Ed Malone

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Ed Malone

Theatrical Clown

PRIVATE CLOWN/ACTING CLASSES

Oscar-winning actor Daniel Day Lewis sought out Ed after a recent Off-Broadway show to praise his powerful acting techniques and performance. As an actor, Ed has worked with Tony Award-winning director Julie Taymor, actor John Turturro and Oscar winning actress Brenda Fricker.

THIS CLASS INCLUDES

  • The art of stillness
  • Fun theater games that will improve focus
  • How to overcome shyness
  • Learning SELF CONFIDENCE
  • Becoming a greater listener
  • Using the ART of the clown to help you face each day with a SMILE

Ed will work with you in workshops or one-on-one to help you find the most...

  • OPEN
  • CHARMING
  • SENSITIVE
  • FEARLESS
  • PLAYFUL
  • CHARISMATIC
  • AUTHENTIC
  • & BEAUTIFUL...

version of yourself. In any role. In any situation. Open to people of all skill levels and backgrounds.

The 6-Week Program

Through theater games and exercises derived from the clown training of Philippe Gaulier and Jacques Lecoq students will:

– develop their sense of vocal and physical rhythm

– find stillness and focus in their performance

– learn the basic clown principles of fixed point, neutral mask, and complicité

– learn to recognize their habits and not be held back by them

– develop an awareness of the audience, space and fellow performer

– develop a sense of spontaneity and freedom to follow their impulses

– learn to face failure with a smile and ‘ride the flop’

Week 1: Learn the basic principles of clowning and how to apply them on stage or on camera, in comedy or drama.

Week 2: Develop your individual clown and their relationship with the audience and fellow performers, i.e. complicité.

Week 3: Clowning without words. Learn how to tell a story without text.

Week 4: Begin to develop a solo performance for your individual clown.

Week 5: Begin to develop a performance with your clown partner.

Week 6: Present your clown shows to the class.

***This Course is open to artists of all experience levels and backgrounds.***

Each class is three hours.

Location: Shetler Studios, 244 West 54th Street, 12th floor.

Cost: $450

Ed Malone

Ed Malone

Biography

Ed is a playwright, director, actor, clown and buffoon who was born and raised in Cork City, Ireland. He moved to New York City in 2007 after two years of schooling in Paris – first in Ecole Jacques Lecoq and then working with the legendary French clown Philippe Gaulier at Ecole Philippe Gaulier. His solo play ‘The Three Irish Widows Versus The Rest of the World’ received three sell – out runs in New York City in 2010. ‘Do yourself a favor, see this play’ said nytheatre.com. Ed’s debut play ‘The Self Obsessed Tragedy of Ed Malone’ toured Ireland and England extensively to great critical acclaim and this play along with it’s sequel ‘The Self Obsessed Tragedy of Ed Malone Chapter 2’ received a sell – out run at Stage Left Studios in New York City in the spring of 2009. Ed’s play ‘The Ballad of Charlie and Cate received it’s World Premiere in Ireland in June 2015 as part of the Cork Midsummer Festival. Ed stepped into the role of Brendan, the Irish Repertory Theatre’s Lucille Lortell award nominated production of The Weir and he also played Johnny Boyle in Juno and the Paycock at the Irish Repertory Theatre. Mr. Malone is a member of the Dramatist’s Guild of America and American Actor’s Equity.

Irish Reperatory Theater NYC

Ed Malone

Live!

Ed will be appearing Off-Broadway in the role of David Gore in Brian Friels's "The Home Place" at the Irish Reperatory Theater from September 27th - November 19th. Tickets here.

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Ed Malone

Plays

If you’re interested in reading one of Ed’s plays contact him here.

Ed Malone

Press

PRESS FOR The Home Place, October 2017

Interview: Ed Malone on Theatrical Clowning and Finding His Own 'Home Place'
stagebuddy.com


Oct. 17, 2017


Set in Donegal, Ireland in 1878, Brian Friel's The Home Place (at Irish Repertory Theatre) dramatizes the racial tension between the native Irish and the ruling English. It also depicts the tension between Christopher Gore and his son David, who are both madly in love with their housekeeper Margaret O'Donnell. Meanwhile, Christopher's cousin brings yet another layer of tension to the scene when he arrives to measure the local Irish's heads for his Darwinian experiments. We spoke with Ed Malone, who plays David Gore, about the nuances of Friel's subtle drama, how theatrical clowning helps him get in touch with his character, and what the word home means for both David and Ed.


The Home Place obviously has the word “home” in the title, and each character in the play seems to seems to have a different idea of what that word means. What do you think home means for your character, David Gore?


