Tag Archives: Joe Ferrell

The Blue Carbuncle

I know it’s early, but may suggest a Christmas movie?

If, like me, you’ve seen the standard yuletide fare the requisite three dozen times, and, like me, you have a pretty good idea of what to do with a general, and like me, you’ve avoided shooting your eye out, and like me, you really dread being forced to resort to the Hallmark Channel, you could clear your egg nog noggin with this.

I’ve begun an extended journey of revisiting the Sherlock Holmes canon as interpreted by Jeremy Brett.

To quote that jolly philosopher Joe Ferrell (who at least once shared a drink with Charles Dickens); “What a joy!”

And it is.

I first met Mr. Holmes as relentlessly portrayed by Basil Rathbone as a non-glamorous leading man in a drab 1940’s overcoat (there’s a reason why Errol Flynn got the girl in THE ADVENTURES OF ROBIN HOOD), dragging a befuddled Dr. Watson around a foggy, criminous London as he skewers the flagitious verbally before he claps ‘em in irons.

Subsequent Sherlocks were just as fun to follow.

Ian Richardson was commanding and thoughtful. That Baskerville mutt gave him no paws.

Benedict Cumberbatch rode the razor rail of sanity and brilliance to bravely butt heads with that Napoleon of Crime; Professor Moriarty.

But Jeremy Brett continues to be the Holmes for me. Fiercely intelligent and fiercely impatient. Knows everything about poisons and smokes like a chimney. A master of disguise and occasionally has the fashion sense of Lebowsky in his flat. uber-sensitive to every nuance of a client’s usually unlikely conundrum and then barges out of the flat, oblivious to Mrs. Hudson’s prideful cuisine under cover on the table;

Holmes; “Come Watson! The trail is hot!”

Hudson; “Which is more than the dinner will be.”

The Brett version of Sherlock is immeasurably enhanced by the passage of time. Brett covers many cases over a number of television seasons. Thus, as we do in Doyle’s stories…and in life, we see Brett’s and Sherlock’s athletic energies wane, stamina fade, wrinkles grow, hairline weaken, and wheeze lurk a little closer to the surface. For some reason…this resonates with me and makes me feel even closer to the still fabulous consulting detective. I’m even considering starting a bee hive. IYKYK.

My favorite Jeremy Brett Sherlock is probably THE BLUE CARBUNCLE.

It’s London at Christmastime. There’s snow, visible breath, top hats, mufflers, various carriages, pubs, a pint of yer finest, and a missing blue gem with a blood-red history. How Dickensian can you get?

Wait!

“Please sir, may I have some more?”

How about geese?

I have a thing about a Christmas goose. Janie, on a whim, cooked a goose for our Christmas years ago and it has become a holiday comfort food for me ever since.

Several geese figure prominently in this story. Whose geese are they? Whence did they come? Wither did they go? Why? What did they eat? Who ate them? Who should go to jail? Whose hat is it?

A well-cooked goose answers most queries and worries.

Goose bless us every one!

On the Road + 70 years

I think I first read Jack Kerouac’s road-trip opus about 1968. The wheels that inspired Kerouac’s chronicle had rolled a few years before I was born, but I was now in my teens and had been driving for about 20 months. It was not unusual to find me cruising the intoxicating two-lane rural asphalt through northern Fayette County for hours after my school day at Bryan Station. My folks had moved to Omaha, I was alone, gas cost about 33¢ a gallon, Dad had left me a 1959 sky-blue Cadillac he had restored to viability for the spring…and, of course, I was gonna live forever…and maybe…just maybe…I might catch a gander at that Golden Gate Bridge on the old Athens-Boonesboro Road.

20+ years later, I finally did make it to San Francisco, not on a spiritual journey by thumb, but on a business trip by plane and by rental car…not wine spodee-odee, but Napa cabernet…not crashing at someone’s pad, but snoozing at a Holiday Inn on the Wharf. I’m not complaining. It was fine enough. But my zooming and dreaming though the tree tunnels of the Bluegrass and Jack’s crooning about jazz-inspired freedom and the end-of-the-western-world light had promised a bit more.

I had an afternoon free on that trip. I went moseying. I walked the worn wooden floors of Ferlinghetti’s book store. I smiled to see Wendell Berry so proudly displayed there. I saw an old poster for Job Rolling Papers. I smiled at that too. I’d always thought those graphics were cool without knowing anything about Alphonse Mucha at the time, and also without knowing anything about rolling my own. My own what? I was a 40-something hippie-type liquor and wine retailer who had never smoked tobacco much less anything more exotic (euphemism for illegal). That’s got to be a miniscule demographic.

I also saw a poster for the current exhibition at San Francisco’s Museum of Modern Art. They were showing something called Bay Area Figurative Art 1950-1965.

Whoa.

I went.

