Podcast appearances and mentions of charles ludlam

Get ready for a behind-the-scenes look at The Mystery of Irma Vep – A Penny Dreadful at Everyman Theatre, where director, choreographer, and arts educator Joseph Ritsch brings gothic farce, drag, and campy spectacle together in a production bursting with sharp humor and political edge.In this episode, Joseph joins Rob Lee to unpack why Charles Ludlam's cult classic still hits hard today — blending outrageous comedy with queer history, lightning-fast costume changes, and a message that feels more urgent than ever.Gothic camp unleashed: why Irma Vep still dazzles with drag, horror, and farceTwo actors, eight roles, 30+ costume changes: the technical choreography behind the comedyQueer theater as protest: honoring Charles Ludlam's legacy and reclaiming space onstageBuilding community: Joseph's 15-year journey at Everyman Theatre and why it feels like homeMentoring young artists: how Everyman University's Observership Program connects students to the real work of professional theaterCheck out the THE MYSTERY OF IRMA VEP: A PENNY DREADFUL: Director Interview Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis. Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcast The Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

This conversation explores the reworking of Mae West's play 'The Drag' by a collaborative team of playwrights and directors. They discuss the origins of the play, the process of adapting it for contemporary audiences, and the importance of incorporating diverse voices and experiences in the rehearsal room. The conversation also highlights the role of choreography and movement in the production, the star-studded cast, and the audience's expected experience. The participants reflect on the political implications of the play and the importance of fostering conversations about queer identity and history.About EgoPo's 2024-25 Queer RevolutionsEgoPo's 2024-2025 season celebrates some of the century's most influential Queer plays and theater artists that have had a lasting impact on our culture. EgoPo's first mainstage production is a new version of The Drag by Mae West, directed by Rebecca Wright, devised and developed with AZ Espinoza and Thomas Choinacky. EgoPo's next mainstage production will be Turds in Hell by the Ridiculous Theatrical Company's Charles Ludlam and Bill Vehr, directed by Dane Eissler. The Drag will open on January 31, 2025 with Turds in Hell opening on April 11, 2025. We end the season celebrating the queer nightlife community with Philly is Burning: A Pride Gala. June 8th, enjoy an exquisite chinese banquet by the fabulous Jane Guo, a silent auction and performances from top Philly drag, ballroom and burlesque performers.TakeawaysMae West wrote 'The Drag' in response to negative portrayals of gay people in other plays.The collaborative process involved discussions about contemporary queer experiences.The rehearsal room is a space for diverse voices and feedback.Choreography plays a crucial role in expressing queerness in the production.The production aims to create a party-like atmosphere for the audience.The cast is composed of talented queer and trans individuals.The play engages with both historical and contemporary queer narratives.The production seeks to inspire empathy and understanding in the audience.The design elements will evoke a vibrant and colorful aesthetic.The conversation around the play includes reflections on politics and identity. Chapters00:00 The Origins of Mae West's 'The Drag'06:02 The Ensemble Experience: Voices in the Room11:57 Visual and Thematic Elements of the Production18:03 Audience Expectations and Experience24:01 Future Conversations and Audience TakeawaysFOR TICKETS AND INFORMATION: https://egopo.org/thedrag

