Of Mice and Men . . . and dogs! contributed by Sharon Weaver
A number of years ago (1993) I directed a productin of Of Mice and Men at Spotlighters. I got a number of talented men and one pretty girl, but what I needed was a dog. (Spoiler Alert: The dog in the play, dies off stage.) I miscast the first dog, and had to replace him. I was introduced to another dog - elderly, shaggy, sweet-faced and very cooperative, and most importantly, the pet of a cast member, so I knew the doggie would show up for each performance.
What I had not counted on was a SMART dog; one who had obviously attended Method Classes in New York! During the highly emotional scene, a belligerent character pulls a gun, insults the dog, then drags the dog off-stage. After a few moments, a gun shot it heard, and the remaining actors on stage finish the scene. End of dog.
However, THIS dog caught on quick. Very soon, in front of a paying audience, the little dog got very anxious when the belligerent character entered. Soon, the anxiety became moans and whimpers of fear, casuing the audience to shift focus to the dog, not the actors. Night by night the dog stole the scene, crying and cringing and even once climbing onto the lap of one actor and causing the audience to moan in empathy. Clearly, the dog had become a dramatic lead.
Finally in one climatic performance, the dog went totally method at the sight of the gun. He broke free and ran offstage and into the bowels of Spotlighters. The actor most critical to the scene decided that his dramatic action would be to exit in pursuit, which he did, leaving five other actors with nothing to do but stare at each other in horror, trying to think of something to say to fill the silence. Eventually the dog was found and persuaded to re-enter, the scene resumed to its "scripted" conclusion.
The dog got a standing ovation at curtain call.
What I had not counted on was a SMART dog; one who had obviously attended Method Classes in New York! During the highly emotional scene, a belligerent character pulls a gun, insults the dog, then drags the dog off-stage. After a few moments, a gun shot it heard, and the remaining actors on stage finish the scene. End of dog.
However, THIS dog caught on quick. Very soon, in front of a paying audience, the little dog got very anxious when the belligerent character entered. Soon, the anxiety became moans and whimpers of fear, casuing the audience to shift focus to the dog, not the actors. Night by night the dog stole the scene, crying and cringing and even once climbing onto the lap of one actor and causing the audience to moan in empathy. Clearly, the dog had become a dramatic lead.
Finally in one climatic performance, the dog went totally method at the sight of the gun. He broke free and ran offstage and into the bowels of Spotlighters. The actor most critical to the scene decided that his dramatic action would be to exit in pursuit, which he did, leaving five other actors with nothing to do but stare at each other in horror, trying to think of something to say to fill the silence. Eventually the dog was found and persuaded to re-enter, the scene resumed to its "scripted" conclusion.
The dog got a standing ovation at curtain call.
Gareth Kelly - memories of Vampire Lesbians of Sodom
So, I'm playing Oatsie in Vampire Lesbians of Sodom, and I'm in drag, which is no sight to behold, which is why they have me playing the old lady that's really a male vampire hunter in disguise, and I've never done this sort of thing before. I'm about 21? It's about 1992? (maybe older, maybe later) ...and I'm wearing this skirt, and I have to collapse on stage, and all I wear off stage is boxers, and I'm poor. I mean poor. So when Mr. Taahrry recognizes that I'm wearing boxers under my skirt, he asks me to wear tighty whities. I say something like, "I'm not spending money on tighty whities. I'll never wear them again. What's the big deal?" Long story slightly shorter, we decide double-box. I have these psychedelic purple paizlee boxers. I figure I'll wear those on the outside in case any body does see, and it will be like a gag, but they won't see my junk.