For three hours I lost myself in the GI-Bill-fueled creative images of Elmer Bischoff, Richard Diebenkorn, David Park, Clyfford Still, and Paul Wonner – the same images in which Kerouac, Carl Ginsberg, and Neal Cassady would have swum after their highway hajj. I imagined myself into a 50’s garage/art studio, listening to Ginsberg chanting “Howl” while Kerouac passed the hat for wine. I know my comfort-loving geezer would not have lasted 20 minutes in that room, but once…once…I drove a ’59 big-finned sky-blue caddy on green-infused country roads…

One week, Joe, Eric and Junesboy, three mature bohemians climbed into Joe’s car and headed towards the Speed Museum in Louisville to see their current exhibition of the works of Alphonse Mucha.

What goes around…

We were on the road, yass, yass, on the road.

We lunched first at the corner drug store. It was Weeny Wednesday. Thus we were nutritionally fortified with hot dogs and milk shakes for the journey. Joe drove, it being his car, Eric navigated, I kibitzed from the back seat, geezer-splaining the ins and outs of Kentucky legislative schemes with my deep, eight-year outdated wisdom. Could there be a more potent recipe for random bewildered tedium?

But the sun was shining. The horse farms were still faintly green in January. The company was fine. We were in no hurry. Hell, we’re retired!

It’s unwise for us to be hurried. None of us are the skilled (<< snort >>) drivers we once imagined ourselves to be; Joe’s reaction time is borderline glacial, Eric likes to look directly and immediately at whomever he’s speaking to (left, right, or upwards when Joe decides the lane markers are mere suggestions), and I read mystery novels at long red lights until the guy behind me honks. We are three creative types who really should hire a limo.

Today, Joe extolled driving 100mph in Montana as a teen (as the trucks roared by us on I-64 today), Eric thrilled us with descriptions of his 30mph jaunts around Woodford County on his now-defunct Vespa (as two Harleys zipped by us on the right), and I offered a succinct assessment of the Reds’ chances in the upcoming baseball season; “I fear they’re gonna suck” (as a thoroughbred cantered past us with ease and grace and curious patience).

Against all Las Vegas predictions, we reached our destination and it was a good day. It was my first visit to the Speed since its renovation. It’s a treasure. I wish it was in Lexington, but I’m glad it’s as close as Louisville.

The Mucha exhibit was mesmerizing. It had me reliving pre-internet University of Kentucky Guignol Theatre days spent pestering local businesses to put up our production posters to attract an audience. Of course we didn’t have Sarah Bernhardt as a selling point, but we did have Betty Waren urging us on.

A special treat was crossing paths with one of my dozen or so ex-stage-wives who I had not seen for thirty years. At that distant time she wished me safe travels to the Antarctic to freeze to death in Ted Nally’s fine play; “Terra Nova,” in the basement of Angel Levas’s fine restaurant in downtown Lexington. Angel actually participated in our production by NOT turning the heat on in the basement. The Shivering Verismo School of Theatre – who knew such a thing existed?

Despite that frigid parting decades past, it was a warm reunion last week.

We three drifted through the beautiful exhibit. I concocted stories behind the images, Joe envisioned staging the plays and operas, and Eric attracted his usual entourage of other museum attendees who wanted a docent to describe and explain. He is remarkably suited for this role: he is intelligent, verbal, charming, and just happens to be a nationally recognized painter himself…and he can juggle anything.

Eventually, our trio reassembled in the museum gift shop where I made my greatest contribution of the day by finding and purchasing a killer tee-shirt for Janie’s sleep-ware collection. Priorities, gentlemen!

Back to the car and back on the road.

Three bohemians.

Three aging beatniks.

No open windows.

No open bottles.

Just cruise control and conversation.

We wended our way home.

Wended…

Le mot juste.

We missed our exit and had to wend our way through much of Woodford County.

Who cares?

It was a sunny day.

The horses (field ornaments all) were sprinkled in their paddocks.

I briefly flashed back to those après school days…

…on the road.

Montana Joe & Weird Willie

“I am sure, as many as have good beards or good faces or sweet breaths will, for my kind offer, when I make curtsy, bid me farewell.”

Rosalind said it prettily and clearly and thus endeth our final run-through before technical and dress rehearsals and then opening night.

I was in the wings, muttering; “I’ll bid you farewell. There won’t be a half-dozen people a night that’ll understand that line.”

It was 2007 and the play was Shakespeare’s As You Like It.

My head-shaking over the prospects of decipherability of this closing line was not a singular bobble. I was doubtful about many such moments in the play. Moments? How ‘bout whole ten-minute segments of brilliant verbiage swirling over, around, and through a 21st century audience like Casper the Friendly Ghost, leaving them feeling like something remarkable had happened, but who knows what it was…and I guess it’s okay…it sounded impressive.

And most of those bewildering lines were mine.

I don’t like As You Like It, but I admire it.

The speech; “All the world’s a stage…” is worth the price of admission by itself.

I have seen the play four times and now performed it once.

‘At’s enuf fer me.

Bitterest Fool

I was playing one of the fools and was well on my way to crafting the bitterest fool in the history of theatre. I was too old to be flopping about in voluminous motley, toting elfin ingénues and scolding the audience in iambic pentameter.

But I did it.

Why?