"We are the things that were and shall be again." So a demonic flesh puppet tells Ash and his allies in a memorable scene from the classic splatstick flick Evil Dead II. In addition to being a rollicking piece of entertainment, Evil Dead II is an expertly crafted film whose director used every tool and technique to generate a cinematic experience that is – as the tagline went – "2 terrifying, 2 frightening ... 2 much!" In this episode, JF and Phil court the absurd by turning a fun 80s horror movie into a statement on the dread aspirations of matter and a shining example of the modern baroque. Listen to volume 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and volume 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2) of the Weird Studies soundtrack by Pierre-Yves Martel (https://www.pymartel.com) Support us on Patreon (https://www.patreon.com/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the new T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! Get your Weird Studies merchandise (https://www.redbubble.com/people/Weird-Studies/shop?asc=u) (t-shirts, coffee mugs, etc.) Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) SHOW NOTES Sam Raimi (dir.), [The Evil Dead II}(https://www.imdb.com/title/tt0092991/) Weird Studies, Episode 121 on Mandy and the Bandwagon (https://www.weirdstudies.com/121) Joe Bob Briggs (https://joebobbriggs.com/), American movie critic Chalres Ludlam (https://en.wikipedia.org/wiki/Charles_Ludlam), American actor Weird Studies, Episode 88 on Mr Punch (https://www.weirdstudies.com/88) Kenneth Gross, Puppet: An Essay on Uncanny Life (https://bookshop.org/p/books/puppet-an-essay-on-uncanny-life-kenneth-gross/1854?ean=9780226005508) Eduardo Viveiros de Castro, Cannibal Metaphysics (https://bookshop.org/p/books/cannibal-metaphysics-eduardo-viveiros-de-castro/9840023?ean=9781517905316) Bruno Schulz, The Street of Crocodiles (https://bookshop.org/p/books/the-street-of-crocodiles-and-other-stories-bruno-schulz/11699271?ean=9780143105145) Victoria Nelson, The Secret Life of Puppets (https://bookshop.org/p/books/the-secret-life-of-puppets-victoria-nelson/10858474?ean=9780674012448) Joseph Cermatori, Baroque Modernity (https://bookshop.org/p/books/baroque-modernity-an-aesthetics-of-theater-joseph-cermatori/16276768?ean=9781421441535)

With the term "weird studies" gaining currency inside and outside academia, Phil and JF thought it was time to discuss the philosophical method they've been developing on the podcast since 2018. Borrowing a term from Erik Davis, they call it weirding, and here set about trying to understand what it is, and what it means. David Lynch's fondness for crying, the practice of queering in cultural theory, the all-too-real phenomenon of "global weirding,"the spooky agency of artworks, and the tragic death of E.T. at the hands of Damien Hirst are just a few of the subjects touched on in the conversation. "Weirding" also happens to be the working title of the book your hosts are writing for Strange Attractor Press, as well as an eight-week series of lectures and discussions starting October 25th, 2022, on the Nura Learning platform. Header image: David Lynch, Mulholland Drive Link to the upcoming course: Weirding: An 8-Week Course With the Hosts of the Weird Studies Podcast (https://www.nuralearning.com) SHOW NOTES Ludwig van Beethoven, 9th Symphony James Elkins, Pictures and Tears (https://bookshop.org/a/18799/9780415970532) Eugenie Brinkema, The Form of the Affects (https://bookshop.org/a/18799/9780822356561) David Lynch (dir.), Mulholland Drive (https://www.imdb.com/title/tt0166924/) Gilkes Deleuze and Felix Guattari, What is Philosophy? (https://bookshop.org/a/18799/9780231079891) Weird Studies, Episode 121 on “Mandy” (https://www.weirdstudies.com/121) Erik Davis and Timothy Morton, “Uncanny Objects” (https://techgnosis.com/uncanny-objects/) episode of Expanding Minds Coen brothers (dir.), Hail Caesar (https://www.imdb.com/title/tt0475290/) Esther Williams (https://en.wikipedia.org/wiki/Esther_Williams), American swimmer Weird Studies, Episode 120 on Radical Mystery (https://www.weirdstudies.com/120) Douglas Rushkoff, Survival of the Richest (https://bookshop.org/a/18799/9780393881066) William Shakespeare, Macbeth (https://bookshop.org/a/18799/9780743477109) Erik Davis, “Weird Shit” (https://boingboing.net/2014/07/14/weird-shit.html) Pete Docter and Bob Peterson (dir.), Up (https://www.imdb.com/title/tt1049413/) Steven Spielberg (dir.), E.T. (https://www.imdb.com/title/tt0083866/) Alejandro Jodorowsky, Psychomagic (https://bookshop.org/a/18799/9781620551073) Martin Buber, I and Thou (https://bookshop.org/a/18799/9780684717258) Gilbert Simondon, Imagination and Invention (https://bookshop.org/a/18799/9781517914455) Weird Studies, Episode 106 the Wanderer (https://www.weirdstudies.com/106) Charles Ludlam, “On Camp” in Ridiculous Theater (https://bookshop.org/a/18799/9781559360418) Weird Studies, Episodes 14 and 15 on “Stalker (https://www.weirdstudies.com/14) Weird Studies, Episode 35 on M. C. Richards' “Centering” (https://www.weirdstudies.com/35)