Wow, great question. I think my character, David Gore, really hasn’t found his home yet, because he’s so in love with Margaret, the housekeeper. And he’s constantly dreaming of running away: taking her away to Glasgow and Scotland, and taking her away to Africa, Kenya. I don’t think he considers the home place in Donegal where he’s grown up to be his home. He’s English, but he came over to Ireland at a young age. So really I would say my character David Gore hasn’t really found his home place, and he wants to discover it with Margaret, the woman he’s in love with. That’s his dream, that’s his hope; that’s what he’s aspiring to do.


Yeah, that’s kind of what I got, too.


And it’s wonderful the way Brian Friel has written it: the ambiguity and the contradictions, people trying to figure out where their home place is and what that means to them. So it’s a great question, because I think there’s no definite answer to that question, necessarily.

You yourself are an Irish-born artist who moved to New York. Are there any themes in The Home Place that resonate with you personally?


Well, sure. I moved to America ten years ago, to New York City. And absolutely, I guess, well with David, just to make it about my character: this kind of desire that David has to get away – I had that. I mean, don’t get me wrong, I love Ireland. I grew up in Cork City in the south of Ireland, and it’s a great city, great country. But I always did dream about moving away as a young artist from Ireland. It’s the nature of the country. There are some amazing artists living and working there, but it’s a smaller country, obviously, and I dreamed about coming to New York and tracing my dreams over here, which I’m doing right now, I guess. It wasn’t an easy decision for me to leave Ireland. It’s one thing to want something, but to make it happen, and when you weigh it all up, leaving family and friends behind and whatever, it’s not an easy decision to make. So yeah, I do totally relate to that aspect of things, for sure.


You’ve done a few solo plays, too. Would you say it’s harder to pull off a solo show than it is to pull off a show like The Home Place, with a full cast? Or the other way around?


That's a great question, and I would say that they're both equally challenging. People would assume that a one-man show is more difficult and in some ways it is. But the great thing about a one-man show: you don’t have any responsibility to anybody else. You can be onstage and you can mess up, whatever, you deal with the mess yourself. But when you’re in an ensemble piece like this, The Home Place is written so specifically that if you mess up a line or a moment, it can throw other actors off. So it requires a really high level of concentration to devote yourself to the ensemble and tell a story. So there’s different challenges in the one-man show and in the ensemble piece. Yes, when you’re doing a one-man show for an hour, or an hour and a half or whatever, it’s very intense, you’ve got no one to help you out; you’ve got to do it all yourself. But that can be a lot of fun. Physically it can be a bit more challenging, I guess, doing a one-man show. But mentally, I think doing The Home Place is more challenging because it’s so specific and it’s written in a way that’s almost Chekhovian. And there’s so much subtext going on that that can be very mentally demanding: the fact that you have to relay a lot of information to the audience in a kind of a subtle, nuanced manner. That’s not easy.

I have a very physical theatre background. I trained with , who’s a very famous French clown acting teacher. But it’s a very specific kind of thing that’s more related to creating your own work. So it’s wonderful to be able to bring those kind of techniques into a beautiful script like Brian Friel’s script: more kind of clown-like techniques – that I can sometimes use in the things that I’m in in The Home Place, especially in the first scene that I’m in with Margaret where I’m madly in love with her. I think that that’s a very comedic scene, and I can really get in touch with my clown training for those kinds of things.


I did want to ask a little bit about clowning, because you teach theatrical clowning classes, right?

I do, yes, that’s correct.

I think a lot of people probably don’t know exactly what that is. Could you talk a little bit about what you teach and how you go about it?


It’s really funny, whenever people ask me about this I find it hard to explain. But what I will say, just to make a strong distinction between one thing that can confuse people: theatrical clown is not circus clown. It’s not about training for the circus, and I actually do very little work with costumes and red noses. My training is more about helping the performer to tell the story physically, and verbally in a very specific way, but really making them aware that every gesture they make physically can tell a story and just making them really aware of their bodies and how important it is. Because sometimes when we act, we forget that every part of our body needs to be engaged to relay the story to the audience. It’s not just about standing on a stage and talking. Acting is a very physical thing. The theatrical clown work is very vulnerable work, it’s about innocence and really stripping you down to just getting you in touch with that inner child again and being very playful. And so I play a lot of fun, childlike exercises to get people in touch with that inner child again. And a lot of my techniques are a variation of the work I did with Philippe Gaulier in Paris. It’s not easy to describe and you really kind of have to be in a class to experience it. But really, it is just about getting you in touch with your inner child in a playful way. And it’s making you realize that anybody can be a clown, you know. You don’t need a red nose and funny makeup to be a clown. It’s in us all. That’s my philosophy.


