opinion. However, if you want to present effective critiques or to be selected to do critiques as part of an educational program, you have some responsibilities.
Make sure that your comments are valid.
Norma Brandel Gibbs “You are not responsible for what you were taught, but you are responsible for what you teach.”
Do not just repeat what you have heard others say. Verify its truth either through you own experience or scholarship. I spend a lot of time researching the history of entertainment and studying showmanship. In general, I do not accept something as true without using two different sources to verify it. Be especially suspicious of things posted on the internet or on social media. Anyone can post anything they want without their facts being checked for accuracy.
At the 1993 World Clown Congress, Victor Vladimirov, the Director of the Moscow State College of Circus and Variety Arts, said, “In order to have any movement forward you have to have a philosophy of clowning. In order to have a philosophy of clowning you have to have a history of clowning.”
The congress provided an interpreter so that I could have a conversation with Mr. Vladimirov. We both agreed that in order to have a valid philosophy of clowning you must have an accurate history of clowning.
Here are two examples of how a false understanding of clown history led to an invalid philosophy.
A man judging Tramp Makeup Competition, wrote in his critique of one competitor that Tramp clowns could not wear bright colors. When he was questioned about his statement he said, “Emmett Kelly was the first Tramp clown so he is the prototype that must be followed. He did not use bright colors so Tramp clowns cannot use bright colors.”
He was completely wrong. McIntyre and Heath introduced the Tramp clown character in 1874 so it existed long before Emmett Kelly Sr was born. Also, Emmett wore a bright green shirt. In his autobiography, Emmett explained that he felt a Tramp costume needed to be brightened up with color. He said that he chose Kelly Green because of its connection to his last name.
Another person giving a critique said that Tramp clowns should not juggle because it contradicted with their slow movement. The truth is that Tramp clowns performing juggling acts were extremely popular between 1895 and 1918. The Juggler’s Bulletin, a newsletter for jugglers published during the Second World War, listed forty Tramp jugglers that were headliners in vaudeville. Otto Griebling and Emmett Kelly Sr are considered the greatest Tramp clowns in history. Otto performed a famous act where he juggled four pie plates. Emmett performed a routine where he briefly juggled three balls. The mistaken notion that Tramp clowns have to move slowly was based on Emmett Kelly’s performances. He did move slowly, but that had nothing to do with him being a Tramp clown. Emmett explained that the other circus clowns moved quickly so he decided to more slowly so the contrast would make him stand out.
Misinformation continues to be propagated in variety arts organizations long after accurate information is widely available. In 1990 I heard for the first time that clowns are not allowed to eat while in makeup and costume. The stated reason is that doing so breaks the clown’s character. That did not make sense. The people suggesting a ban on eating performed skits involving their character eating. Some people involved in the hobby of competitive clowning do not eat after donning their makeup in preparing for a competition because they do not want to mar their makeup application.
However, if applied properly, clown makeup is extremely durable. Clowns who appear in a circus have to eat while in makeup. When I toured with the Carson & Barnes Circus in 1981, I was frequently in makeup from 10 AM until 11 PM. We were on the road for 26 weeks and had only one day off. I had to consume enough calories to maintain my energy level during performances and have a varied enough diet to stay healthy. I ate just about everything the cookhouse served. There were very few foods that I could not eat while in makeup due to their greasy nature. For example, I could not eat buttered corn on the cob. Although I was in makeup for over twelve hours and ate two meals, I rarely had to touch up my makeup. If I needed to do anything, I needed to add a little more makeup to my lips.
While competition judges closely scrutinize the makeup worn by a competitor, audience members in general do not pay much attention to it. I added a teardrop to my makeup to stand out from other Tramp clowns. When I worked at an amusement park, I was amazed how long it took for other employees to notice it. Often somebody would ask me why I had added a teardrop to my makeup. They did not believe me when I told them that I always use it. Therefore, any small makeup blemish caused by eating will not be noticed by audience members.
The no eating rule was quickly and widely debunked for safety reasons. In 1991, a show had to announce an unscheduled intermission when a friend of mine went into a hyperglycemic shock because she had not eaten after getting into makeup early that day. She had to be given something to eat before the show could continue.
Even after 35 years, the idea that clowns do not eat while in makeup remains. There were several references to it in magazines published by clown groups in 2024.
