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Remembering TIME REMEMBERED: Interviews with the IRC cast

2/24/2018

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Idiopathic Ridiculopathy Consortium absurd production of Jean Anouith’s TIME REMEMBERED runs at Walnut Street Theatre Independence Studio on 5 through March 5 (read the Phindie review). Henrik Eger talked to the cast about the production.
​
[Walnut Street Theatre Studio 5, 825 Walnut Street] February 6-March 4, 2018; idiopathicridiculopathyconsortium.org
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Ashton Carter as Prince Albert, Paul McElwee as Bee 1 and 2, and Katherine Perry as Amanda the Milliner.
Photo by Johanna Austin.

​Given the Alice in Wonderland nature of this play, certainly in this production, could you provide an example of a surreal experience from your own life?

Bob Schmidt: Because it was previously scheduled, unfortunately, we were in the theater doing tech and dress rehearsal for the show during the Super Bowl. We finished late in the 4th quarter, and while driving home, just as the game finished, a very large shirtless man ran across the street screaming at the top of his lungs, and as I continued home, amongst the random cries of jubilation, I was bombarded by fireworks—literally right on top of my car—on I-95. As I drove through Fishtown, I had to negotiate through crowds of people, spent fireworks boxes ,and empty beer cases to get home. Very surreal, wonderful, and delightful.

Tina Brock: I actually had a panic attack on stage at the second preview for this show. The whole affair started off innocently enough – a technical problem that necessitated my running to the tech booth, alerting them to the situation. From there, since I already wasn’t breathing right, what started as normal preshow anxiety developed into a full blown attack with a rapid heartbeat, lightheadedness, weak knees, and racing thoughts.

From within, looking out on the world, the feeling resembled Tim Burton’s Alice in Wonderland: a distortion of sound, light, and color. As the play got going, I was able to breathe again and regain my center—but it was a rough first five minutes.

Corinna Burns: My life currently is a surreal semi-nightmare of too many jobs, not enough sleep, and probably more alcohol than is good for my liver, much like my mash-up of characters in Time Remembered.
​

Katherine Perry: I think anyone who steps into a new environment can relate to the rabbit-hole moments that Amanda experiences in the show. She encounters a world that seemingly makes no sense and is asked to perform a role she can’t see herself in.
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Ashton Carter, Paul McElwee, Katherine Perry, Thomas-Robert Irvin, on saxophone, and Corinna Burns as The Singer.
Photo by Joanna Austin.

​Which lines from your part/s do you feel best illustrate the essence of your character/s?

Ashton Carter: “You cannot dispute that people are prejudiced against a man like me….It may surprise you when I tell you that it is just as difficult for a man in my position to convince people that he is not a fool, as it would be for the scion of a long line of village idiots.”  This is when you get a good glimpse at Albert with his guard down. The audience finds out that despite the persona he has displayed, he is insecure and has trained himself to not care about what others think of him.

Bob Schmidt: At the end of the play, Hector finally speaks up—probably for the first time in his life—and assuredly says, “Do you know something? I’m, I’m not sorry we’ve killed her.” It’s a bold statement, and signals that what’s happened in the play has far reaching impact for all of the characters.

Tina Brock: “Alas, I am no dancer; when I was a girl I was as light as a thistle down on my feet. Thirty years of waltzing with the poor duke proved too much for my delicate talent. A pity, but there it is.”  

The Duchess, in the final act of her life, and somewhat world-weary after living so many years, is searching for zest and meaning. Willing to play a “ridiculously unsuitable role,” she creates the circumstances where her nephew can “be stung into feeling by something alive” again. Her money and power cannot ease her life’s biggest dilemma—not having a child of her own to love—so she does everything she can to see her nephew happy again.

Corinna Burns: My favorite moment, which kind of sums up the experience of the supporting characters, who all work to maintain an illusion for Prince Albert, is when I finish singing at the Blue Danube, emotional and broken-hearted, and then see the Prince is asleep. The shift is over for the night. The mask falls away and I hustle myself off stage.
​

Katherine Perry: Amanda has gusto and is incredibly funny, but she doesn’t quite know it.
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Bob Schmidt as Lord Hector, Tina Brock as The Duchess in TIME REMEMBERED.
Photo by Johanna Austin.

​What skills as an actor did you bring to this show?

Ashton Carter: I take great joy in absurd physicality. There are a few times throughout the show where I get to physically embody annoying townspeople and acquaintances. Also, I get to tumble across the floor twice! I love performing a good floor tumble.

Katherine Perry: I grew up in musical theatre and took many a dance class as a teen, which came in handy when we began to build the top of Act 2.