Well…

…it was Shakespeare…

…it was a fine cast…

…and it was being directed by Montana Joe and he asked me to do it.

As I said, the run-through was now completed, and I could go home, flip though the script, and look for a bit of brightness that I was sure I was neglecting.

But no-o-o-o-o.

Montana Joe assembled the cast for a few notes.

Joe sat in the front row.

The cast sprawled on the apron of the stage.

Rapt and waiting.

Else, why would you show up for the first read-through, except to hear Montana Joe’s musings for the run of the journey?

Joe slouched and stared a hole in the carpet about three feet in front of his feet. He slow-tugged at the end of his not-quite-Fu-Manchu mustache. His eyebrows lifted to allow room for his pupils to beseech the firmament for le mot juste.

“There is a moment…when we are working on a play…probing and exploring…and playing…and stumbling…and discovering.”

Joe sank a little in his chair, his shoulders and arms and head folded in. We leaned in to hear.

Inherently, we are lost and looking. A director is pointing and guessing…we find things. Some finds are rejected. Some finds are clung to.”

Joe sank further in his sucking pit of a seat.

“Then…there is this moment…when the play takes on a life…when that life is taken on by the cast…and no longer belongs to the director.”

Seat A12

At this point, Joe’s seat (seat number A12, I believe) became a full-fledged black hole and began to whisk him away. His chin was curled to his knees and he plunged away butt-first, muttering…growling…crooning;

“What……a………joy!”

After the guffaws from the cast, we called the local fire department. They came promptly and managed to retrieve Montana Joe and we quickly established call times for the remaining tech rehearsals and headed home.

What a spellsinger.

Happy Rumors

Janie and I had a hilarious night at the theater last week. We attended Woodford Theater’s production of Neil Simon’s Rumors.

This is theater craft at a very high level.

First (and always first) there’s the playwright. Neil Simon is nothing if not a craftsman. He’s successfully written relentless froth and relentless foolishness and relentless heartbreak and relentless hope…and made us laugh with every step along the way.

And then there’s Rumors.

Relentless farce…there’s no other kind of farce.

It never stops. It’s one implausible twist after another, never giving you or the characters onstage a moment to recognize the implausibility of what’s happening. Just gasp another breath before the next guffaw.

It is a genius of craft, and Mr. Simon nails it.

Mr. Geraci

This production nails it as well. The director, Joe Ferrell, has to be a relentless traffic cop, keeping things moving at a terrific pace (no time to think, remember?) while maintaining clarity between moments and relationships and physical mayhem.

Check, check, and check.

This collection of actors seemed to enjoy each other’s company immensely. The audience felt comfortably ensconced in a nest of affection. Nothing serious is happening here no matter how seriously we’re doing it.
Relax…and try to keep up.

By the time Carmen Geraci tells his second act story (perfectly, by the way), we have fallen in love with the foibles of the ensemble. Deafness, gunshots, blood, hunger, thirst, suicide, marital betrayal (imagined and real), police interrogation, and career destruction…
…meh…
…nothing serious happening here…
…keep laughing and move on.

Mr. Pickett

And then there’s the set.

The designer of this production, Todd Pickett, understands farce.

Farce demands doors.
Lots of doors.
Doors that work fiercely. They can be slammed repeatedly and quickly to punctuate and define beats in the show.

Farce demands room to run, or at least dash. Everything has to done right now in farce. There’s no moseying in farce.

Farce is an onslaught. It must fling color at the audience.

Check, check, and check.

Thank you, Mr. Pickett.

Thank you, cast.

Thank you, Mr. Ferrell…
…again.

Livin’ on the Edge With Joe

Halloween hands w rll ej &amp; joe f

My stage director/mentor/friend Joe Ferrell is a fellow geezer.

Who cares?

I gather he’s getting old.

Who cares?

Well…

I kinda do.

I’ve read a bunch of Joe tributes from various actors and students and friends. I am impressed by their reminiscences and the life-changing echoes of those reminiscences.

I have some reminiscences of my own, of course…some might get us arrested…

May I share a silly one?

The year was 1984.

For some inexplicable reason (at least to me) Lily Tomlin came to the Guignol Theatre at the University of Kentucky one evening and practiced a reading of the beginnings of a new one-person play. She was the “one-person”…go figure. It was free and the house was packed…go figure. I was on the front row. Thus, Lily Tomlin spit on me. I didn’t shower for two weeks. My social life plunged from pitiful to non-existent…go figure.

The next day, Ms. Tomlin held a q&a in the Laboratory Theatre (now the Briggs) for the Theatre Department students. I took the day off from work and lurked in the back of the house (sans shower remember). Joe Ferrell was the moderator of the session.

Commenting on the barrenness of the stage – nuthin’ – no chairs, no stools, — nuthin’, Joe introduced Ms. Tomlin and suggested that they simply sit on the edge of the stage. Ms. Tomlin’s eyes twinkled a challenge echoed by her voice; “I’ll sit on the edge if you will.”

I knew Joe and I knew the answer to that challenge from anyone, anywhere, anytime, in any theatre.

