Archive for the 'performing' Category

An excellent Shake-spearean summary

As I was writing my post on my Shake-spearean crisis, I went to the website for Mark “Shakespeare” by Another NameAnderson’s biography of Edward de Vere, “Shakespeare” by Another Name. There I found the link to his podcast. That reminded me that I had heard a promo for this podcast a couple years ago; I think that may have been what started me thinking about the whole “authorship question” once again.

Episode 1 of Anderson’s podcast is an excellent nutshell summary of the anti-Stratfordian argument. It also sets the stage for Anderson’s Oxfordian argument, which is developed in both his book and in subsequent editions of his podcast. (The entire podcast series is nine episodes long.)

Anderson also has a blog in which he presents the latest developments in the Shake-speare debate. I’ve subscribed to the RSS feed for the blog as well as to the podcast. In one blog entry he mentions a performance by my new podcast friends the Reduced Shakespeare Company.

My literary-cultural crisis

I’ve mentioned before here that my wife and I have season tickets to the Shakespeare Theatre in Washington, DC. I’ve also been an actor in the past, and have played several roles in Shakespeare in professional theatres.

This past year I came to a Shakespearean crisis point. Or perhaps I should say a Shake-spearean crisis point. That hyphen in Shake-speare is deliberate. I have come to believe with very strong conviction that Shake-speare was a penname, and that the actor guy from Stratford-upon-Avon never wrote a word of those plays. Continue reading ‘My literary-cultural crisis’

Constant fatigue

I’m sitting here in my high-school German classroom at the end of another week. It’s about 6:15 PM. I’ve been here in the school since before 8:00 this morning. That makes it…let’s see now…a 10.25-hour workday. That’s how most of my days have been the last two months.

I’m a German teacher outside of Washington, DC, in Loudoun County, Virginia–a county that still offers German at all its high schools and just about all its middle schools. This is a good place to be. The famously wealthy Fairfax County, where I live and where my children graduated high school, is letting German die off slowly and quietly in its schools. Continue reading ‘Constant fatigue’

My chat with the RSC

I had the pleasure this evening of “interviewing” the two leading lights of the Reduced Shakespeare Company, Austin Tichenor and Reed Martin.

Austin, Dave and Reed

I put “interviewing” in quotation marks because we really just shot the breeze for awhile. Neither they nor I really had any particular question points or theme in mind.

Continue reading ‘My chat with the RSC’

Ellen did a good job

So talking about Big Media, I found myself watching large portions of the Oscars show on TV on Sunday, by accident. It was on in the kitchen while I was surfing, hacking, and blogging. Wow, what a long program! Hollywood people really, REALLY like themselves, don’t they?

The reaction of Tom Shales of the WaPo was to put down the whole event as a “bEllen at the Oscarsore and a horror” (a proper response for the TV maven of a major East-Coast paper, I guess). Tom didn’t particularly like Ellen DeGeneres as the host. The Boston Globe was even more curmudgeonly, suggesting that Ellen put everybody to sleep. I don’t know what Matthew Gilbert at the Globe is thinking. It wasn’t Ellen who put us to sleep. It was the whole pompous affair. Continue reading ‘Ellen did a good job’

Why do performers perform?

I’ve been a performing artist for money ever since I was about 13 years old. Throughout high school and university I thought of myself as a performer. (I’m using the term “performer” because I have called myself a professional musician and a professional actor at several stages in my life.)

Particularly when I was trying to get started as an actor in New York, I used to expend a lot of energy and stress trying to figure out “who I was,” by which I mean what kind of performing persona was most likely to get me hired. Was I a young leading man? A character actor? A comedian? A musical actor? Something else? I never exactly zeroed in on any of those, which might have something to do with my not “making it” big as an actor. (That and my desire to stay married.)

Last night at my church, we had our once-a-year “Open Mike Night,” which is just what it sounds like. Anybody who wants to sing or play something can get on the program. A few dozen people from the congregation come to listen. A handful of folks, some of whom really don’t otherwise get up in front of an audience too much, present their musical tidbits. It’s a lot of fun, and yet we would never dream of putting out a CD of the result. We just do it for fun.

Or, actually, why do we do it?

I was thinking about this this morning. Why does a performing artist perform? For some people it was pretty scary getting up in front of friends and casual acquaintances to sing. You expose a lot about yourself when you do that. It’s not only about one’s singing voice; it’s also about one’s taste in music, one’s confidence in one’s presentation of self to others, even one’s ideology and point of view.