Do you have any plans after The Home Place?


Well, speaking of clowns, I’m very excited about next March, I will be working with – I don’t know if I’m allowed to say this yet actually, but I’ll say it – a wonderful theatre company in New York City called Theatre for a New Audience will be doing a production of The Winter’s Tale.


Oooh.


Shakespeare’s beautiful play, of course. Which will run from next March through next April. It will be directed by Arin Arbus who just recently won the Obie Award for Best Director. And I will be playing the clown in that production! So I’m excited about that.


What have you enjoyed most about this production of The Home Place?


You know, I’d have to say I’ve enjoyed it from the first day of rehearsal, because Charlotte Moore, the director, I’ve worked with her before on Juno and the Paycock about three or four years ago. And she just gets better and better with age, to be honest with you. And I think she did an amazing job in casting this play because everyone in the cast just is really right for the role and it’s a wonderful ensemble of actors. This play has never been done in New York City, so we all became quickly very passionate about it, and we really wanted to do a good job with it. And on a personal note, playing an English guy, doing an English accent in the play has been fun for me. And to play such a romantic character has been great, because I can be quite romantic in real life, too. I relate to a lot of David’s character traits. When I fall in love with someone I’m not very grounded about it, and I think David’s the same: he’s kind of head over heels in love with Margaret, and he’s kind of unrealistic in a lot of his dreams but he commits to them fully and he really believes in them. He’s such a lovable, charming young man. But his feet really aren’t on the ground and ultimately, not to give a spoiler to your readers, but ultimately that kind of hurts him. He’s just so carried away with something that Margaret says in the first act when it appears that she’s agreeing to his love, where she’s saying that she shares the same feelings, and in Act II things don’t go as he hoped and dreamed. And maybe if he’d approached things in a more grounded manner that might not have happened. But he just got carried away, and I totally relate to that as a human being. I think that’s a very Irish thing, even though I’m playing an English character, I think it’s a very Irish thing to do: very romantic and too romantic perhaps, if that’s possible. So I really enjoyed tapping into that side of myself.


PRESS FOR The Ballad of Charlie and Cate, June 2015

“The Lifetime Journey of Two Sisters.” by Sarah Whalen LiteraryMarge


June 19, 2015


The Ballad of Charlie and Cate by Ed Malone, an Irish playwright who now lives in New York, was performed at the Granary Theatre from the 12th to the 14th of June as part of the Cork Midsummer Festival 2015. Cork seems to have a very bad reputation in terms of youth, since it is the second play I see in which young Corkonians are troubled souls who find refuge in drugs and sex, although these unlucky choices are more than likely to bring about terrible consequences.


In Charlie and Cate for example, we encounter birth, death, alcoholism, prostitution, destitution. Marnie McCleane-Fay and Roisín O’Neill, the two actresses chosen to play more than 10 characters each, were astoundingly convincing in their depiction of the two sisters, Charlie and Cate Maloney, despite their young age. Each of their characters was refined and interpreted with such transparence that we were unmistakably able to distinguish any of them every time they appeared in the play. The soundtrack and visual effects enriched the piece and brought support to the two comedians on stage. Every laugh is followed by a pang in the stomach. The jokes turn into dark humour and eventually into tragedy. The audience is carried around to witness fear, pain, jealousy, luck, success, pity. The emotions overwhelmingly fill up the black box packed with eager spectators. Forty years of Irish history is narrated in a one-hour show by colourful characters performed by talented women. This dark comedy gives us a hint of how the Celtic Tiger was perceived by a Cork family and how it impacted on Ireland’s inhabitants in general. A poignant and telling piece of theatre skilfully directed by Tony McCleane-Fay, and run in front of the playwright himself, who, at the end of the show, congratulated the two comedians for their astonishing performance.

PRESS FOR The Three Irish Widows Versus the Rest of the World, June 2014
http://www.eljnyc.com/offbway.html

“THE THREE IRISH WIDOW VERSUS THE REST OF THE WORLD” Karen D’Onofrio eljnyc.com June 19, 2014

“THE THREE IRISH WIDOW VERSUS THE REST OF THE WORLD”

Oh, bad boy. ED MALONE has written a play about his ma, her sister, and her sister-in-law. He says the play will never be performed anywhere near County Cork, Ireland, where mother lives. One must assume she would be displeased or embarrassed or both, and take after him with that classic weapon of women, the wooden spoon. Or perhaps the broom. Because these three widows mourn their “losses” by declaring riotous independence. Make the sign of the cross, then start laughing.