Misinformation on the history of women in entertainment is widespread. It is often used to try to impose limits on what women can currently accomplish. The truth is that women have been involved in all types of variety arts for centuries. Modern women should be proud that they are part of a long and important heritage. They should not accept limits others try to impose upon them.
Duane Laflin refers to making accurate statements as part of earing the right to be heard. If you make a statement that others know is false, they often fixate on that and stop listening to the rest of what you say. Also, it undermines your credibility. If you make a statement that is obviously false, others will doubt the truth of everything else you say. For example, George Bishop made several glaring errors when he wrote The Book of Clowns. As a result, I do not use it as a source of information because I do not know what else is false.
Establish Your Credibility
If you want others to take your critique seriously, you must establish your credibility.
Credibility requires being humble. Realize that you are not infallible. Also realize that variety arts are a creative artform with many possible right ways to do something. Your way is not the only way or even the best way. Present your critique as suggestions of possible approaches not as strict rules.
Often credibility is gained through your own performances.
I know some performers who talk about the need for creativity. However, when I see them perform, I can identify the source of each of their routines. Copying others without demonstrating any creative effort undercuts their advice.
After my father’s 80th birthday, he wanted something to do in the evening besides watch television. So, he began to learn magic. He would practice every evening. When he attended Clown Camp for the first time, he was part of a small group that was going to perform a parody of America’s Got Talent. His act for the parody was one of his magic routines. The director of the group kept giving him directions for performing his magic routine. He thought that the director was wrong. He concluded that the director did not understand how to perform magic because earlier in the week they had completely botched performing a magic effect. The director performed a routine where you secretly obtain a prop which causes the audience to be surprised when you used it. The director openly pulled the prop out of their pocket so there was no surprise resulting in no audience response to the routine. My father asked me if I agreed that the director was giving him the wrong instructions. I agreed with him. My father decided that the director could not do anything once he entered the stage so he decided to ignore him. My father performed the routine the way that he had practiced it at home and got a nice reaction from the audience.
Jackie LeClaire is an inductee into the International Clown Hall of Fame. He father was a famous circus clown, and Jackie had amazing accomplishments including being the boss clown for the first American circus to perform in the Soviet Union. I respected his show business knowledge. I was impressed every time that I had an opportunity to watch him perform. I always listened carefully when he offered me a critique. When he suggested that I stop juggling torches, I listened to his reasons. I never juggled them again after that.
There are other entertainers that I ask to give me a critique because I admire their performances.
When I perform at an educational program, I work hard preparing my routines to establish my credibility. As a result, people will frequently ask me to provide them with a critique.
Differentiate Between Entertainment and Competition
Unfortunately, the criteria for competition and entertainment are not always the same.
I try to encourage creativity, but competitions often award conformity. That was particularly obvious during the 2024 International Brotherhood of Magicians Stage Competition. With one exception, every act produced umbrellas that appeared to come from the same manufacturer. The acts all included playing card manipulation and performed many identical flourishes during that part of their act. The reason this happens is that people who take competition seriously study what previous winners have done, and then copy that hoping to impress the judges. That is why during figure skating competitions at least one person will use Carman as their music. Many Olympic Gold Medalist in single woman, pairs, and ice dance has used that music.
Magic and juggling competitions require a display of skill that impresses other performers but would not be understood by the general public.
I developed a sequence of juggling moves that got good audience response. After one of my shows, a man I knew had judged juggling competitions, approached me, and said that I was not performing Mills Mess in the proper way. I told him that I was not performing Mills Mess. Mills Mess is the name of a specific juggling trick that jugglers can identify. They appreciate the skill that is required to perform it. If I was entering a juggling competition, I would have to learn how to do it. However, lay people are not familiar with Mills Mess. They would not recognize it. So, as an entertainer, I could perform something that was like Mills Mess but different.
The rules for a competition are important. That provides the judges with a set of criteria to use in evaluating the contestants. The goal in a traditional variety arts competition is to generate numerical scores that are used to determine the winners. If somebody violates one of the rules, they will likely be eliminated from consideration.
If you are doing a critique of an act that will be entered into competition, you must read the rules for that specific competition. It would be unfair to advise them to do something that violates one of that competition’s rules.
However, it is important to realize that the rules are valid only for that specific competition. Each organization running competitions writes their own rules which may vary from year to year. Those rules may not be valid in entertaining general audiences.
At one point the rules for a Clowns of America International Competition specified that Whiteface clowns had to wear white gloves. So, when I critiqued somebody entering that specific competition, I reminded them to have white gloves.