They sat on the edge.

I’ve always suspected that Joe maintains a discreet pied-a-terre there…on the edge.

That’s my Joe, and I’m standin’ by it and him……on the edge.

Just Act the Hell Out of It

In the theatre, I have been blessed to work with inspiring directors. Many of them seemed to enter and re-enter my life at times when they could fulfill dual roles; stage director and off-stage mentor. Just as I could not have become the on-stage kings, fools, lawyers, doctors, and errant knights required, so I could not have become the geezer I am today (for better or worse) without their genuine care and, at times, curious advice.

Prof. Charles Dickens lurking on the right

Perhaps preeminent among them, if for no other reason than my bewildered youth at the time, was Charles Dickens.

Yes, that was his real name.

Charles was my adviser at UK. On the Tuesday before my first year at UK, during the “advising” session required before classes began on Monday, Charles filled out my roster of classes (my input was restricted to an awed and tiny “ok”), and informed me that my part-time job at the public library wouldn’t impede my freshman theatre activities since they didn’t cast freshmen anyway…but that I should attend and participate in the Sunday auditions of the season’s opening show (which he was directing) for the experience.

I responded with another tiny; “ok”.

Monday morning, at 9:00, I attended my first college class (Physics: 101 – we learned to bend water with a comb) and was cast in my first show (“Playboy of the Western World”). I was slack-jawed that September at my Physics classmates (“Is that real water?”), and dazzled by my sometimes shabby but always quick cast mates in rehearsal. My path was clear.

That was in the fall of 1969.

In the spring, Charles cast me in his elaborate production of Shakespeare’s “Measure for Measure”. By then, I was a complete “gym rat” in the theatre. Every day began and ended in the Fine Arts Building; the Guignol Theatre, the Laboratory Theatre (now the Briggs), the Green Room, the Scene Shop, the Costume Shop…even an occasional classroom. I lurked in every rehearsal I could find.

Angelo, on the right, acting the hell out of it

During “Measure”, Charles was deep into his Peter-Brook-THE-EMPTY-SPACE period. I may have learned half of what I know about the theatre listening to him coach actors in these rehearsals. One night, Bill Hayes, a nice actor and UK alumnus brought in by Charles to play “Angelo”, paused rehearsal to question the meaning of the line; “Let’s write ‘good angel’ on the Devil’s horn, tis not the Devil’s crest.” Charles sprang to the stage and took Bill’s script and they pondered…and pondered… Finally Charles handed the script back to Bill with the profound instruction; “Just act the hell out of it.”

Just act the hell out of it?

I had fallen in love with Shakespeare with “Measure for Measure”.

I knew what that line meant!

I could say that line!!

I could change people’s lives with that line!!!

Trump would never be elected if I said that line!!!!

I swore if I ever got the chance…

Well, of course, having sworn, I did, 23 years later.

Me acting the hell out of it in 1993

In 1993, the uber-smart Ave Lawyer cast me as “Angelo” in her production of “Measure”. This production featured a remarkable cast; Eric Johnson, Sidney Shaw, Holly Hazelwood Brady, Laurie Genet Preston, Jeff Sherr, Joe Gatton, Glenn Thompson, Donna Ison, Karen Czarnecki, Spencer Christiansen… WOW!

I had my chance.

I said my line.

I acted the hell out of it.

I changed people’s lives.

I saved the planet…from something.

And dammit, Trump was still elected.

I got up the next day and went to my day job.

Joe Gatton; You Say Lichen & I Say…

It was a brutally cold night in Lexington and for some unfathomable reason I was recalling a blistering hot summer afternoon in 1989.

We were rehearsing King Lear for Lexington’s Shakespeare in the Park. It was directed by Joe Ferrell and it was a strong cast, featuring Fred Foster, Lisa and Paul Thomas, Walter Tunis, Becky Smith, Robert Brock……and Joe Gatton.

Joe Gatton is a fine actor and a remarkable fellow. Smart, loyal, loud, murderously thoughtful, imaginative, hard-working, and an ardent admirer of cheezy movies featuring diaphanous costuming and intense backlighting. In short, a renaissance man.

Joe possesses a pragmatic artistic wisdom that affects those who work with him. Michael Thompson, another highly experienced local actor explained to me one evening that he made many creative decisions by considering; “what would Joe Gatton do?” Was he serious? Knowing Michael, probably not, but it was just plausible enough…

This particular summer afternoon was a true ordeal by fire. Sunny, ninety-something degrees, 150% humidity…a real beauty. Amplifying these balmy conditions was our rehearsal space. It was outdoors, in the sun, on a concrete slab that had at one time doubled as a shuffleboard arena.

The air simmered – it was hard to breathe.

The concrete sizzled – our shoes melted.

Gatton and I weren’t required on stage for a spell. We sought a shady respite. I can’t just sit and melt in the heat. I pulled out my ever-present Frisbee. Joe and I began a super-slow-motion tossing of the disc. The emphasis was not on running and jumping. The goal was tossing and catching with a minimum of actual movement.
It was cerebral, like a meditation.