Todd, Nick, and Percy are joined by Romana Isabella to look at queer theater in relation to queer games and how "queer" can manifest differently in each medium. Topics include queer historiography, Oscar Wilde, Charles Ludlam, Ms. Blakk for President, and how much Willy Loman sucks. Sources include: - "Fucking With Dignity: Public Sex, Queer Intimate Kinship, and How the AIDS Epidemic Bathhouse Closures Constituted a Dignity Taking" - Stephen M. Engel and Timothy S. Lyle   - “Discovery and Redefinition: Creating Openness and Agency via Queer Growth Routes” - Sarah Cypher - "The Incidental Queerness of Dungeons and Dragons" - Getting Medieval: Sexualities and Communities, Pre and Postmodern - Carolyn Dinshaw - "Powered by the Apocalypse: How a Rule-System Nurtured a Queer Fanbase" - Maria Fanning - Galatea - John Lyly - Ridiculous Theatre: Scourge of Human Folly: The Essays and Opinions of Charles Ludlam Dungeons and Drama Nerds is produced by Todd Brian Backus, Percival Hornak, and Nicholas Orvis, and is mixed and edited by Anthony Sertel Dean. Season Three features contributions from Christopher Diercksen, Ben Ferber, Kory Flores, Tess Huth, Romana Isabella, Leo Mock, Jon Jon Johnson, and Dex Phan. If you'd like to help us continue exploring the intersection of theatre and tabletop roleplaying games, consider leaving us a review on your podcast app of choice or supporting us - and getting access to our patron-only bonus content - at patreon.com/dungeonsanddramanerds. You can find our social media and website links, including our cast bios, at our linktree. Be sure to tune in next week for another episode of Dungeons and Drama Nerds!

