Wilbo's Little Satori, Detroit's Satori Circus

Midafternoon, I dropped by Caribou Coffee on the southeastern corner of Main and Fourth street in Royal Oak, Michigan, and I was awaiting service at counter. A man speaking in polite but not unctious tones was requesting permission to post postcards on the public corkboard, and to leave a stack of cards promoting his event at Oakland University's Studio Theatre. Certainly, the barrista consented; almost anything is posted on these boards and rare is the artist or promoter who makes a point of asking.

He sounded a little new to the game; it's usually not necessary to ask in an impressive fashion. I've handed out cards to tatoo shops, lingerie shops, pubs and similar places, and its often enough to just smile and hold up the cards. One of the clerks will then say, "Go for it." Everyone knows what you are doing. I'm sure there's a million cards on tables in the record stores of Ferndale; a billion cards on the tables in the cramped quarters of Noir Leather. I held my hand open behind me and requested a card. I brought it to my view, and I was stunned by my response, "Oh my god, is that you?" It was the man who covers his shaved head and face with white clown paint and becomes the main and only character of Satori Circus. He was a little stunned by my reaction. I'm a touch hard-of-hearing and perhaps my exclamation was too loud. He was stunned, and the barista had to confirm that I had identified correctly.

He wanted to know more about my participation in his audience. He verified that I had attended his past Moses show, a show that has been put to rest, at 1515 Broadway, a black box theatre across the street from the Detroit Opera House. I was able to express my appreciation that he performed his show for an audience of less than five people. Most shows cancel for the night and issue rainchecks when the turnout is low. His commitment to perform to small audiences is a sign of his absolute dedication to his craft, his creation and his motivation, to honor his father's character and memory. I am certain his efforts as his own street team will pay off with good attendance at his Varner Studio Theatre show. He'll find a pocket of people who are willing to be puzzled as they are moved by his idiosyncratic and authentically artistic song and dance routines, and that pocket of people will move more men and women to take a chance on his show.

The show has kept 1515 Broadway going during the cold months; in the lean months, ten tickets sold at door for twenty-dollars can go a long way. Chris Jaszczak has kept the space open as an alternative performance space for 20 years, since 1987, and it is good to see Chris has a reliable winner of a show to slot in between rentals for meetings and "so off Broadway the opening is in Detroit" plays and musicals.