Who am I fooling?

It was @%^&$#* hot.

I suggested we instead imagine something amazingly cool to fool our brains into cooling our bodies. Joe was game for the experiment. I suggested a co-o-o-ol, dark, cave with walls covered in lichen. I pronounced it; “litchen”.

“What’s that?”

“Litchin…litchin! That green moss that grows in co-o-o-ol, dark caves.”

“Oh, you mean ‘liken’.”

“No-o-o, I think it’s litchen.”

“I always thought it was liken.”

Well, we could never agree on the pronunciation, but we tried the thought experiment anyway. It failed (big surprise there) and we attributed the failure to the pronunciation uncertainty. These were pre-Google days. How’ya gonna look it up? Besides, we were being called to the stage – our turn to broil in iambic pentameter under a rampant thermometer.

However, the question has festered in the back of my mind for 28 years and a few weeks ago I thought I had stumbled upon the answer.

I was binge-watching a 1962 British TV sci-fi series called Pathfinders to Mars (no diaphanous costuming, no backlighting, just a boxy studio set with un-moving dials and blurry monitors). Yes, I am the world’s oldest hippie-nerd. Everyone else binge-watches Outlander and Game of Thrones. What can I say? Nerds gonna nerd. In the first episode of the series, the young actress uses “litchen”, but in every other episode it’s “liken”. I’m guessing the first actor goofed.

I’m ready to call Joe after 28 years and announce my discovery.

BUT!

There’s always a “but”.

BUT…I live in a new and wondrous age now. We have (as the 2nd President Bush called it) “the Google”. I found a site that offered an audio pronunciation for the US and the UK.

US = liken

UK = litchen

Now we know. I’m not quite sure of the usefulness of what we know, but now we know.
Does that mean we have to do King Lear again?

@%^&$#*

Pronounce that.

Cue the Fog………Ack!!

If you hang out with theatre people for any length of time (say 15-20 minutes), you will hear many stories and quickly perceive that many of their stories fall into genres. Most theatre folks have tales about;

  • Working with children.
  • Working with animals.
  • Costume or prop malfunctions.
  • Outdoor theatre misadventures (there’s a sub-genre about bugs).
  • And……fog.

Yes, fog.

And yes, I’ve got a few fog tales if you’ve got a minute (or say 15-20 minutes).

My fog adventures, unfortunately, are not John Carpenter’s; pirates emerging to terrorize my home town while Adrienne Barbeau croons seductively on the local radio station from her lighthouse studio.

Sigh.

I attribute that lack to the fact that Lexington is land-locked. Our nearest body of water is the Town Branch of Elkhorn Creek (and we covered that trickle with concrete a long time ago), our closest Pirates are the baseball team in Pittsburgh, and our closest lighthouse might be 400 miles away on Sullivan’s Island in Charleston.

No, my on-stage fog experiences are more pedestrian, but here they are anyway.

Fog in the theatre usually comes from machines though there are exceptions.

I was in a production of The World of Carl Sandberg in the spring of 1972. My friend and fellow cast member, Vicki James, gave a rendition of Mr. Sandburg’s poem “Fog” that was so evocative I remember it vividly 50+ years later. Indeed, I have many times been balked or paused in life, gathered myself……”and moved on.” Fog won’t stop me. It will only make me pause…think……and move on.

Ten years later, in a more-than-dubious production of Dracula, my friend and fellow cast member, Paul Thomas, managed to manufacture a personal fog bank by furiously puffing (heaving!) on his pipe in a sad attempt to obscure his presence in one particular way-more-than-dubious scene. I still harbor hope that I can forgive him for his attempted escape one day.

But those are exceptions. Most stage fog emanates from machines wittily referred to as “fog machines.”

My first experience with fog machines was in a 1981 production of Brigadoon. Oddly enough, it also included Paul Thomas, though in this case he is blameless. The show was in the Opera House in Lexington. The opening scene featured Paul and me as American hunters in the wilds of Scotland who have lost our way in the fog. We discuss our predicament and spot a village in the distance (neat trick considering the fog in which we’re supposed to be lost) – all behind a scrim as the orchestra in the pit plays gorgeous Lerner and Loewe music.

The dress rehearsal went fine, but the director wasn’t satisfied with the quality and quantity of the fog in the first scene. It wasn’t convincing as a fog that would baffle vibrant Americans. He ordered a second fog machine for opening night.

On opening night, the music began and the fog machines (plural) began. By the moment our opening lines were required, the fog, restrained by the scrim, had achieved a height of 7.3 feet. Paul and I could not see the audience, and the audience could not see us. When we spoke we waved our guns in the clear air above the fog to let the audience (and each other) know where we were.

Then the scrim arose and a slow tsunami of fog rolled out over the edge of the stage, into the orchestra pit, and into the first few rows of the audience. It was a blurry sight to see; the violinists slashing at the fog with their bows. I think they feared pirates were eminent. I think the audience in the front row feared they had been lured into a bizarre Gallagher-esque experience (albeit with prettier music).