Paul Brogan – A Sprinkling of Stardust Over the OuthouseAired Thursday, July 28, 2022 at 3:00 PM PST / 6:00 PM ESTJoin Lori Powers-Otto and myself this week as we interview author Paul Brogan. Paul will be discussing his latest book: A Sprinkling of Stardust over the Outhouse is the long-awaited follow-up to Paul Brogan's highly successful first book, Was That a Name I Dropped? released in 2011.Call-in with your questions: 202-570-7057More about Paul:Paul came out as gay when he was ten in the early 1960s and faced a number of obstacles for doing so. He approached them without losing sight of who he was, eventually winning over the naysayers who urged him to be someone other than himself.A Sprinkling of Stardust is a true story that is rich in detail as it tells Paul's story with humor and heart as well as harsh and sometimes shockingly brutal reality. In the 1980s, playing the starring role in a musical production of Peter Pan, Paul Brogan sang the song “Never Never Land.” The lyrics “I have a place where dreams are born, and time is never planned. It's not on any chart. You must find it with your heart. Never Never Land” had a great deal of meaning to Paul. Frequently he found himself getting choked up as he sang them.After coming out at the age of ten, Paul created his own Never Never Land. It represented a safe haven, a refuge where he could do and be himself. It was a place to which he escaped after being sexually abused, raped, and suffering a series of life-threatening health issues.His latest book is not a sequel to his 2011 best-seller, Was That a Name I Dropped? Instead, it is the rest of the story told in the same frank and honest manner that earned him kudos for the first book.It is funny, sexy, insightful, moving, and will have the viewer turning away in shock and horror in some instances. Ultimately, it is life.Enthusiastic Response to Paul Brogan's WritingWas That a Name I Dropped? is even more rare. It is a must-read, and incredible journey and the fastest and most enticing 532 pages I have enjoyed in years. (Tommy Lightfoot Garrett, Canyon News, June 19, 2011)Paul has now written a top-flight memoir, which has the narrative flow of a Dickensian novel. (David Kaufman, celebrated New York author of Ridiculous! The Theatrical Life and Times of Charles Ludlam [2002] and Doris Day: The Untold Story of the Girl Next Door [2008], May 30, 2011)It was a nice mixture of personal tragedy and high-octane gossip, and of course we all love titillation.” (Rex Reed, columnist, June 8, 2011)I also HIGHLY recommend Was That a Name I Dropped? by Paul Brogan. Paul has known EVERYONE in Hollywood. It is an incredible memoir accounting an incredible journey! (Richard Skipper; celebrated producer, performer, and writer; December 10, 2011) Paul Brogan was born in New Hampshire and grew up enjoying the natural beauty of the state that is nicknamed “The Granite State”. After attending Plymouth State University, he set out on a life adventure that took him, eventually, to Los Angeles where he worked at CBS Television City.Along the way he provided collaborative assistance and research support for two successful books, “Crowning Glory” (1996), the autobiography of celebrated Hollywood Hairstylist to the Stars, Sydney Guilaroff, and “Doris Day, The Untold Story of the Girl Next Door” by David Kaufman (2008). Paul has also written several plays, musicals and screenplaysPaul's first book, “Was That a Name I Dropped?” was released in 2011 and was so successful that it hit number-one on numerous best-seller lists. It was hailed for its frankness.Paul has won numerous awards for his writing and in 2014 won a New Hampshire Press Association Award for his blogging. He currently teaches film classes for the OLLI Program at Granite State College and since 2018 has hosted a television talk show entitled “Capital Area Chats”. His book, “The Concord Theatre and Concord's Love Affair with the Movies” released in 2019 by Plaidswede Publishing, becoming a number-one best-seller.Visit the Dr. Kevin Show page at https://omtimes.com/iom/shows/dr-kevin-show/Connect with Dr. Kevin Ross Emery at http://www.mydrkevin.com/#PaulBrogan #DrKevinRossEmery #TheDrKevinShowSubscribe to our Newsletter https://omtimes.com/subscribe-omtimes-magazine/Connect with OMTimes on Facebook https://www.facebook.com/Omtimes.Magazine/ and OMTimes Radio https://www.facebook.com/ConsciousRadiowebtv.OMTimes/Twitter: https://twitter.com/OmTimes/Instagram: https://www.instagram.com/omtimes/Linkedin: https://www.linkedin.com/company/2798417/Pinterest: https://www.pinterest.com/omtimes/

For Video Edition, Please Click and Subscribe Here: https://youtu.be/f8DGWUvItk8 Alan Eichler has been a longtime publicist, talent manager and producer, representing plays by Terrence McNally, Tom Eyen, Charles Ludlam, Paul Zindel, and many others, as well as such musicals as "Hello, Dolly!", "George M!", "Barnum," and "Seven Brides For Seven Brothers." His management and publicity clients have included Patti Page, Anita O'Day, Yma Sumac, Johnnie Ray, Maxene Andrews of the Andrews Sisters, Nellie Lutcher, Hadda Brooks, Ruth Brown, LaVern Baker, Monica Lewis, and Ella Mae Morse. He co-produced the original productions of Tom Eyen's "Women Behind Bars" and Geraldine Fitzgerald's "Streetsongs" and is executive producer of the Jeffrey Schwarz documentary, "Swanson on Sunset."  