Bob Schmidt: One of my strengths (I think), is my ability to be in the moment, so it was delightful to be a supporting character, and to not have to worry about lines and just be present and support the play and other actors.

Tina Brock: It helps to be a little zany to begin with in tackling The Duchess. The road traveled to reach her is then not quite as far. So much of that quality I think is inherent to who you are as a person, the way you see the world.

Corinna Burns: I always try to bring the skill of having fun in rehearsal! After all, it’s not called a play for nothing!

Describe your work with director Jack Tamburri.

Bob Schmidt: It’s silly, but I happened to be snacking on a pretzel rod as I entered for one of the scenes. Jack said it was a great choice, and that it said volumes about Lord Hector, so we kept it in the performance and added an additional entrance with him eating as well. Hector is basically in charge of everything nobility-wise, so he pretty much has the power to do whatever he wants, but he chooses to acquiesce to The Duchess.

Ashton Carter: In one particular rehearsal, Jack worked with Katherine (Amanda) and me on developing our “lucid bodies.” In the exercise, we explored the “shadows and personas” of our characters. I found it to be a brilliant way of discovering how our characters really felt and how they chose to mask those feelings and present safer emotions. As a result, I was constantly aware of Albert’s shadow and persona during each performance.

Corinna Burns: Jack is super smart—who else uses the word “louche” in rehearsal?—and very good at hearing and incorporating your ideas, while remaining true to his own vision, which I always appreciate in a director. He also works to figure out an actor’s particular vocabulary or way of working and to use that language to help the actor find their way.

Tina Brock: Rehearsing The Duchess’s monologue about her nephew’s loss, Jack and I worked on the balance between moving the narrative forward and modulating her depth of feeling and how much that feeling should manifest in the playing. In the first run of it, I didn’t sculpt the moments of feeling specifically. On the second pass, we refined the process. It reminded me of a sculpting class I once took—first cuts in the block of clay are wide paths with a duller tool, the next pass is more refined using a sharper edge.
​

Katherine Perry: This is the second time I’ve worked as an actor with Jack at the helm. I appreciate his willingness to play and discover in the rehearsal room.
Picture
Paul McElsee as The Ice Cream Man, Katherine Perry as Amanda, Thomas-Robert Irvin
as The Taxi Driver in TIME REMEMBERED.
Photo by Johanna Austin.

Is there anything else which you would like to share?

Bob Schmidt: After the first reading, I thought the play was fun, but didn’t think there was a whole lot of depth to it. It was really interesting to uncover how complicated, interwoven, and timeless it was during rehearsal.

Tina Brock: I love the beauty of Anouilh’s message through the Duchess’ actions: how wonderful it is to love someone as much as The Duchess loves her nephew, and her pain of not being able to take away his loss, and the lengths she will go to save him. There is a joy in being that devoted to a person and a cause.

Katherine Perry: Come see it!
​

Time Remembered (Leocadia) By Jean Anouilh, adapted by Patricia Moyes, and directed by Jack Tamburri for the Idiopathic Ridiculopathy Consortium (IRC). Studio 5, Walnut Street Theatre, 825 Walnut Street, Philadelphia, (215) 285-0472 or www.idiopathicridiculopathyconsortium.org through March 4, 2018.
This interview was originally published by Phindie on February 24, 2018.
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Why Wait? Director Ken Marini talks about Quintessence Theatre’s brilliant WAITING FOR GODOT

2/22/2018

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Quintessence Theatre’s production of WAITING FOR GODOT just closed after an acclaimed three-week run (read the Phindie review). Henrik Eger spoke to the director, Ken Marini, about his background and his experiences directing Samuel Beckett’s classic.
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[The Sedgwick Theater, 7137 Germantown Avenue] January 31-February 18, 2018; quintessencetheatre.org.
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Frank X and Johnnie Hobbs, Jr., in WAITING FOR GODOT from Quintessence. Photo by Shawn May.
Henrik Eger: What were your first experiences with the theater world during your formative years?

Ken Marini: My dad was a music teacher so there was a lot of music in the house, especially jazz. I attended Bowling Green High School in Ohio. In 1966, I took a speech and drama class during my senior year and enjoyed it so much that I was invited to perform in the senior play. I played the grandfather. A pretty young lady played my granddaughter. I liked her so much that during one rehearsal I gave her a big romantic kiss.

The director told me not to do it again, but I paid no attention to her. During rehearsals, I kissed the girl two more times. She did not complain and everybody laughed—but the director threw me out and that ended my theater career in high school.
​

When I graduated, I wanted to play golf at North Texas State University, but I needed a major. I chose Speech and Drama because I had good experiences with the drama department at my high school—in spite of having been kicked out.