So, one night I'm out there being killed by lesbians, and I collapse, and I'm going through the gyrations of my death, and I catch a glimpse (I know, I know. 4th wall, but...what? I caught a glimpse.) of this elderly woman sitting in the front row, and I see what she's doing. She's searching fervently...for a view of my "junk", must have been close to 80, head darting back and forth, neck straining as though there were a crowd of people in the way, eyes peering into the depths of my costume. I recognize this is going on, but of course, I have to not break character and die...without deliberately closing my legs. I enjoyed the challenges of the intimacy of the theatre in the square. :)
So, one night I'm out there being killed by lesbians, and I collapse, and I'm going through the gyrations of my death, and I catch a glimpse (I know, I know. 4th wall, but...what? I caught a glimpse.) of this elderly woman sitting in the front row, and I see what she's doing. She's searching fervently...for a view of my "junk", must have been close to 80, head darting back and forth, neck straining as though there were a crowd of people in the way, eyes peering into the depths of my costume. I recognize this is going on, but of course, I have to not break character and die...without deliberately closing my legs. I enjoyed the challenges of the intimacy of the theatre in the square. :)
History from Jay Williams --- one of the ORIGINAL Spotlighters (even before 1962!)
J. Hunter Williams / Jay Williams - and the FIRST Spotlighters Theatre logo!
• Before Spotlighters Theatre in The Round: From February 1960 to 1962 the Spotlighters where sponsored by Baltimore's Bureau of Recreation. The October 5, 1962 performance of "Bus Stop" launched the private enterprise of the Spotlighters Company. As said in the Baltimore Sun Newspaper, at the time, "Lock, stock and greasepaint,the have moved into a new, 108 seat-arena theater at 817 St. Paul St., where "Bus Stop" will run during October".
• Remembering my first multiple parts. This was the happiest times in my young life, acting as different characters. I played both "Osbert" and "Cousin Jeff" in my first performances in "Auntie Mame" [before Bus Stop at Spots in the round]. Completely changing clothes, appearances and mannerisms and voices. Everyone back stage helping each other out. Loved It! Audrey Herman was sooo inspiring to me and to everyone else. I never heard a bad or disparaging word
from her. Audrey sincerely loved everyone.
About My name, Jay Williams, has been my name used for the last 50 years of my 71 years. I was a shy 21 old, living in Essex, Maryland, way out in east
Baltimore County. I read, in the Baltimore Sun Newspaper, that auditions were going to be held at the Enoch Pratt Library in downtown Baltimore for a
production called "Auntie Mame". I decided to try and break out of my shell of being an introvert person and attempt this audition.
I first joined with my name as "James Williams". After the close of Auntie Mame we made our first series program brochure listing the first dozen proscenium plays performed by the Spotlighters since February 1960. (- Luxury Cruise - Great Western Melodrama - George Washington Slept Here - The Man Who Came To Dinner - Damsels In Distress - Meet My Wives ... - Guest In The House - The Tender Trap - Cheerio My Deario - Ten Little Indians - Auntie Mame - Here Comes Charlie - ).
In this 1962-63 program I listed myself as J. Hunter Williams as one of the Chartered Members of the new Spotlighters Company. My brother reminded me that
it is an old Maryland traditional way to name oneself. So being young and silly, I thought that could be my "Stage name". While we were very busy rehearsing our first play "Bus Stop" in the round there, one of the staff interrupted me on stage to ask how I wanted my name to appear on our marquee outside. I said "Put in J. Hunter Williams". She returned later to say that that was too long for the marquee, so I verbally said "OK, then make it J. Williams (Dropping my middle name of "Hunter"). After the first performance we went outside to see the new marquee. I exclaimed "No no no, I wanted J. Williams there - not Jay Williams". From that moment on they all called me Jay and I've used it for 50 years ever since. I was known throughout my whole graphic design career as Jay and in 1979 I started my own company, the Jay Williams Design Company. So my name Jay Williams came from my beloved fellow Spotlighter members.
• Before Spotlighters Theatre in The Round: From February 1960 to 1962 the Spotlighters where sponsored by Baltimore's Bureau of Recreation. The October 5, 1962 performance of "Bus Stop" launched the private enterprise of the Spotlighters Company. As said in the Baltimore Sun Newspaper, at the time, "Lock, stock and greasepaint,the have moved into a new, 108 seat-arena theater at 817 St. Paul St., where "Bus Stop" will run during October".