Part two of  "Mambo Murders!"  Vicious Victorian Kate Webster lands in London, where she wreaks havoc and fine-tunes her penchant for cold-blooded killing!  With music, mayhem and murder!  Join your host, Dickie Fiorintino and the County Morgue Community Players.   Plus a special message from  concerned citizen  Helen Irving!Written/produced by Charles Yarboro with the County Morgue Community Players.Parental guidance advised.  Contains drug use, violence, murder.

Playwright, actor, and director Charles Ludlam (1943-87) helped to galvanize the Ridiculous style of theater in New York City starting in the 1960s. Decades after his death, his place in the chronicle of the American theater has remained constant, but his influence has changed. Although his Ridiculous Theatrical Company shut its doors, the Ludlamesque Ridiculous has continued to thrive and remain a groundbreaking genre, maintaining its relevance and potency by metamorphosing along with changes in the LGBTQ community. Author Sean F. Edgecomb focuses on the Neo-Ridiculous artists Charles Busch, Bradford Louryk, and Taylor Mace to trace the connections between Ludlam’s legacy and their performances. Using alternative queer models such as kinetic kinship, lateral historiography, and a new approach to camp, Charles Ludlam Lives!: Charles Busch, Bradford Louryk, Taylor Mac and the Queer Legacy of the Ridiculous Theatrical Company (University of Michigan Press, 2017) demonstrates that the queer legacy of Ludlam is one of distinct transformation— one where artists can reject faithful interpretations in order to move in new interpretive directions. Originally from the North Shore in Massachusetts, Toney Brown is a theater director/performer in New York City. He studied Theater Arts at the University of Massachusetts, Amherst. In NYC, was a Performance Project Fellow at the University Settlement and adapted Harmony Korine’s A Crack Up at the Race Riots at Theater for a New City’s Dream Up Festival. In addition, he was worked extensively with the director Dennis Yueh-yeh Li adapting King Lear, assistant directed Maeterlinck’s The Blind, and performing in his production of Albert Camus’ Caligula (Chaerea) as part of the New Ohio Theater’s Producers Club Festival. When he is not podcasting on NBN, he hosts NYTF Radio, a podcast exploring the history of Yiddish Theatre for the National Yiddish Theatre Folksbiene, available on all platforms. He is an enthusiastic cinephile and avid Red Sox fan.   Learn more about your ad choices. Visit megaphone.fm/adchoices

I'm very excited to bring you this week's guest — the fabulous actor and playwright Charles Busch, who first rose to prominence in the 1980s with the show Vampire Lesbians of Sodom and followed up with such hits as Die Mommy Die, Psycho Beach Party, and The Allergist's Wife, for which he earned a Tony nomination. For the first decade of his career, Charles was a struggling writer who traveled the country with exhausting one-man shows, but his big break came when he wrote a just-for-fun skit with some friends that happened to get the attention of a New York Times theater critic.In our conversation, Charles talks about some of the figures who inspired him, in particular the legendary gay theater pioneer Charles Ludlam, who helped create a new artistic movement in the 60s called Theater of the Ridiculous. Ludlam's career is a fascinating journey, and includes a strange and beautiful collaboration with Madeline Kahn. I'm currently working on a YouTube video that explores that collaboration, to be released next week. Keep an eye on my YouTube channel, at YouTube.com/mattbaume, and hit the bell on the subscribe button to get notified when that video comes out.And big thanks to everyone who makes the Sewers of Paris possible with a pledge of support on Patreon! Click “support the show on Patreon” to check out the rewards for backers.And I hope you'll join me for our next fun friendly livestream on April 25 at 11am Pacific. I've been trying something new with the livestreams: rather than just sitting there and talking, I play some super relaxing videogames while we all chat about what we've been up to. It's been a really soothing way to kick back and hang out and get away from the daily stress of, you know, everything. There's a link at the top of the Sewers of Paris twitter feed.And by the way, if you like nerdy queer podcasts you may enjoy my narrative comedy shows Queens of Adventure and Queens of Adventure Legends for an escape into a world of fantasy, with drag queens playing Dungeons & Dragons. Queens of Adventure features an ongoing fantasy story with a regular cast, and Queens of Adventure Legends features recordings of live shows and stand-alone stories. Queens of Adventure: Legends is perfect for new listeners, with adventures sized for one or two sittings and introductions at the start of each episode. You can subscribe to both shows at QueensOfAdventure.com, or search your favorite podcast app.

