ArArIn the world of Mortem: The After Death, the boundary between performer and audience vanishes.
This interactive clown show thrusts the audience into a mythic quest, tasking them with guiding a werewolf prince through a chaotic, time-bending landscape. While the surface is filled with silly costumes, dumb props, and relentless physical comedy, the heart of the show digs into something much deeper: the infinite ache of grief and the struggle to escape the shadow of a father’s legacy.
Fusing the anarchic energy of alt-clown with the technical rigor of master teacher Jane Nichols, the production transforms from high-energy spectacle into a moment of shared, consensual vulnerability. Mortem: The After Death is a wild, unforgettable look at what it means to be a "weird kid" in a world of kings, exploring grief, identity, and the messy process of defining one’s own manhood.
This interactive clown show thrusts the audience into a mythic quest, tasking them with guiding a werewolf prince through a chaotic, time-bending landscape. While the surface is filled with silly costumes, dumb props, and relentless physical comedy, the heart of the show digs into something much deeper: the infinite ache of grief and the struggle to escape the shadow of a father’s legacy.
Fusing the anarchic energy of alt-clown with the technical rigor of master teacher Jane Nichols, the production transforms from high-energy spectacle into a moment of shared, consensual vulnerability. Mortem: The After Death is a wild, unforgettable look at what it means to be a "weird kid" in a world of kings, exploring grief, identity, and the messy process of defining one’s own manhood.
About the Artist:Bradley K. Wrenn is a theater artist devoted to “joyful play and absurd whimsy.” He was co–artistic director of The Berserker Residents, creating original, improvisation-driven comedic work. His shows have been praised as “daft, ephemeral and joyous” (The Scotsman) and for their “refusal to relinquish that unrefined creative spirit” (The New York Times).
He teaches clown, farce, and improv at the University of Washington and has trained with Philippe Gaulier, Chris Bayes, and Emmanuel Delpech. His work—including The Annihilation Point and The Lapsburgh Layover (both New York Times Critics’ Picks)—has been presented nationally and internationally at venues such as the San Francisco Mime Troupe, the Annenberg Center, and The Assembly in Edinburgh. He has been in residence with FringeArts, Ars Nova, and the University of the Arts, and has collaborated with Pig Iron Theatre Company, Swim Pony Performing Arts, and Nell Bang-Jensen. |
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