We all tend to resist taking steps backwards in our lives, especially in the arts, but the second night’s performance of Brigadoon employed but one fog machine.

In 1989 I was cast in an outdoor production of King Lear as Lear’s Fool. I have played a couple of Shakespeare’s fools. I have a wealth of personal, real-life experience to bring to such roles. It’s a gift.

Early in the rehearsal process, I made a creative decision that was accepted as valid by the director, Joe Ferrell. I felt the Fool would grovel and slither throughout the story as he insinuated his opinions on Lear’s actions and decisions, never reaching past the height of Lear’s waist. I wore out a set of kneepads during the show’s run.

Mr. Ferrell had also made quite a few creative decisions himself (as directors are wont to do), one of which was to employ fog machines during Lear’s nighttime meanderings through the stormy countryside, bereft of shelter and family, and increasingly bereft of his very senses.

Reasonable enough.

From my Fool-ish point of view however (about three feet high, remember), the fog machine was at eye level and only an arm’s length away. In one long scene, as Lear (my friend and fellow cast member, Fred Foster) raged against his daughters, his fate, and the weather for what seemed like four iambically-pounding hours, I crouched in the mouth of the belching fog. My makeup melted off. My costume dripped in streams. I gurgled my lines.

When I came out for my curtain call, I didn’t bow.

Instead I shook myself like a dog to share my wealth of moisture with those nearby.

It’s good to share.

My favorite and grandest stage fog episode was on closing night of a 1992 production of Sweeney Todd.

The house was sold-out. The cast was in place behind the curtain prepared for their grand reveal. I was storming around backstage, working myself into a damn decent homicidal frenzy.

The fog machines commenced.

However, a sold-out house was not enough for the kind-hearted and slightly greedy director, Dr. James Rodgers. He was scurrying about to find room to seat some last-minute, ticketless arrivals. He had folding chairs located and brought to place one-by-one in the corners of the house.

The fog machines dutifully blew.

A pre-show announcement was deemed necessary.

The fog machines gleefully blew and blew.

The orchestra finally began the overture.

The curtain was raised.

The cast began to “…tell the tale of Sweeney Todd.”

I strode to the doors I expected to open and allow me to attempt to scare the bejeezus out 400+ people.

Instead, the fire alarm, triggered by the fog, had summoned first responders.

The fire department arrived with the Lexington and UK police – all with bells and whistles and lights a-blazin’. We were evacuated from the building; the audience to the front lawn of the Fine Arts building and the cast and crew to the street behind the building’s loading dock. Both groups could see other in the emergency-light-decorated twilight of a lovely Kentucky summer evening – a far cry from the dingy, industrial Fleet Street of our show.

Eventually, the authorities were persuaded that conflagration was unlikely. They were thanked for their efforts and invited to stay for the show. They chose to go about their duties instead, which was a good thing as I don’t know where Jim would’ve seated them! The audience, the orchestra, the crew, and the cast reassembled and an evening of theatre juiced by the pre-show capers turned out to be real nice clambake after all.

The fog machines were smug despite having grossly overplayed their part.

Curse of the Starving Class

curse01

Yet another new/old Lexington theatre yarn.

Just to let ya know, if you’re doing a Sam Shepard play and want me to come see it, I’m busy that evening…all the evenings.

If you’d like me to do a Sam Shepard play, I’m more than likely available.

I feel the same way about Pinter, Ibsen, and Albee. I love performing them, but I’m not beatin’ down the doors to watch. It’s a mental defect I guess, but there it is. For me, Godot is simply not worth waiting for.

So, it’s 1987 and Joe Ferrell is directing Sam Shepard’s The Curse of the Starving Class for Actors Guild Lexington (usually referred to as “AGL”). This is when AGL was performing in a rickety building in downtown Lexington called the LMNOP building (usually referred to as “LMNOP” – go figger). The LMNOP moniker stemmed from its life as “Club LMNOP”, a legendary night club in its day. By 1987 this building had been rode hard and put up wet to dry. Creaked? No, it shrieked. It wobbled. It was seasonal, which is an apt euphemism for little discernible heat and air. But the rent was right and in the theatre, that usually rules (remind me to bore you with my “theatre verismo” experience one January doing Terra Nova in the basement of a downtown Lexington restaurant — all of Antarctica in a room that sat 50 people – yes, I have pictures).

Well, I was hot for this project. I had worked with Joe on Shepard’s Buried Child a couple of years earlier and it had been a very satisfying time. In that play, I portrayed a raging psychotic single-amputee who was tormented in the second act by his own brother (played by Vic Chaney) who used his own his prosthetic leg as a club against him. It was a laugh-a-minute riot. I was proud of the portrayal even though it took my knee a year to fully recover. I was hungry for another bit of fluff like that.

My previous role for Joe was as a gay, double-AK-amputee Vietnam War vet. It was intriguing to me to get an opportunity to finally do a show with Joe in which I could use all my limbs.

Oh sure, the script of Curse called for a scene with complete male nudity, but it wasn’t my character and surely Joe would find a work-around to avoid going that far in my beloved 1987 Lexington, where I was dealing with the public every day in my retail career……surely…………surely.