On this episode of the Yay, Norman and I welcome back Alicia Von Kugelgen (@disneytipmama), who was previously on Episode 46, and she brings Dana Lewenthal (@leadingladydelights) on – she and Alicia are a two-woman show in The Mystery of Irma Vep, by Charles Ludlam and directed by Mike Reynolds. The Mystery of Irma Vep is produced at the Role Players Ensemble in Danville. Alicia is also a booking agent for Disney and cruise vacations, so ff you're looking to book your next vacation, by all means, send business to Alicia and use www.pixievacations.com. Dana is also a baker, so by all means, hit up Dana at www.leadingladydelights.com. She fed us chocolates and I absolutely loved them! SHOUTOUTS: Everyday Alice (Utopia Theatre Project) Feb 15 – Mar 9 (http://www.utopiatheatreproject.com) Norman Gee is in the show Maryssa Wanlass (Episode 93) is directing the show Brooklyn Bridge (Town Hall Theatre) Feb 28 – Mar 22nd www.townhalltheatre.com Tom Reilly (Episode 40) is in the show La Ronde (Cutting Ball Theatre) Mar 14 – Apr 14 www.cuttingball.com Jeunee Simon – good friend of mine – is in the play The Mystery of Irma Vep (Role Players Ensemble) Apr 12 – Apr 28 https://www.roleplayersensemble.com Alicia Von Kugelgen (Episode 48 & 101) and Dana Lewenthal is in the play

An August 10, 1989 interview in which the artist Stuart A. Sherman (November 9, 1945 – September, 14 2001) remembers the actor, director, and playwright Charles Braun Ludlam (April 12, 1943 – May 28, 1987).

One-on-One Conversation with Taylor Mac and Lee Breuer: On May 14, 2012, SDCF hosted a One-on-One conversation at the Axis Theatre Company in New York between theatre artists Lee Breuer and Taylor Mac, hybrid theatre artists of limitless imagination and inventiveness working mostly in experimental theatre both nationally and internationally, moderated by Mark Russell, Artistic Director and Producer of the Under the Radar Festival produced by The Public Theater. These artists, who work in multiple disciplines, discuss gaining power through their individuality and originality and identify those singular artists and companies from the past, most notably Charles Ludlam and The Ridiculous Theatre, whose work has inspired and influenced their own. They express their hopes for the future or theatre, and what they gain and learn by working internationally. They share their personal definitions of success and why their work is categorized as political. This insightful conversation sheds light on how to create theatre that is personal, relevant, collaborative and unique. Originally recorded - May 14, 2012. Running Time - 1:23:00 © 2012 SDCF

On May 14, 2012, SDCF hosted a One-on-One conversation at the Axis Theatre Company in New York between theatre artists Lee Breuer and Taylor Mac, hybrid theatre artists of limitless imagination and inventiveness working mostly in experimental theatre both nationally and internationally, moderated by Mark Russell, Artistic Director and Producer of the Under the Radar Festival produced by The Public Theater. These artists, who work in multiple disciplines, discuss gaining power through their individuality and originality and identify those singular artists and companies from the past, most notably Charles Ludlam and The Ridiculous Theatre, whose work has inspired and influenced their own. They express their hopes for the future or theatre, and what they gain and learn by working internationally. They share their personal definitions of success and why their work is categorized as political. This insightful conversation sheds light on how to create theatre that is personal, relevant, collaborative and unique.