Henrik: So you got bitten by the theater bug?

Ken: Definitely. After graduation, I studied toward an MA in Theatre at Bowling Green State University, but dropped out because I thought their program was boring. And so I moved to Philly, where a friend introduced me to the Hedgerow Theatre. That was in the early 1970s.

The legendary Deeter had just passed away in 1972. [Hedgerow was founded in 1923 by Jasper Deeter who directed, performed, and taught at the Hedgerow Theater for over 50 years.] I spent three years at Hedgerow doing carpentry, stage props, and, really, like everybody else: everything and anything. From this experience, I developed not only practical skills, especially carpentry, but also a strong sense of community and listening to each other.

Henrik: Deeter’s work and spirit at the Hedgerow apparently lived on in you and three of your colleagues.

Ken: True. We all met at the Hedgerow—Danny Fruchter, May Fruchter, and Dick Keller—when we founded the People’s Light and Theatre Company in Malvern in 1974.

Henrik: Wow. Apparently you fine-tuned another skill you had developed in the theater world.

Ken: I love woodwork and cabinet making. At People’s Light we built everything from scratch and that is where I developed this craft. I went to New York for three or four years making cabinets and working for the Joffrey Ballet. Back in Philly in the early 2000s, I became a cabinet maker, and occasionally directed at People’s Light and some other theaters, including Hedgerow, Arcadia University, and others.

Henrik: How did you meet Alexander Burns, the founding artistic director of the Quintessence Theatre, who hired you to direct WAITING FOR GODOT at his theater?

Ken: I’ve known Alex since he was five years old. His mother [Jane Casanave] designed costumes at People’s Light. The Burns family and I have been friends for at least a quarter of a century.

Henrik: What was Alex like as a youngster?

Ken: Alex was like any other kid, very smart. But he was also different. He loved language and came to the theater all the time, even during rehearsals. He was tenacious about learning. No wonder he is where he is now.
Henrik: When Alex invited you to direct WAITING FOR GODOT, what did you bring to this production?

Ken: Fifty years of theater experience. It’s all about relationships—about putting diverse groups of people together and having them interact with each other. I don’t know about Alex’s style of directing, which I was told is quite different from mine. Alex pretty much gave me free reign. We lucked out in having some of our best actors on stage together.

Henrik: How did you prepare for this often produced yet challenging drama?

Ken: I read the play a bunch of times and read articles about it. I also figured out the set. However, unlike Alex, I don’t do a whole lot of intellectual work. My feeling is: it’s all in the text and that’s what I work with and make it come alive.

Henrik: During his lifetime—and after his death via the Samuel Beckett Estate, run by his nephew Edward Beckett—the world-famous playwright felt so strongly about the integrity of his work that he frequently took directors and theaters around the globe to court for even the smallest of modifications of his plays. You made some important changes, including giving the leads to two of our finest African American actors in Philadelphia.

Ken: I always look for the best actors. Frank X as Estragon (“Gogo”) and Johnnie Hobbs, Jr. as Vladimir (“Didi”) were perfect. I’ve known Johnnie and Frank since I’ve worked in the theater world. You can trust them completely and you can give them the room to explore what they need to explore.

Choosing two African American actors, another actor from the Latin world, and one white actor have nothing to do with what Beckett wrote. I have seen Greg Isaac perform before and liked his sense of theatricality which I thought was perfect for [his role of] Pozzo. For Lucky, I wanted someone who was really good with language and that was J. Hernandez. They are both highly skilled actors with a powerful physical training behind them. Working with them was quite remarkable.

I wanted to give my production a living, contemporary cultural feel: the white guy as the master with his Hispanic slave and two black tramps who have much to offer, in spite of their poverty. I like to let things just sit there and let audience members think for themselves.
​

Henrik: You also changed some lines of the text from French to English and you relocated some of the action from Mâcon in France to California. Tell us why. Apparently you were not concerned about getting into trouble with the often litigious Beckett Estate.
Picture
Frank X and Gregory Isaacs in WAITING FOR GODOT from Quintessence. Photo by Shawn May.
Ken: Why California? Most people in the US don’t know what the characters are talking about when, occasionally, the actors switch into French. One of them brought it up and asked me whether I could change the text.

Apparently, Mike Nichols, the famous US director, replaced the French wine-producing Mâcon area in France with the Napa Valley, the great American wine Valley. He got permission from the Beckett Estate. And so, we, too, made a few changes in location and language to connect Beckett to our American audience.  

Henrik: What did you like the most working with the cast and the artistic team at the Quintessence Theatre?