The play begins in1984 Ireland, where postureless pre-yoga women are housebound housewives, bending over the stove and the laundry. They had radios and perhaps TV. And husbands. One a polite British man, one a big drinker, and one who is, simply, the boss, and makes sure his wife doesn’t forget it. Life in the good old days.

The drunkard goes first, car versus tree. The tree won. His widow, Margaret, expresses her grief by going on a spending spree. Time passes and eventually “the boss” develops cancer and goes to that great pub in the sky. The polite gentleman, the playwright’s father Phillip, is last to leave this world, in 2007. The ladies don’t waste a moment before they start living their new lives of freedom to the fullest.

Off to the hair salon, then to the travel agency. First stop, Spain. Amor! These women are taking it all the way, baby. They are not little old ladies on a coach tour. They are hitting the clubs, flirting and way, way beyond. Then to New York, somewhere called Queens, where Nulla’s son Ed is working on Broadway…handing out leaflets. Widowed Brenda hits on a New York taxi driver, which turns out to be a bad idea. But these women don’t know the meaning of defeat. Next stop, India. Because Oprah liked it there.

FERGAL TITLEY plays 34 characters in this one-hour riot. By the end his shirt is soaked in sweat but his energy never lags. The venue, upstairs at Ryan’s Daughter, is a pleasant open space with slim windows, sunlight, a full bar, and upholstered couches and wing-chairs. The play is a dynamic whirlwind trip seen through the Irish eyes of the writer and performed by a classic Irish storyteller in the best tradition. A great way to forget your troubles. The non-stop narration doesn’t leave one second for your mind to wander. It’s irresistible total-immersion fun that takes you up, up, and away and keeps you there long after you leave the theater.

The Westchester Guardian:

Mention should be made of Ed Malone’s “The Three Irish Widows versus the Rest of the World,” an hour-long comic monologue, uproariously enacted by Fergal Titley in various locations, presently on the second floor of an Irish pub, Ryan’s Daughter (350 East 85th Street). It is a bit sophomoric, and doesn’t deliver much of a conflict between widows and world, but it is consistently good-natured, spunky and droll.

– John Simon, theater critic

http://lively-arts.com/

“The Three Irish Widows Versus the Rest of the World” by Richmond Shepard Performing Arts INSIDER, lively-arts.com June 2014

THE THREE IRISH WIDOWS vs THE REST OF THE WORLD, written and nimbly directed by Ed Malone, starring the agile, versatile Fergal Titley who plays the three women and others in an Irish town, snapping from character to character physically, vocally, emotionally, in a bravura performance. The Irish are good story-tellers, and Titley is a fine one — fully animated as the three dutiful women, liberated by death, find fulfillment in shopping, sex, and trips to foreign climes. The play, loaded with sexual fol-de-rol, is full of color (and “off color”), and is lots of fun as Titley bounces all over the stage like a slinky. It plays Thursdays at 8: PM and Sundays at 3: thru July 24th at Ryan’s Daughter pub- 350 E. 85th.

PRESS FOR The Self-Obsessed Tragedy of Ed Malone
http://www.irishtimes.com/culture/reviews-1.1024755

"Cork Midsummer Festival: The Self-Obsessed Tragedy of Ed Malone.” by Mary Leland The Irish Times July 1, 2006

Marfan’s Syndrome may be a disease of the connective tissue but there is no failure, genetic or otherwise, in the connections between Edward Malone and his audience for The Self-Obsessed Tragedy of Ed Malone – written and performed by Ed Malone.

This 50-minute exercise (literally: there is a lot of stamping around) consists of what has to be called a diatribe rather than a monologue and reveals, in often raw but always energetic phrases, the real life and the dream life of its eponymous hero.

“Hero” in these circumstances is stretching it a little, as, limbs lax as a string puppet, Malone reminds us that acting is the revenge of the shy or isolated man. Patterned by repeated triplets of enraged questions offered in that brutal, almost tribal Cork interrogative “Haa? Whaaa?” and expressed in a voice of alcohol-smoked timbre, the script has a disciplined flow and a power which is more than personal. Although there is a mention of Marfan’s Syndrome – distinguished by a combination of unusual skeletal length, scoliosis and internal symptoms – the condition may blight the performer but does not affect the play. Instead, performed against a backdrop of perilously draped black curtaining in a corner of the little Unitarian Church, the piece, directed by Brian Desmond, is not so much Malone Dies as Malone Comes Out, or wants to.