While playing both a farmer and his wife in Red Bull Theatre Company's "The Witch of Edmonton", Everett Quinton talks about appearing in Jacobean drama and getting to watch the rest of the company at work when he's not on stage. He also talks about studying theatre at Hunter College after a stint in Thailand during the Vietnam War; meeting Ridiculous Theatrical Company founder Charles Ludlam without really understanding who Ludlam was; becoming Ludlam's life partner and a member of the Ridiculous Company's "outer circle" of artists; becoming an actor under the tutelage of Ludlam; coming into his own as a performer in such pieces as "Galas" and "The Mystery of Irma Vep", confessing he only really came to understand "Vep" 14 years after its debut, when he directed it in revival, even though he'd performed in it 331 times; how Quinton came to be a leading actor and the costume designer for the Ridiculous; the challenge of sustaining the troupe after Ludlam's death from AIDS in 1987, when he assumed the mantle of artistic director; whether he was able to expand his own theatrical horizons after Ludlam's passing; what it meant to become a working actor when the Ridiculous closed in 1997; having the opportunity to do work in regional theatres such as McCarter and The Shakespeare Theatre; and the experience of auditioning to play the Wicked Stepmother in a tour of Rodgers and Hammerstein's "Cinderella" when all of the other finalists were women. Original air date - February 16, 2011.

While playing both a farmer and his wife in Red Bull Theatre Company's "The Witch of Edmonton", Everett Quinton talks about appearing in Jacobean drama and getting to watch the rest of the company at work when he's not on stage. He also talks about studying theatre at Hunter College after a stint in Thailand during the Vietnam War; meeting Ridiculous Theatrical Company founder Charles Ludlam without really understanding who Ludlam was; becoming Ludlam's life partner and a member of the Ridiculous Company's "outer circle" of artists; becoming an actor under the tutelage of Ludlam; coming into his own as a performer in such pieces as "Galas" and "The Mystery of Irma Vep", confessing he only really came to understand "Vep" 14 years after its debut, when he directed it in revival, even though he'd performed in it 331 times; how Quinton came to be a leading actor and the costume designer for the Ridiculous; the challenge of sustaining the troupe after Ludlam's death from AIDS in 1987, when he assumed the mantle of artistic director; whether he was able to expand his own theatrical horizons after Ludlam's passing; what it meant to become a working actor when the Ridiculous closed in 1997; having the opportunity to do work in regional theatres such as McCarter and The Shakespeare Theatre; and the experience of auditioning to play the Wicked Stepmother in a tour of Rodgers and Hammerstein's "Cinderella" when all of the other finalists were women. Original air date - February 16, 2011.

The 1985 Joseph Maharam Foundation Awards for Scenic, Costume, and Lighting Design are awarded to Lawrence Eichler, Charles Ludlam, and Everett Quinton for The Ridiculous Theatrical Company's The Mystery of Irma Vep; Mel Carpenter, Angus Moss, and Blu for Ping Chong's Fiji Theatre Company's NOSFERATU: A Symphony of Darkness; and Heidi Landesman (Tony winner for her scenic designs of Big River and The Secret Garden), Patricia McGourty, and Richard Riddell (Tony winner) for Broadway's Big River. The designers discuss their respective productions in-depth. In addition, Henry Hewes receives an award for Outstanding Service For His Recognition Of Theatre Design.

The 1985 Joseph Maharam Foundation Awards for Scenic, Costume, and Lighting Design are awarded to Lawrence Eichler, Charles Ludlam, and Everett Quinton for The Ridiculous Theatrical Company's "The Mystery of Irma Vep"; Mel Carpenter, Angus Moss, and Blu for Ping Chong's Fiji Theatre Company's "NOSFERATU: A Symphony of Darkness"; and Heidi Landesman, Patricia McGourty, and Richard Riddell for Broadway's "Big River". The designers discuss their respective productions in-depth. In addition, Henry Hewes receives an award for Outstanding Service For His Recognition Of Theatre Design.