• Remembering my first multiple parts. This was the happiest times in my young life, acting as different characters. I played both "Osbert" and "Cousin Jeff" in my first performances in "Auntie Mame" [before Bus Stop at Spots in the round]. Completely changing clothes, appearances and mannerisms and voices. Everyone back stage helping each other out. Loved It! Audrey Herman was sooo inspiring to me and to everyone else. I never heard a bad or disparaging word
from her. Audrey sincerely loved everyone.
About My name, Jay Williams, has been my name used for the last 50 years of my 71 years. I was a shy 21 old, living in Essex, Maryland, way out in east
Baltimore County. I read, in the Baltimore Sun Newspaper, that auditions were going to be held at the Enoch Pratt Library in downtown Baltimore for a
production called "Auntie Mame". I decided to try and break out of my shell of being an introvert person and attempt this audition.
I first joined with my name as "James Williams". After the close of Auntie Mame we made our first series program brochure listing the first dozen proscenium plays performed by the Spotlighters since February 1960. (- Luxury Cruise - Great Western Melodrama - George Washington Slept Here - The Man Who Came To Dinner - Damsels In Distress - Meet My Wives ... - Guest In The House - The Tender Trap - Cheerio My Deario - Ten Little Indians - Auntie Mame - Here Comes Charlie - ).
In this 1962-63 program I listed myself as J. Hunter Williams as one of the Chartered Members of the new Spotlighters Company. My brother reminded me that
it is an old Maryland traditional way to name oneself. So being young and silly, I thought that could be my "Stage name". While we were very busy rehearsing our first play "Bus Stop" in the round there, one of the staff interrupted me on stage to ask how I wanted my name to appear on our marquee outside. I said "Put in J. Hunter Williams". She returned later to say that that was too long for the marquee, so I verbally said "OK, then make it J. Williams (Dropping my middle name of "Hunter"). After the first performance we went outside to see the new marquee. I exclaimed "No no no, I wanted J. Williams there - not Jay Williams". From that moment on they all called me Jay and I've used it for 50 years ever since. I was known throughout my whole graphic design career as Jay and in 1979 I started my own company, the Jay Williams Design Company. So my name Jay Williams came from my beloved fellow Spotlighter members.
CJ Crowe remembers And Then There Were None (Ten Little Indians)
And Then There Were None...well, that was the show going on for the audience. Backstage, we had the And Then There Were Ten
bar, ably bartended by Michael Winchester - since he was the first to die. I'll never forget that by closing weekend, there was one very small clear counter in the men's dressing room - the rest of the counter was the bar.
Then there was the night where I had the brilliant idea that we should mess with director Randy Dalmas, and do curtain call as dead bodies. Peter Fox, who had drowned, put one of those battery operated angel fish in his pants and spit water at everyone...then Randy called out bluff. He loved the dead parade curtain call and made us do it for the rest of the run.
To this day, the best stage play I've ever been in.
COMMENTS:
Fuzz Roark
Don't forget. "She's dead". "No, she's sleeping."
Ceej Crowe Or just plain, " Oh She Daid!"...or John Kelso getting slapped over and over by Karina Ferry in the green room - that was my favorite warm up
exercise.
Kristen Bishel Anyone else remember opening night drinks at the V where, after having a few strong Long Islands, John Kelso asked Karina Ferry to REALLY smack him in the face? And she did...hard!
Ceej Crowe OMG - totally forgot that...hilarious!
bar, ably bartended by Michael Winchester - since he was the first to die. I'll never forget that by closing weekend, there was one very small clear counter in the men's dressing room - the rest of the counter was the bar.
Then there was the night where I had the brilliant idea that we should mess with director Randy Dalmas, and do curtain call as dead bodies. Peter Fox, who had drowned, put one of those battery operated angel fish in his pants and spit water at everyone...then Randy called out bluff. He loved the dead parade curtain call and made us do it for the rest of the run.
To this day, the best stage play I've ever been in.
COMMENTS:
Fuzz Roark
Don't forget. "She's dead". "No, she's sleeping."
Ceej Crowe Or just plain, " Oh She Daid!"...or John Kelso getting slapped over and over by Karina Ferry in the green room - that was my favorite warm up
exercise.