Ken: It was fun, an easy process. Even the talented 12-year-old Lyam David-Kilker as “Boy” blended in nicely. Everything was organic and smooth. We had no conflicts. Working with our actors was a dream come true as they are highly talented and experienced.  

I saw the same professionalism and cooperation in the members of the artistic team: Jane Casanave (costume design), John Burkland (lighting design), and James Pyne (set design).  Together, we even handled the right amount of dirt on the stage without much fuss. Some theaters go crazy over it, but we wanted everything to flow harmoniously.

It was stimulating working with everyone at Quintessence. In fact, actors and the artistic team were over-generous with their input and it was a joy working with everyone—a truly great experience.

Henrik: What are your plans for the future?

Ken: I will continue designing and making beautiful furniture and remodel houses for more customers.

Henrik: When I searched for information about your life and your work, I discovered the Ken Marini website with photos of some of the most exquisite pieces of handmade furniture possible. Alas, your website does not provide any contact information.

Ken: Oops. I’ll fix that because I love to design and make special pieces of furniture.

Henrik: And your future as a director?

Ken: Right now, I have no plans as a director, even though I heard the reviews were pretty good. However, anyone who would like to hire me is welcome. I’m ready—waiting for Godot!

Henrik: Gogo, Ken. Go!

[The Sedgwick Theater, 7137 Germantown Avenue] January 31-February 18, 2018; quintessencetheatre.org.
This interview was originally published by Phindie on February 22, 2018. 
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Dinner for One: The greatest cult film you’ve never heard of

2/12/2018

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German cult film, Dinner for One.
Apéritif: A first encounter

Every two weeks, Stammtisch, the Meet-Up group for German speakers, gets together in various bars and restaurants all over the greater Philadelphia area. At their first meeting after New Year’s, the big topic was Lauri Wylie’s Dinner for One, the short TV adaptation of his quintessential British one-act comedy with a huge international cult following—except Britain and the US.

Despite growing up in Germany, my years of living abroad kept me away from the Dinner phenomenon. After that Stammtisch meeting, I decided to see for myself what could excite millions of people around the world—year after year.
 

Amuse bouche (“mouth amuser”):Setting the Table

Dinner for One takes us into the mansion of Miss Sophie, a wealthy spinster celebrating her 90th birthday with her four best friends—all of whom, unfortunately, left the party for good many decades earlier. Unperturbed, and hardly allowing this detail to slow down the festivities, it falls upon James, her aging manservant, to play the role of each guest as he serves a classy, four-course dinner, each with a corresponding drink.   

Emptying every guests’ glass on each round takes its toll on James, especially as he obliges Sir Toby and his demands for more alcohol throughout the evening. By indulging Sophie’s delusion, he increasingly gets sloshed.

Appetizer: A class-conscious British dinner

Despite her own constant drinking, Miss Sophie still insists that her butler continue to follow proper etiquette, even going so far as to demand that he salute Admiral von Schneider by clicking his heels and shouting “Skål!” [Swedish for “cheers”] whenever the Admiral receives another drink.   

As the evening progresses, Miss Sophie maintains her control and composure, in spite of all the drinks, while James loses command of his physical self and his use of language. He wants to do his best but fails miserably.
​

The constant emphasis on procedure and pomp, allows this British farce to go beyond costume drama as it shows James, a member of the working-class among the rich and powerful, forced to serve even invisible members of the aristocracy—leading to hilarious scenes, especially at the end when the lady of the house unexpectedly blurs their strict class divisions. 
​Entrée: The scoop on the playwright and the actors
Playwright

Born into a theater family and cutting his teeth on stage in the 1890s, Lauri Wylie (1880-1951) penned Dinner for One, also known as The 90th Birthday, during the 1920s. It opened in London’s West End in 1948, and made it to Broadway in 1953. Prior to his success with Dinner, he co-wrote revues and operettas, some with his brother. These include a parody of Gilbert and Sullivan, the reigning kings of popular operettas. He also co-wrote the libretto for Princess Charming, which was filmed and screened in the United States under the title Alexandra.

Actors: Freddie Frinton and May Warden

Freddie Frinton (1909-1968) was an English comedian who performed in music halls and, later, on television. Born Frederick Bittiner Coo, an illegitimate child, he was raised by foster parents. He began his comedy career in a fish processing plant. Apparently, he spent too much time there entertaining the workers with parodies and jokes. As a result, he was fired—his comedic baptism by fire. After some modest success in the theater world, he renamed himself Freddie Frinton.

Frinton served as a British troop adviser during World War II and refused to do the sketch in German. However, he agreed to perform it in Germany, not realizing that the televised program would make him an international star.