However, I did not think that was a good choice for entertaining the public. At that time, most of the Whiteface clowns wore white costumes. It was hard to see their hands if they were moved in front of the costume. So, if somebody wore a white costume and was not entering competition, I suggested that they wear gloves of a different color. However, if they had a costume that was a bright color, I would suggest that they consider using white gloves. Clowns in general accepted Whiteface clowns wearing colored gloves long before that was accepted by the competition rules.
Some people involved in the hobby of competitive variety arts take it very seriously. For new performers, winning a competition can validate that they are on the right track. For others it is a type of sport that they enjoy.
However, since the emphasis on producing a list of numbers, traditional competitions are not an effective way to provide feedback. Individual judges do not have the same approach to the score scale. I knew one clown competition judge who announced that he would never give a competitor the maximum number of possible points because he thought that should be reserved for people like Lou Jacobs and Emmett Kelly. I knew other clown competition judges who started with the maximum number of points and then deducted for flaws that they identified. I knew other clown competition judges who started with the medium number of points and then added or subtracted points based on if they thought a competitor was better than average or had not met that standard. That means you cannot compare your score from one competition to another to track your progress because the judges change and you don’t know how they determine the numbers they give.. The judges are so busy determining and listing points that they do not have much time for providing a critique.
Mike Bednarek’s Red Nose Festival Competition format was designed to provide a more effective critique. The number of points was minimized. There also were no placements. The coaches could award as many gold medals as they thought were appropriate or they could award none if they thought nobody had reached that level. The coaches spent most of their time writing more detailed comments.
If you are providing a written critique, either on a competition score sheet or another format, the principles of providing a critique should still be followed. However, you may have both limited time and space to do that. If you think you need to explain something more fully, you can write “see me.” Also, part of the critique process is answering questions from the person that you are critiquing. So, if you are a competition judge, be sure that you are available for discussion after the score sheets are distributed. The judges are not identified on the score sheets in some competitions. However, when I was a judge I always added my name so competitors could talk to me afterwards.
Be Aware of Your Bias and Preconceived Ideas.
Guard against your own bias. A woman was upset when I commented that I could always tell that she had critiqued someone’s makeup. She used glitter as part of her makeup so she was biased in favor of using it. Every person she critiqued ended up using glitter as part of their makeup design. My own opinion was that glitter was not always the best choice for those individuals.
Do not rely on pat answers and preconceived ideas. Some clowns use a mouth design commonly called a Kissy Mouth. That is a small heart shape associated with the Betty Boop cartoon character. I generally do not care for that style. Lorle “Sweetheart” Buehl and Marti “Minnie” Vastibinder Bloes both use that style, and I like their makeup designs. I have never been able to figure out why I like it when they use it but not when others use it. There must be some other element of their makeup design that makes it work. When Lorle asked for a critique of her makeup design, I told her that I liked her Kissy Mouth.
I own a trick bike called a Swing Bike. The back wheel can be steered independently of the front wheel. I created a Swing Bike routine that I performed in the Hollywood Santa Claus Lane Parade, Fiesta Bowl Parade (Phoenix, AZ), and dozens of small community parades. I performed it in the parade competition at a regional clown convention because some people had asked to see it. I knew that one of the judges specialized in using variety arts to teach safety lessons. She scored me lower than the other judges. Every comment she made was how I should have used the bike to teach safety lessons. Her comments were irrelevant. None of them were possible in a parade setting.
Be Open to New Ideas
When I concluded a critique of a magic act, a man told me that it was the second time that I had critiqued him. He said that this time I had commented positively on something that I had not liked the first time. I did not remember doing the previous critique. I had to say, “I guess it just took me a while to get used to the idea.”
Try to generate fresh ideas during the critique. A Double Color Changing Scarf is two scarves attached at one corner. They begin as a red scarf and a green scarf. You pass your hand over them and they change to a blue scarf and a yellow scarf. You can reverse the process to turn the two scarves back to their original colors. It is an easy to do effect so it is included in many magic sets for beginners. I was critiquing a woman performing a magic act who picked up a Double Color Changing Scarf, announced that it was red and green, changed the colors, and then set it down. Then she quickly did two other simple magic effects without any elaboration or transition between them. I felt that made her act choppy. I knew that she liked the audience interaction in my act, but there was no opportunity for that in her act.
I had never seen anyone do a more extended routine with the Double Color Changing Scarf. However, I knew that she needed to do something more with the effect.