Otherwise there is no special pleading here, the case is made on behalf of a man, not a victim, and is made with convincing theatrical energy. Whatever the reasons for it, this is a unique voice with a healthy narrative talent. Incidentally, it was obvious here as throughout the Midsummer Festival that one of the great and perhaps lasting benefits of this entire event is its popularity with young audiences, relishing the chance to see quality events in unusual venues.

http://www.gaytheatre.ie/archive/html/2005

“The Self-Obsessed Tragedy Of Ed Malone” by Gordon Farrell Scene City June 2005

Be Your Own Banana productions brought a vibrant and energetic “Cork perspective” to the Dublin Festival with this autobiographical one man show from Ed Malone. You had no choice but to sit up and listen to the often rhythmic, well constructed, tale of growing up “different” in Cork in the 80s and 90s. Malone used his considerable street entertaining skills to hold the attention of his audience – but this was real theatre. The coordination of lighting and stage movement was superb (John Mc Carthy- Technical Director). Brian Desmond’s direction was inventive, mobile and created constant opportunities for visual interest and stimulation. We had one character on an empty black stage and at all times lighting that defies the fringe feel of this festival, created and captured many theatrical moments magnificently. The cueing was superb. Malone presented a set of characters from a child’s perspective – the teacher, the parents, his friends and colleagues. He used the “Fred Elliot” technique of repetition for emphasis and emitted an incredible internal volcano of energy, passion and anger. The stripping away of his own character and life experiences was brave and disturbing. We met a wounded Malone, still giving his best, but burdened by low self esteem which he derided (but we didn’t), while maintaining the ambition that goes with youth. His stage movement was agile and artistic. His eyes were used for great comic effect only to mask the dramatic impact of what is really a very dark piece. Malone, for all his rebellion, is still fighting for the storybook interpretation of life and love, that is cruelly created for children, who are never told that it won’t and can’t come true. Malone with his writing and acting talents should turn onto the next page of life and write his own future, leaving the scars of the past behind him.

Ed Malone on stage

Ed Malone

Testimonials

  • Steve Girard, Comedian

    “What Ed is looking for is easy to understand yet daunting to leap at. Ed’s brash energy keeps you afloat and in tune during these wild experiments. When moments finally do “click” the reward is personal elation mixed with new power. I think this class is for anyone who needs more confidence, awareness, moment-to-moment ease, or access to joy”.


  • Amy Miller, Actor and Stand-up comedian

    “Ed’s Clown Class is exactly what I need. I hold back and am too reserved. It’s helping me to open up…Three hours fly by as students are able to let down their guard and explore new levels… Ed helps you give yourself your money’s worth, it’s a tremendous value…I have so much fun as Ed hones in on the areas that are holding me back in acting. I leave the class feeling more alive than when I came.”


  • Daniel Ruben, Comedian

    “Ed is maybe the greatest teacher I’ve had. He’s extremely open, rigorous, challenging, totally honest, and willing to talk about anything. Every class I leave having been completely challenged both as a performer and as a human being. I recommend his class to anyone who either thinks about how they act as a human in the world or who has any interest in any artistic medium. It’s deep shit. There’s deep philosophical, psychological, and social analysis happening the whole time in the class. No bullshit, no complacency. The class should be called 'deep secrets'."


  • Regine Urbach, Yoga Instructor, Actor

    “Ed is an extraordinarily talented actor and comedian. His three Regine_150x150hour clown class is filled with creativity and magic. Be ready to transform. You will go to places you have never been. It’s not for the faint of heart. Ed’s work in those three hours is a tour de force of teaching. It’s amazing to witness, and even more amazing to be a part of.”


  • Nadine Freniere, Yoga Instructor, Artist

    “ED MALONE is a brilliant actor and teacher. He’ll teach you things even the best actors don’t know. If you have NEVER acted or told a joke in your life, PERFECT! Ed will show you the ropes. Not only is this class series a huge benefit on a practical level in learning technique and method, it is a therapeutic EXPERIENCE. If you want to learn how to present to company CEOs, convince a vegan to eat a steak, sell an earwax gun or just plain get more comfortable in social settings, this class is for you. If you are a phenomenal actor and have been through ten different coaches and still haven’t found the one that gives you the insight you need, look no further”! Take a class with Ed Malone."


  • Morgan Elizabeth, Actor, Writer, filmmaker

    “Ed Malone is a fantastic teacher. His class pushes mMe as a perand is also incredibly entertaining. Ed’s class observations and teaching persona within themselves are immensely valuable. Every type of artist should take his class.”


  • Matt Higgins, Actor

    “What a gift to take class with Ed! He has infused my acting with a fantastic new energy and point of view. Lately, on stage and in conversation, I feel a stillness and a heightened sense of focus that I have not felt before. Ed is a master."


Ed Malone

Ed Malone

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