John Simpson, once a crime reporter, has traded journalism for clowning. He spoke about his career change with Morning Edition. His transition from covering crime in Britain to theater clowning marks a significant shift. Unlike circus clowns, Simpson’s acts focus on improvisation without traditional clown attire. One performance features him as a spiritual guru lacking a spotlight and ceremonial gong, forcing audience improvisation. The guru eventually loses his temper and shouts positive affirmations, showcasing a unique approach to clowning.
Simpson spent 15 years reporting on crime, starting as a correspondent for The Times of London and later as home affairs editor at The Observer. He covered organized crime, murder investigations, and more recently, pro-Palestinian protests and activists’ accounts from a Gaza-bound flotilla. Reflecting on this, Simpson describes his career in blunt terms. Now, he focuses on performing and teaching clowning, embracing its humorous and unorthodox nature.
NPR reported that people’s interest in clowning might stem from a search for authenticity and humanity amid challenging societal changes. Simpson echoes this sentiment, attributing the popularity of clowning to a desire for meaningful connection during unsettling times.
“A stand-up comedian makes jokes,” Simpson articulated during an NPR interview. “A clown and the jokes are one and the same.”
The term ‘clown school’ often refers to workshops and classes, explained Tim Reid, a doctoral student researching clown traditions. He notes the tradition is gaining attention in the US and Canada as well as England and France, with classes proliferating in major cities such as New York, Los Angeles, and Toronto. Reid pointed out that while serious physical-theater programs have contracted, their style is influencing acting programs and independent classes.
While clown workshops occupy a similar space to the previous improv boom, Reid expressed skepticism about the broader cultural drive towards clowning, attributing interest possibly to a sense of danger or threat rather than a connection to deeper human experiences.
Simpson’s shift from journalism arose from disillusionment with the industry’s recurring cycles of outrage and dysfunction. Concern over contributing to the negative daily news diet led him to reevaluate his career. Personal struggles, including alcoholism, also influenced his decision. He found recovery through clowning, which required embracing vulnerability and honesty in performance.
Contemporary clown training emphasizes the ‘flop’, where failure becomes a pivotal, honest moment. This lesson proved practical for Simpson, revealing performers’ transparencies on stage. Describing the audience’s role akin to an X-ray machine, Simpson emphasized the genuine interaction in clowning.
Simpson values real-world interactions in clowning, distancing himself from technology’s influence. He contrasts clown workshops with digital platforms, highlighting clowning’s ability to adapt based on audience reactions, drawing comparisons to algorithm-driven platforms like TikTok.
Through workshops and writings, Simpson seeks to inspire others in a field where clowns often outnumber paid opportunities. Teaching to commit to ideas rather than cautiously interrogating them represents a departure from journalism, inviting spontaneity over critical analysis.
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