I asked her if we could play around with those props. I got her changing the color of the scarves back and forth. After a few minutes I was able to come up with an idea. I had her hold up the red and green scarves and announce, “I am going to use these blue and yellow scarves.” I told her that the children would tell her that they were red and green. When they did that, she would pass her hand over the scarves changing them to blue and yellow. Now she would announce that she was going to use the red and green scarves. When the kids told her that the scarves were blue and yellow, she would respond, “But you told me that they were red and green. Okay, I will use these scarves that are blue and yellow.” As she said that, she passed her hand over the scarves so they changed colors again. She went back and forth a few more times so that the scarves were never the color she claimed that they were. When she tried that idea out during her next show, she loved the interaction with the kids.
Then I figured out how she could make those scarves vanish during the second effect that she had performed and make them reappear in the third effect that she had performed. Now the three effects were linked together. It made sense to perform them in that order. There was a flow from one effect to the next. I would never had created that routine if I was not providing her with a critique.
Often when I am doing a critique something that the other person does inspires me to think of something that I would not have when working on my own. Sometimes I will suggest something that the other person does not like. However, that can inspire them. I have learned to pay careful attention when they say, “Could I …”
Variety artists who are just beginning and young entertainers do not know how something is supposed to be done, so they invent their own way to do it. Pay attention to their ideas. The idea may need to be tweaked to make it more effective. However, it could be the seed for something wonderful.
Somebody I know was teaching a new clown how to perform an act called Two on a Chair. At one point, the chair was laying on the ground on its front. He told her to sit on the chair. He meant that she should sit on top of the chair’s legs. She misunderstood and crawled on the ground trying to figure out how to fit on the seat of the chair. He told me that her actions were hilarious. Instead of exploring how that could be added to the act, he told her that was not the way it was supposed to be done. He was so locked into what he thought was the only right way to do the act that he ignored a new idea that showed great potential.
Summarize
People remember the beginning and end of things the most. So, use the end of your critique to go over the points that you want to be remembered. This is your chance to put things into perspective. If your overall impression was very positive, but you suggested several possible changes, you do not want the number of changes to create the perception that they had failed. You might say something like, “Overall your act was very good. I particularly liked… If I were to make any immediate changes, they might be… These are minor points, but in the future you might consider… Well done.”
Follow Up
If possible, watch an entertainer after some time has passed since you did a critique. For example, since many people participate frequently in Clown Camp, I can see them in successive years.
If I can remember what we talked about during the critique, I will comment on changes they have made. After seeing them perform, I will compliment them on their improvements without presenting a formal critique. Encouraging them is the most important part of a follow up. Remember that everyone learns and improves at their own pace. Praise them on any movement forward, no matter how small of a step. Plato said, ““Never discourage anyone who continually makes progress no matter how slow.”
Sometimes people will seek me out asking for a new critique. This gives me the chance to encourage them and to make the next successive approximation.
Following up on a critique also encourages me. Seeing people improve based on suggestions that I gave them provides proof that the critique process works and that people benefit from my suggestions. That makes me more willing to make the effort to provide critiques when requested.
Being Part of a Public Critique Panel
Educational programs that emphasize providing effective feedback will often have an Open Mike with a critique panel instead of running a competition.
In competitions, members of the panel providing critiques are referred to as judges. In other educational programs, members of the critique panel are often referred to as coaches. I like that term because it implies that they are trainers.
There are usually three coaches on a critique panel. I am not sure why that number is used. Very rarely is there a critique panel with only two coaches. I do not think that I have ever seen one with five coaches.
I have had the pleasure to be on a critique panel with Mike Bednarek and Albert Alter many times. They both understand the critique process and how to be part of a panel. I will use their names in some of examples. Some of these examples come from actual experiences working with them. I also sometimes use their name to identify characters from other experiences.
The normal format for a public critique is to present it like a show with an emcee introducing each act. After each act performs, the emcee calls the coaches up individually to present their comments. They do that in a random order so one coach does not always go first, second, or third.
The coaches sit in different parts of the audience. For example, one coach may be front row center, another coach half way back on the far right, and the last coach in the back row on the left. That way the coaches get different perspectives and angles. One time I was sitting on the right when a clown performed a Magic Coloring Book routine. I commented, “I could not see the pages of the coloring book when you displayed them. When you are displaying the pages, try turning further from side to side so everyone in the audience gets to see them.” That is not something the other coaches would have noticed from where they were sitting.