Well, it was a remarkable cast and crew. It included Joe Gatton, Martha Campbell, Glenn Thompson, and Carol Spence, all of whom I had worked with numerous happy times.

It also included Kevin Haggard. Kevin and I had never worked together before and we’ve not worked together since. Dammit. In Curse Kevin played my son in a strikingly (emphasis on “strike”) abusive father/son relationship. I tend to work quickly in the rehearsal process – Kevin works more thoughtfully. I didn’t know that at the time. The first two weeks of rehearsal I kicked his ass all over the stage. I feared I might kill him if he didn’t start reacting with a bit more alacrity and how was I gonna explain that to his mother.

Not to worry; from the third week of rehearsal through closing night, Kevin’s character grew every night. I was impressed and bit scared for my own well-being. By opening night I discovered in one scene Kevin had ascended the heights of our kitchen and assumed a manic 45 degree angle against the fridge. I was supine on the kitchen table at the time and chaos was eminent.

It was a fine moment.

curse05
It was a fine moment

It was Kevin’s character that had to deal with the nude scene.

As the rehearsals proceeded, it was sometime in week three that it dawned on me that Joe was dealing with the nude scene by simply doing it as written.

Whatta concept!

What made the scene more special was that Kevin had to carry a sheep during it. This was after a first act scene in which he took his sister’s 4-H project “How to Butcher a Cow” chart, tossed it on the floor, and pee’d on it. He was an endearing character.

I was envisioning letters to the editor at least, or pitchforks and torches at worst. Didn’t happen. Instead, we played to great reviews and sold-out houses. Go figger.

About six months after the show closed, two gentlemen came to see me at work to discuss Liquor Barn’s participation in the United Way. One of the gentlemen noticed a picture on my office wall of one of my shows. He remarked; “My wife and I go to the theatre often. Last year we saw a play where a character actually pissed on the stage!” I gave him my biggest grin, shook his hand, and said; “I played that boy’s father!!”

That was the last I heard from the United Way that year.

But all in all, Curse of the Starving Class was a good experience.

  • Big audiences.
  • The building didn’t collapse.
  • I got to work with Cambo the Clown and his “Ya-Ya Juice” (another story for another time).
  • I didn’t have to deal with the sheep.

Baa-a-a-a.

Drinkers of the Wind


Drinkers 01

The answering of the phone

One day in the late summer of 1987 the phone rang at Roger and Janie’s house and the wrong person answered.

It was a time of great changes and great busy-ness.

Janie and I had just gotten married and bought a new house.

The liquor stores which were my business career had just unexpectedly become mega party stores (Liquor Barn) and my primary responsibility.

I had just completed an eighteen month performance schedule of directing one play (Bullshot Crummond – Actors’ Guild), singing and acting in two (A Little Night Music – UK, and Man of La Mancha – UK), acting in three (The Curse of the Starving Class and The Ebony Ape – Actors’ Guild, and Deathtrap – UK), and singing in one friend’s doctoral recital.

Whine, whine, whine… too much goodness…too much opportunity… woe is me.

But I truly was stretched thin and worn out at that moment.

And then Dr. James Rodgers called and Janie answered.

In 1987 Janie knew there were two phone calls to which my answer was nearly always “yes”; Jim Rodgers and Joe Ferrell. Well, why waste time? Jim wanted me to do a show. She said; “Of course, Jim, whatever you want.”

“Of course.”

Oh-h-h man!!

Well there’s no lettin’ Jim down once you’ve promised. I was now a member of the cast of Drinkers of the Wind.

Jim wrote Drinkers. It was a celebration of the horse, a compilation of poetry, songs, stories, and chants by Shakespeare, Shel Silverstein, Saki, Steinbeck, Greek legend…and Doc Rodgers himself. Jim wrote the piece! Another reason why ya don’t let him down. It’s his baby!

Yes, it was a celebration of the horse, but in one scene I had to play a goose. Go cypher on that for a while.

I hated that goose.

At least I wasn’t alone. Jim had recruited a stellar cast; actors that I admired and was challenged by; Billy Breed, Martha Campbell, Trish Clark, Russell Henderson, and Eric Johnson. Unfortunately, it seemed that everyone in the cast was experiencing personal pressures of their own. It led to a grumpy group meeting each night in the face of Doc Rodgers’ sunny instructions. Despite that, progress was made.

BUT…there was the challenge of Helen Hayes looming.

Helen Hayes

UK’s College of Fine Arts wanted to enhance their visibility. To do so, they scheduled a “Gala”. It was held in the Singletary Building and featured performances by various disciplines of the College capped by an appearance by the legendary Helen Hayes. It was a big deal and the night of the Gala the Singletary was packed and the crowd was decked out to the nines and all a’twitter.

Jim had committed our cast to provide a scene for the Gala and not just any scene. The most difficult scene in the show was a retelling of the legend of Bellarion and Pegasus. It was long, it was complex, and it included Billy Breed as Pegasus dancing to the words – words, mind you, not music. Any misplaced or mis-stressed syllable would pretty well leave Billy hangin’ high and dry.