May Warden (1891-1978) was an English actress and comedian. She became Frinton’s partner in crime as the Dinner’sancient Miss Sophie—a role that, together with Frinton, made her well-known around the world. Apart from non-speaking roles in Stanley Kubrick’s A Clockwork Orange and the Doctor Who serial The Daleks’ Master Plan, she also played Billy’s vocal grandmother in the TV series Billy Liar.

British palette cleanser: A German discovery

Thanks to an off-chance visit to a performance of Dinner for One in 1962, starring Frinton and Warden in Blackpool, German entertainer Peter Frankenfeld and director Heinz Dunkhase immediately saw the potential of this play for their audience back home.

A year later, Norddeutscher Rundfunk (North German Radio and TV, or NDR) recorded the sketch in front of a live studio audience at Theater am Besenbinderhof in Frankfurt a.M. on July 8, 1963. They filmed the single-take black-and-white recording with Warden and Frinton in 18 minutes.

Although most films in Continental Europe are dubbed into the vernacular, this sketch is shown in the original English without dubbing or subtitles, because it contains just a few lines that are easy to understand, especially as the film leans on a lot of physical humor. As a result, Dinner for One has the distinction of being one of the few German television shows unsynchronized in English.

Dinner was shown on television occasionally, but attracted such a large following that it became a permanent feature, starting on New Year’s Eve 1972. From there, it entered the Guinness Book of World Records as “the most frequently repeated TV program ever.” NDR added a colorized version in 1999, and some countries will even replay it during Mardi Gras or Carnival.

In addition, the original Dinner has been rehashed in thousands of parodies, often using local dialects, including a Norwegian punk version. Even politicians were not spared, for example, in a satire featuring former French president Nicolas Sarkozy serving German Chancellor Angela Merkel. With a twinkle, she acknowledged that satire in her 2012 New Year’s address.
​

In 2016, Netflix treated its audience to an unusual Dinner, with a parody featuring characters and actors from American shows, including Better Call Saul, House of Cards, Narcos, and Orange is the New Black.
Picture
Freddie Frinton in Dinner for One.
Dessert: Surreal punchlines

The crucial exchange between the only living members of the party—the old dame and her ever so faithful servant—has become almost iconic, so much so that people all over Europe repeat it as a joke:  

James: The same procedure as last year, Miss Sophie?

Miss Sophie: The same procedure as every year, James!  
​

This dialogue reminds me of the many surreal plays of Philadelphia’s Idiopathic Ridiculopathy Consortium (IRC), based on this part of their mission statement: “We bring good nothingness to life.” I wonder if IRC’s director, Tina Brock, would be willing to perform Dinner for One as an annual New Year’s event— at a theater where we drink more champagne than is good for us.
Picture
May Warden & Freddie Frinton in Dinner for One.
​Digestif: Asking some tough questions

Although Dinner is broadcast regularly on New Year’s Eve all over Europe–including Germany, Austria, Switzerland, Scandinavia, the Netherlands, even Estonia, as well as Australia and South Africa–hardly anyone in Britain, the US, or Canada has seen this short film. The result has been an occasional comedy of errors when German tourists quote the punchlines to unsuspecting Brits, only to have the latter wonder what in the world these Continentals are talking about.
After watching the famous movie, one lingering question hit my brain: why didthis film never take off in England or the States the same way it had elsewhere? Although its absurdist humor and physical comedy seem tailor-made for the Monty Python set, Dinner for One has spent much of its life as an obscure oddball among most native English speakers.

Theories as to why stem from its runtime (at 18 minutes, it’s a poor fit for the US television format) to the usual excuse of copyright distribution.  Another reason could be this confession from an American friend, “We are cultural philistines and often don’t like anything that is not American.”

However, things may change. Take the popular Monty Python series, a famously British troupe that nevertheless filmed at least one season for German television—unavailable to U.K. and U.S. audiences until many years later. Maybe it will simply take time before audiences in North America will find it amusing to watch the antics of a British odd couple on an annual basis.

A mint or a toothpick: What do you think?

The movie certainly deserves wider recognition. Luckily, the advent of the Internet has made finding these lost gems far easier than ever before. Now may be the perfect time for Dinner to finally cross the Atlantic.
​

However, given the vagaries of public taste, we may have to poke around in the Anglo American psyche a bit to find out what’s holding back US support for one of the most popular New Year’s events, almost as famous as AuldLang Syne.
So, treat yourself to a classic Dinner for One and discover what the rest of the world has already found.
This review was originally published by Phindie on February 12, 2018. 
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