The first coach called onto stage sets the tone for the entire critique. It is important that they begin by identifying strengths. Then they can suggest a few changes.
They should not comment on everything they have noticed. They need to leave something for the other two coaches to comment on.
What if the other two fail to cover something that you think is important?
Often the coaches will give their page of notes to the performer. Before you present them, you can quickly highlight material on your notes not covered verbally.
Another option is to raise your hand when the third coach is finishing their comments. When called upon, you ask, “if I may?” Then you can join that coach on stage to make an additional comment.
Also, remember that a performer in a public critique session is very vulnerable. It takes a lot of courage to expose yourself to potential criticism Remember that you should complement in public and criticize in private. After the critique session is over, you can ask a performer if they would be interested in some additional comments in private.
The second coach should also begin with a positive comment. That can be something that has not been commented upon. It can be a reinforcement of something that has already been said. For example, Mike might say, “I agree with Albert that your opening is very strong.”
The second coach can make proportionally more suggestions for change because they are supplying the middle section of the critique. Again, they should not comment on everything that they noticed. They need to leave some things for the third coach to address.
The third coach begins with a positive comment. Then they have the freedom to address everything, both positive or negative, they wrote in their notes that has not been discussed. Once they have covered everything they thought still needed to be said, they present a summary of the comments made by all three coaches. They conclude by saying something like, “Well done. Thank you for sharing your act. It takes courage to do that in front of us.”
The coaches can piggy back on each other’s comments. You can simply quote another coach and announce that you agree with them. You can politely disagree. Albert might say, “Bruce suggested changing the way you escort an audience volunteer onto the stage. You might consider making that change, but I think the way you do it now is okay.”
You might provide other options. Mike might say, “I agree with Bruce that you need to make sure that everyone can see the pages of the coloring book when you display it. He suggested one way to do that. Here is another option for you to consider…”
The coaches can sometimes join each other on stage and brainstorm ideas. Audience members can learn from that. At one weekend conference, Albert had taught a classic mime piece in a class. He inflated a balloon and started to carry it across the stage. Suddenly, the balloon got stuck in the air. No matter how Albert moved around it, the balloon stayed in place. This is called a Fixed-Point illusion. Then the balloon became very buoyant and Albert had trouble keeping it from floating away. It pushed him across the stage. Finally, the balloon became very heavy and Albert had trouble keeping it from crashing to the floor.
During the critique show that evening, a performer brought a unicycle on stage and demonstrated that they could ride it. I commented, “If you bring a prop on stage, the audience expects you to use it. They are disappointed if you do not. You go a good job riding your unicycle. I can tell that you have worked hard developing your skill. That is a great finale. However, there is no surprise in your act. Try doing something else with your unicycle first. It could be something like this.” I turned the unicycle upside down, lifted it up so the seat was on my chin, and balanced it briefly.
Mike joined me on stage. He said, “You might play around with using it as something else.” Then Mike held the unicycle in front of his body and acted like he was playing a banjo.
Albert joined us. He began carrying the unicycle across the stage and it became stuck in the air. He did the Fixed-Point illusion. Then he pushed on the pedal spinning the wheel around. Suddenly he acted like the wheel was a propeller pushing and pulling him around the stage. The participants saw him using the techniques he had taught earlier in the day with a different object. I asked Albert if he had ever done it before with a unicycle. He said that was the first time that he had tried it.
It was great for the participants to see the coaches being creative. We all advocate the need to be creative. The critique panel gave us a chance to demonstrate that we were not just repeating phrases that we had heard, but actually put it into action ourselves.
Conclusion
Remember that the critique process is not an opportunity to satisfy your own ego or impress others with how great you are. It is an opportunity to convince them how great they can become.
Remember that a critique process is identifying strengths and exploring potential alternatives for improvement.
How can you be sure that information you provide during a critique is accurate? How can you establish your own credibility?
Concentrate on the person receiving the critique. What is the most effective way to communicate with them? How can you demonstrate that you care about them? How can you be kind? How can you encourage them? How can you provide potential alternatives to what they are currently doing? How can you collaborate on exploring additional possibilities? What can you do to indicate relative importance? How can you guard against your own bias and prejudice? How can you be open to new ideas? What is important now, and what can be addressed later?
Copyright 2025 by Bruce “Charlie” Johnson
Leave a Reply