People who perform are famously driven by ego, but this Latin word for “I” can be applied to anyone. Everybody has an ego, and everybody wants his/her ego fed by approval. One of our first urges is for approval from Mom. When our friends approve of our song (recitation, magic trick, etc.), it’s even better. Mom pretty much has to approve, but friends don’t, necessarily. And when strangers approve, well, then you are somebody.

I guess I’ve been looking for approval from strangers all my life. When casting directors and talent agents gave me approval in my New York years, it put me on top of the world. And when I got nothing from them but indifference, it put me into a deep, funky depression.

It’s taken a long time to get a good perspective on this. And I’m still working on it.

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John Spencer, a guy I met 28 years ago

When you’re sitting at midlife, or at some point after midlife, you look back a lot to when you were young. People have been doing this forever. I’ve been doing it a lot this week.

From about the age of 16 or so up until–well, up until the present, really–I wanted to be an actor of some kind. I didn’t just major in Dramatic Art at UNC Chapel Hill, I went for a B.F.A. in acting. After that I got an M.F.A. at the same school, then went with my new wife to New York City to be an actor.

The classic “between shows” job for New York actor is to wait tables in a restaurant. In the summer of 1977 I fulfilled this stereotype for about two and a half weeks by taking a waiting job at a place called La Pomme. This was a chi-chi little place in the east 60s that had an upscale clientele and served quasi-”natural” cuisine.

I only got assigned to lunch shifts, so I made little money. The real tip money was made by the dinner waiters. In my two weeks at La Pomme, I did wait on John Lennon once, and later on Bill Murray (just starting on Saturday Night Live). But I didn’t make enough in tips to make it worth staying.

Once I did get assigned to a dinner shift. Another young struggling actor was working that dinner shift as well, a guy from New Jersey named John Spencer.

We didn’t hang out or become buddies, really, but I do recall that John had a lot of confidence and a smiling demeanor. He smiled a lot, in fact. I recall that he was always nice and friendly to me at a time when I felt that other New York actors were out to beat me out of the next role. John had spent the previous summer as a bit player at the Barter Theater in Abingdon, Virginia (my wife’s hometown), and was now “between gigs,” so he was in the same position as I.

One evening I was supposed to meet my wife in the west 40s for some reason I can’t recall, and John lived in Manhattan Plaza, the high-rise apartment buildings for performers on West 43rd Street. So we shared a cab to the West Side after work. Later on I ran into John at a party thrown by some UNC buddies at Manhattan Plaza who had known him at Barter Theater, I think.

One of the treats of watching The West Wing for me the past few years has been to see the very good work by this actor with whom I was once acquainted. I knew John in the 1970s just enough to get a superficial impression. I never had any clue about his demons or secrets–I didn’t know until I read in Parade magazine, for example, that he was a recovering alcoholic (although in his early 30s I guess he did seem like a guy who liked to party). I knew he worked on L.A. Law in the 1980s, and I always perceived that as his “big break,” but I learn today from his obituary that he had been on The Patty Duke Show, a fluffy sitcom from 1963 in which Patty Duke played two roles.

The news of John’s death from a heart attack yesterday is making me feel very old. I guess it doesn’t surprise me. That character Leo McGarry on The West Wing had been looking pretty rundown for quite some time. The plot development which had Leo suffering a heart attack at Camp David was no surprise at all. Still, it is unsettling to see life imitate art–except John isn’t recovering from his heart attack like Leo did from his.

The news of John’s death comes two days after my father attended the funeral of one of his closest friends, Carl Kreps. Carl, who was a pastor in North Carolina, like my father, also had been in bad health for some time. My dad took it pretty hard. The year 2005 was a year of funerals for my dad. He lost an old friend back in the spring; his neighbor and friend, Conrad Williams, died in July; and his brother Paul died much too young and unexpectedly in August. And now Carl Kreps is gone, reminding my dad and me that we are all, basically, terminal patients.

I don’t know, really, what message or lesson to take from these two deaths this week. I guess I should make sure I keep myself in better shape. I live a much too sedentary life sitting at this computer and driving my car to the schools where I teach.

And I should always try to appreciate friends and acquaintances–even passing acquaintances like John Spencer.

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