You can take this to the bank -- John Leguizamo is truly a multi-faceted performer. In his new one-man show, Ghetto Klown, he is a fireball igniting the stage with kinetically nonstop physical movement, dancing, singing, impressions, hilarious anecdotes. Through it all, he builds to a truth that brings warmth and heartache to a story that is crazed with obscenities, frustration and rage. At the same time, it is comic and tender and much of it is in rapid fire Spanish. Surprisingly, you get the gist of it. Like everyone's life, Leguizamo's is a work in progress, and in this solo tour de force, he throws it all at the audience like a big stage therapy session. Chronologically, it may be off-kilter, but the essence is here, searching for truth and meaning.
Most of Leguizamo's previous one-man shows, Mambo Mouth, Spic-O-Rama, Freak, Sexaholix... A Love Story, were award winners. However, they turned out to be prequels to Ghetto Klown, his most impressive. This continues his tale of growing up Latino, struggling towards a career, coping with crazy love affairs, and coping with relentless frustration by the relationships with his family. He was used by his bizarre mother, castigated by his hot-tempered and demanding father, and he had an aging grandfather with whom he tried to communicate.
Always a show-off, he traces his subway ride from Queens to Manhattan to Hollywood to Broadway. Aiming for a show-biz career, he studied under Lee Strasberg and moved into films, and stage. A hilarious anecdote reveals how he auditioned for the film remake of Romeo and Juliet with a chipped tooth and compromised diction. His film roles, however, proved unsatisfying, and Leguizamo moved on. Much of the play involves Ray-Ray, his best friend from childhood, one of the characters he impersonates. Others include the darkly comical portrayals of film colleagues, Steven Seagal, Al Pacino and Kurt Russell. The more introspective Act II involves his second marriage and children. He manages forgiveness and understanding as far as he can. His rigid, uncompromising father will never change.
Fisher Steven's bent for directing is proven in this flowing production, although the play could use a bit of editing. The set is simple but creative, featuring a projection board for photos, film clips and videos, one repeatedly showing Leguizamo deep in depression. On one side is a desk and chairs and a phone he uses to speak to his agent.
John Leguizamo is at home on the stage, undergoing his spontaneous, free and funny therapy sessions of his life. This is his milieu and as he says, "This is masterful. I'm dissing, I'm cursing, I'm fighting myself, it's raunchy, it's nasty and most of all, it is freaky."