Kristen Bishel Anyone else remember opening night drinks at the V where, after having a few strong Long Islands, John Kelso asked Karina Ferry to REALLY smack him in the face? And she did...hard!
Ceej Crowe OMG - totally forgot that...hilarious!
Sherrionne Brown remebers The Foreigner
The Foreigner! The funniest show ever. Every night it was so much fun watching Michael P. Sullivan tell us a story in a "foreign" language. Jonathan Claiborne as Owen, was the best bad guy, one of his best roles, I think, and Shane Logue as Ellard...priceless. Brad J. Ranno made one of my favorite show soundtracks. I still listen to it. Thanks, Brad!
So, three funny stories associated with this show. It started with a bang and went out with one.
Opening night, just before opening house, a railing was attached to the platform in the D corner, where the trapdoor was. Unbeknownst to us, a screw went into a corner of the trapdoor itself, holding it down. We came to the scene where Ellard is down in the basement. He's supposed to open the trapdoor and hold up a handful of sauerkraut. I'm standing there waiting, he's down there banging on that door, trying to get it open. I can see that one corner just isn't going to come up. I look at the audience.... They start tittering and finally, I said, "Well, I don't know..." and the audience erupted. I began ad-libbing like crazy. Finally, I said, "Ellard, just come back up the way you went down," and the audience roared. We went on with the scene, while Shane ran around the catacombs as fast as he could and ran onstage at the A corner, thrusting a handful of sauerkraut at me. It was hard to keep a straight face for that one. Yeah, they were frantically drilling that screw out at intermission.
I believe it was that weekend that so many seats were sold that extra chairs were put onstage over by the booth. I couldn't get to one of the props I needed, a broom, so an audience member handed it to me.
And finally, on the last moment of the last show, Peter Jensen, who played Froggy, decided to pour a shot of real whiskey in my glass. I think the rest of the cast was in on it. We clinked glasses, said "Blasny, blasny" and drank. That shot of whiskey went down and I yelled out an unscripted, "Woo!" at the top of my lungs...and the lights went out. Great show!
So, three funny stories associated with this show. It started with a bang and went out with one.
Opening night, just before opening house, a railing was attached to the platform in the D corner, where the trapdoor was. Unbeknownst to us, a screw went into a corner of the trapdoor itself, holding it down. We came to the scene where Ellard is down in the basement. He's supposed to open the trapdoor and hold up a handful of sauerkraut. I'm standing there waiting, he's down there banging on that door, trying to get it open. I can see that one corner just isn't going to come up. I look at the audience.... They start tittering and finally, I said, "Well, I don't know..." and the audience erupted. I began ad-libbing like crazy. Finally, I said, "Ellard, just come back up the way you went down," and the audience roared. We went on with the scene, while Shane ran around the catacombs as fast as he could and ran onstage at the A corner, thrusting a handful of sauerkraut at me. It was hard to keep a straight face for that one. Yeah, they were frantically drilling that screw out at intermission.
I believe it was that weekend that so many seats were sold that extra chairs were put onstage over by the booth. I couldn't get to one of the props I needed, a broom, so an audience member handed it to me.
And finally, on the last moment of the last show, Peter Jensen, who played Froggy, decided to pour a shot of real whiskey in my glass. I think the rest of the cast was in on it. We clinked glasses, said "Blasny, blasny" and drank. That shot of whiskey went down and I yelled out an unscripted, "Woo!" at the top of my lungs...and the lights went out. Great show!
Marianne Angelella -- Stories about Bathroom Humor!
Bathroom Humor 1993 directed by Anne O'Reilly. A ridiculous comedy rife with bathroom (?!) and drug humor. BH was my first Spots play and I think my first "main season" play at any Baltimore theatre. After failing miserably at reading the romantic leads and anxious to make a good impression, I offered to fill in during auditions reading the part of Peg, the over weight wall flower, opposite other auditionees. I kept hearing Rosie O'Donnell's voice (pre-talk show, A League of Their Own era), so that is how I played Peg- wise cracking bravado to cover up my insecurities. Apparently, Anne could see me in the role. I was cast. Being overweight was crucial to the character. I weighed 120 lbs. at the time. Sewing a queen size quilt worth of poly fill into a full body leotard was my weight gain solution (no "Raging Bull" method acting for me). One scene found Peg (in the bathroom, of course) fighting to pull up the zipper on her jeans. She ends up wrigging across the floor in the final zipper battle.
