We sat down with Släpstick’s Jon Bittman. The group have a unique brand of mischief where physical theatre, world-class musicians and raucous humour collide in an uproarious musical production! Following their smash-hit run at Edinburgh Festival Fringe in 2023, these beloved musical clowns will dazzle East London audiences this autumn with their abundance of talent and fun as they defy and challenge all conventions around classical music.
Jon, can you share what excites you the most about Släpstick bringing their show “Schërzo” to London for the first time, especially after its successful debut at Edinburgh Fringe 2023?
In general we love playing to UK audiences because the slapstick tradition has such deep roots there. London is no different, even if it feels a bit like the Fringe on steroids- so many shows, so many outstanding musicians, so much music hall history. We’re excited to see if we can stick out of the crowd, much like we managed to do in Edinburgh in 2023 and 2017.
Släpstick is known for blending classical music with raucous humour and physical theatre. How do you think this combination appeals to international audiences, especially in a culturally diverse city like London?
Luckily for us, classical music is a proven entity, in that people have been enjoying it all over the world for hundreds of years, and still do. Just try and get a ticket for the Concertgebouw Orchestra on a weekend night! It can, however, be perceived as pompous and stuffy, so we’ve taken it upon ourselves to inject a certain degree of silliness that we think will help widen the appeal even further. Everyone loves Bach. Everyone loves grown men with moustaches whacking each other with violins. It just works!
The show promises unique and playful elements like a ventriloquy battle between Schubert and Beethoven and the popular “21 masterpieces in 1 minute” act. Which of these performances do you think audiences will be most intrigued by?
There’s so much variety in this show, that I’m sure there’s something to tickle every shape of funny bone. If you’re into ballet, you’ll love the speed-skating primo-ballerino. If tubas are your thing, then you’ll appreciate our classical reworking of Chaplins ‘Smile’. If yodelling is your passion, then you’ll be in heaven when Schubert and Beethoven get into it. It’s hard to pick, but I do think there’s something of intrigue for every audience member.
Classical music is at the heart of “Schërzo,” but it’s presented in a comedic, whimsical way. How do you think Släpstick’s approach reinvents or challenges traditional perceptions of classical music?
We’re not really out to challenge or reinvent anything. We’re just five very silly, classically trained musicians who were never quite able to conform to conservatoire norms. We love classical music and we love slapstick humour. The approach to both is the same, namely an ungodly amount of practice and an extreme amount of attention to detail. The resulting show is almost inevitable!
Släpstick’s show features influences from comedic legends like Chaplin and Laurel & Hardy, mixed with classical giants like Tchaikovsky and Brahms. How do you think this eclectic mix of influences adds to the overall experience for the audience?
I think it adds a touch of melancholy and nostalgia that an audience needs in a comedy show like this. Chaplin and Keaton and the Marx Brothers always knew how to throw in dash of sentiment- to keep the public on their toes and make the humorous moments pop. A great composer works in the exact same way, and we think all these seamless parallels really transfer to the audience.