RABBIT TRAILS: DISPATCHES FROM THE SHED
Updates, news and blog stories from around the Ted and Company universe.
This hat…it’s called a toboggan in certain parts of North America…a woolen hat with ear flaps. We bought them in Ontario for the show DoveTale, written with Ingrid De Sanctis in 1997. They are more common now across the US, but in 97, especially in the lower states, not so much. Something happens to me when I put this hat on, it somehow feels as if my IQ drops precipitously, perhaps around 60-80 points when the hat slips over my ears. Ingrid and I both wore them for DoveTale, two shepherds, Egan and Maggie. They were Irish – because the accents are so much fun – and loveable, but my character was, how shall we say, less than intellectually vigorous. It was always a delight to play this scene, broad comedy with numerous opportunities to confound Lee’s Gabriel. I wore the darker hat, I believe mostly because Ingrid’s dark long…
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Someone asked me recently why I still go to church. The question came out of a conversation where the asker had stopped going, a result of several factors – rejection of fundamentalism, hypocrisy of attendees, a middle aged opening of the mind to the possibility of doubt. My answer was in part: “ You never know when God might show up.” “So why do you need to go to church to find that?” Me: “Because, I like gathering with people who are looking for the same thing and you don’t get that without showing up.” I walked into church this spring, to see floating fabric rippling in the currents of air. They were strung from the front of the sanctuary to the back, drawing your eye up and then toward the peak at the front of the church. They were sheer; orange, red, yellow, and gold. It was Pentecost season…
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Our newest show, Laughter Is Sacred Space, sold out its premier shows in Harrisonburg on Sept 14 and 15. Of course, like most premiers, there was anxiety. But when it’s an original work there are questions you don’t find with other shows, mostly around the script—is it sharp enough? Is it too long? Does it tell the story honestly and truthfully without diverting and confusing detours? My experience over the years with playwriting is to overload the writing portion, tweak until the last minute and then allow experience and intimate knowledge of the material to guide the acting portion of the show. During rehearsal and performance — there nestled in the back of my mind — is always the writer’s voice. Assessing the beat, the line, the scene. It has been satisfying to see people respond to the show. There is laughter and tears; the best moments are when audience members…
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Laughter has always been a huge part of my working career, working as a writer and actor in comedic theater. Most etymologists, those who study where words come from, believe that the word humor is derived from the same root as in the word human, humility and — my favorite — humus, meaning “of the earth, connected to the dirt, soil” — that which makes things grow, where things are real, gritty and full of nutrients. To laugh is to be grounded in the best possible way. A sense of humor is a proclamation that I am fully human. It is a sacred space. On a path to be a Mennonite pastor, I had gone back to school at age 30 in order to prepare for seminary, along with three small children, a supportive wife and a congregation sponsoring us. While in undergrad I took an acting class, and fell…
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In the fall of 2012 I am kicking off a tour of Laughter is Sacred Space, a multi media show based on my relationship with Lee Eshleman, my creative partner of 20 years. It reflects the joy of discovering comedic soul mates, illustrates the struggles and euphoria of creating a career together, and explores the journey through grief after Lee’s suicide. Live theater is an experience that can’t be duplicated. When an audience and actor share the same physical space you have the possibility of intimacy, impossible in TV or film. When someone makes a decision to attend a live theater event, they are making an emotional commitment to being involved in the story, the imagination of the writer, the vision of the director, and in the lives of the actors. Actors are a strange lot. Some people might think an actor is someone who puts on something in order…
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In 1986 while living in Pennsylvania, Jessie Glick, member of Plains Mennonite church where Sue and I were attending, handed me a VHS tape. It was The Cotton Patch Gospels written by Tom Key and Russell Treyz with music by Harry Chapin. The musical which played off-Broadway was based on the writings of Clarence Jordan- The Cotton Patch Version of Matthew and John. I loved this version of the texts, and Clarence’s whimsical and biting take of the teachings and life of Jesus helped incubate my own work. Fish-Eyes, written with Lee Eshleman in 1994, owes a debt of inspiration to Tom Key, Russell Treyz and Clarence Jordan. I am privileged on September 29 to be part of Clarence Jordan Symposium. It is celebrating the 100th “birthday” of Jordan and an appreciation of his work. Clarence Jordan was a innovative progressive thinker and life example creating Koinonia Farms, a racial integrated…
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