During tech week, from the dark of the theatre I hear Audrey's voice as she stepped up to the corner at 'A' : "Honey, this is supposed to be funny. It's a comedy. Let me show you how to do it." She got on the floor and acted the scene for me. I learned nothing from the lesson- but I'll ALWAYS have that image of Audrey writhing around on the floor truthfully battling with her imaginary zipper. I lost five pounds sweating in that queen size quilt. Wally Lodolinski was an Elvis impersonator and my love interest. Eric Stein was one of the handsome young men dashing in and out of the loo. 18 years later Eric and I would play Ouisa and Flan on another iconic B'more stage.... Thank you Spots and Audrey and Anne!
During tech week, from the dark of the theatre I hear Audrey's voice as she stepped up to the corner at 'A' : "Honey, this is supposed to be funny. It's a comedy. Let me show you how to do it." She got on the floor and acted the scene for me. I learned nothing from the lesson- but I'll ALWAYS have that image of Audrey writhing around on the floor truthfully battling with her imaginary zipper. I lost five pounds sweating in that queen size quilt. Wally Lodolinski was an Elvis impersonator and my love interest. Eric Stein was one of the handsome young men dashing in and out of the loo. 18 years later Eric and I would play Ouisa and Flan on another iconic B'more stage.... Thank you Spots and Audrey and Anne!
Joan Weber --- "Can you Hear me now?"
I performed in several shows at Spotlighters when Audrey was with us. The first show was a murder mystery. We were rehearsing in the lobby while Earnest in Love was in tech rehearsals in the theater. During a read-through of the script, one of the actresses followed the stage directions and let out an amazing blood-curdling scream. After a moment, a couple of costumed actors came crashing through the office to stop the crime that was obviously taking place in the lobby, only to find us relaxing on the couches. We looked at them, perplexed. Jimi Kinstle and Eddie Peters shrank back into the theater. Jimi and I still call that the day we first met. Happy anniversary, Spotlighters! I was blessed to have been told by Audrey several times that she couldn't hear me. :)
COMMENTS:
Rodney Atkins I recall a very complicated meeting in a play directed by Bill Kamberger, but I've lost the name of the play. I recall that Lisa Mix and Leo Knight
were in it; maybe one of them can recount the story.
Bill Kamberger Rodney, that would be The Common Pursuit (1990), the first play I directed at Spots (and my first full-length anywhere). Bill Chappelle and Laine Gillespie met for the first time to play husband and wife, and they married a couple of years later.
Rodney Atkins I remembered the names (is anybody in contact with them?), but the complication also had to do with double-casting the show, one cast for each act, younger/older. As I recall, there was one weekend when one of the cast members was unavailable, so one cast did the whole show that weekend. Among the scenes that Bill and Laine didn't normally do was a kissing scene. I believe I heard one of them say, "We started kissing and just never stopped."
COMMENTS:
Rodney Atkins I recall a very complicated meeting in a play directed by Bill Kamberger, but I've lost the name of the play. I recall that Lisa Mix and Leo Knight
were in it; maybe one of them can recount the story.
Bill Kamberger Rodney, that would be The Common Pursuit (1990), the first play I directed at Spots (and my first full-length anywhere). Bill Chappelle and Laine Gillespie met for the first time to play husband and wife, and they married a couple of years later.
Rodney Atkins I remembered the names (is anybody in contact with them?), but the complication also had to do with double-casting the show, one cast for each act, younger/older. As I recall, there was one weekend when one of the cast members was unavailable, so one cast did the whole show that weekend. Among the scenes that Bill and Laine didn't normally do was a kissing scene. I believe I heard one of them say, "We started kissing and just never stopped."