Ah-h-h, no pressure there. It was a week before our opening night and instead of having a useful working rehearsal, we were doing our hardest scene in front of 1000+ people and Helen Hayes.

I remember, before the show that night, looking around the small dressing room in which we were all crowded and thinkin’; “Well, at least we’re rockin’ these tuxes.” You seek solace where you can.

In that dressing room we decided to run the lines for the scene one…more…time. As we did, I noticed Billy over in the corner marking his choreography with tiny moves as we recited. I’m not namin’ names, but one us skipped a line.

Silence ensued.

Soul-crushing silence ensued.

A silence of the damned ensued.

We immediately looked at Billy and he had acquired the hue of Casper the friendly ghost…with a facial expression that was far from friendly.

We were called to the stage.

We were introduced individually. Little Martha Campbell was first. When her name was announced, she marched martially and grimly to her place, fists clenched. She picked up her chair, ate it, and spit the splinters into the lights. She gave the audience a look that said; “I got yer Helen Hayes right here.”

I dunno…

It gave me a kind of perverse courage.

We did the scene.

Billy lived to tell the tale……and later moved to Oregon, about as far away from UK as you can go.

Whatever.

We hadn’t embarrassed ourselves in front of Helen Hayes (though I don’t believe she bought season tickets).

Now, we only had to do the show.

Opening night

A week later we opened. After the Gala we worked diligently, confident in the knowledge that our loved ones would still love us (as long as we didn’t press the matter) and that we probably wouldn’t derail the performing career of Billy (as long as we destroyed the evidence). Plus, we were still rockin’ those tuxes.

Then Jim dropped a little bombshell.

It seemed there was something called “The Dean’s Circle”. This was a group of donors to the College of Fine Arts. One of the perks of being in The Dean’s Circle was having a Q&A with the cast after Theatre Department production opening nights. The cast of Drinkers did not see it as a “perk”.

Whine, whine, whine, whine.

I mean, if anyone from the audience asked me about my motivations while playing that damned goose…well, the College of Fine Arts was probably gonna be lookin’ for a few new donors.

We did the show.

We peeled off our tuxes…slowly.

We trudged upstairs to face Judgement.

It was a love fest.

There were no questions. It was a contest between audience members to extol their favorite scenes from the show. They liked everything and everybody……except for the goose.

The grumpy cast members looked at each other. The shame in each other’s eyes was palpable.

The rest of the run featured an enthusiasm fueled by “let’s make up for”.

It was great.

But (sigh) …it wasn’t over.

The National Tour

Jim reassembled the cast and reconstituted the show that early spring (you cannot say “no” to this man!). He had booked us in colleges and junior colleges in Eastern Kentucky for the week of UK’s spring break.

For three days the cast (sans Jim who had developed a convenient cold/flu-like symptoms/plague/pneumonia/bone spurs) loaded our stools, boom box, and tuxes into a van and charged out to the exotics of Cumberland, Betsy Layne, Somerset, Hogwarts, Riverdale, etc. Eric was driving – a poor choice. The redbuds were a’blooming – an excellent choice.

We arrived at one venue (which will remain nameless) after driving on a mountain trail on which I swear I saw, while peering down the rider’s side of the hill, Gandalf crying “Fly, you fools!”, and then through the back of a bedroom closet through Narnia, and then through the rabbit hole, and then down the yellow brick road. I’m sure there was probably a more direct route but, as I said, Eric was driving.

We were scheduled for two performances at this stop. We set our stage (six stools) and our technology (one boom box), donned our tuxes (still and always stylin’) and waited in place to be introduced. I was in the wings stage left and could clearly see Trish in the wings stage right.

A small matronly lady marched to center stage and said; “Y’all settle down now, y’hear?”

And they did.

That’s when I knew I was in the presence of a mensch.

I confess to being impressed and more than little intimidated.

Then she said; “These people have come all the way from Lexington.”

And walked off the stage.

I looked across the stage at Trish and she gave me a wide-eyed shrug that announced; “We’re on our way, Buster!”

And we were.

After the first performance, we had lunch in the school cafeteria and pulled ourselves together for our second show. I will admit that there were some unkind aspersions made in respect to Jim Rodgers’ health and absence. Something to the effect of “If he thinks he’s sick now, wait till I get a’hold of him!” But it was all in good fun……right?

I was stage left.

Trish was stage right.

The mensch marched.

And said; “Y’all settle down now, y’hear?”

And they did.

Then she said; “Yer ‘bout to see some real good actin’.”

And left the stage.

I looked across at Trish and she gave me a wider-eyed two-thumbs-up that announced; “We’re stars, Buster!!”

And we were.

I’m proud of that show.

I’m happy for the time I spent with my friends…yes, even Jim.

And that one sentence from the mensch might be the review in my life of which I’m most proud.

Be that as it may, I try to answer the phone at home before Janie whenever I can…and I still hate that goose.