Open Rehearsal: The Court Theatre Blog

The Mystery of Irma Vep

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October 22, 2009

Mystery Allusion #3 - BUT WHERE ARE THE SNOWS OF YESTERYEAR?

by Drew Dir in 2009/2010 Season, The Mystery of Irma Vep

Charles Ludlam’s knowledge of literature was formidable, and he peppered The Mystery of Irma Vep with canny allusions. We’re featuring several of those allusions every week until the opening of The Mystery of Irma Vep. Today’s selection is:

BALLAD OF THE LADIES OF BYGONE TIMES
(Ballade des dames du temps jadis)

BACKGROUND: This medieval French poem was composed by François Villon for his greatest work, The Grand Testament. Born in 1431, the French poet Villon was also known as a vagabond, a thief, and a murderer.   

THE ALLUSION: Jane (Erik Hellman) utters the line, “But where are the snows of yesteryear?” (In the play, she’s musing about the disappearance of werewolf footprints.) It is a famous English translation by Dante Gabriel Rossetti of the line “Mais où sont les neiges d’antan?”

Here’s Rossetti’s translation of the poem in full. (French translation is here.)


TELL me now in what hidden way is
Lady Flora the lovely Roman?
Where’s Hipparchia, and where is Thais,
Neither of them the fairer woman?
Where is Echo, beheld of no man,
Only heard on river and mere,—
She whose beauty was more than human? . . .
But where are the snows of yester-year?

Where’s Héloise, the learned nun,
For whose sake Abeillard, I ween,
Lost manhood and put priesthood on?
(From Love he won such dule and teen!)
And where, I pray you, is the Queen
Who willed that Buridan should steer
Sewed in a sack’s mouth down the Seine? . . .
But where are the snows of yester-year?

White Queen Blanche, like a queen of lilies,
With a voice like any mermaiden,—
Bertha Broadfoot, Beatrice, Alice,
And Ermengarde the lady of Maine,—
And that good Joan whom Englishmen
At Rouen doomed and burned her there,—
Mother of God, where are they then? . . .
But where are the snows of yester-year?

Nay, never ask this week, fair lord,
Where they are gone, nor yet this year,
Save with this much for an overword,—
But where are the snows of yester-year?

Check this blog again for a brand new Ludlam literary trick!

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October 21, 2009

Mystery Allusion #2 - THE MUMMY

by Drew Dir in 2009/2010 Season, The Mystery of Irma Vep

Charles Ludlam’s knowledge of literature was formidable, and he peppered The Mystery of Irma Vep with canny allusions. We’re featuring several of those allusions every week until the opening of The Mystery of Irma Vep. Today’s selection is:

THE MUMMY

BACKGROUND: Karl Freund’s 1932 film The Mummy invented a new role for horror star Boris Karloff, who had starred as the monster in Frankenstein the previous year. (Jack Pierce did Karloff’s makeup for both Frankenstein and The Mummy.) Inspired by the 1922 discovery of Tutankhamun’s tomb, the film tells the story of Imhotep, an ancient Egyptian priest mummified alive who is accidentally resurrected by archaeologists in modern times. Disguising himself as a modern Egyptian named Ardath Bey, Imhotep uses the Scroll of Toth to help him resurrect the soul of his ancient lover, Princess Ankh-es-en-amon. 

THE ALLUSION: Lord Edgar (Erik Hellman) is not only landed gentry but an accomplished Egyptologist and sarcophologist. Accompanied by Alcazar, a suspicious guide, he goes to Cairo to unearth the tomb of Egyptian princess Pev Amri. 

The trailer for The Mummy:

Check this blog again for a brand new Ludlam literary trick!

 

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October 20, 2009

Mystery Allusion #1

by Drew Dir in 2009/2010 Season, The Mystery of Irma Vep

Charles Ludlam’s knowledge of literature was formidable, and he peppered The Mystery of Irma Vep with canny allusions. Starting today, we’re going to feature several of those allusions every week until the opening of The Mystery of Irma Vep. Today’s selection is:

GHOSTS: a play by Henrik Ibsen

BACKGROUND: First performed in 1882, Ghosts is Henrik Ibsen’s commentary on nineteenth-century morality, full of buried secrets, hereditary philandering, and syphilitic madness.

THE ALLUSION: Remarkably, Ludlam begins Irma Vep by paraphrasing the first three lines of Ghosts. Observe the comparison:

THE MYSTERY OF IRMA VEP GHOSTS
Jane: Watch what you’re doing! You’re soaking wet! Don’t track mud in here! Regina: What do you want? Stay where you are, you’re dripping wet!
Nicodemus: It’s God’s good rain, my girl! Engstrand: It’s God’s good rain, my girl.
Jane: It’s the devil’s rain, that’s what it is! Regina: It’s the devil’s rain, that’s what it is!


Check this blog again for a brand new Ludlam literary trick!

 

 

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October 18, 2009

The Mystery of Irma Vep

by Drew Dir in 2009/2010 Season, The Mystery of Irma Vep

We’re on the eve of a sold out closing weekend of Ma Rainey’s Black Bottom, and while the actors are about to take their Tylenol Cold and muscle through the final performances of the show, here off the stage we’ve already shifted our focus to the second show of the season: THE MYSTERY OF IRMA VEP by Charles Ludlam.

A little introduction. Before I started at Court Theatre over the summer, I had never heard of Charles Ludlam, much less The Mystery of Irma Vep, and I was at best pretty agnostic about whatever this play was. Since I sat down in June to actually read it for the first time, however, the The Mystery of Irma Vep has fought and chewed its way to the top of my brain, such that Irma Vep is now The Play I Absolutely Cannot Wait to See in the 2009-10 season. For those of you who aren’t familiar with the work, like I was, this is what you
should know.

The Mystery of Irma Vep is a “penny dreadful,” a comedy that borrows from Victorian melodrama, Doylian mystery, German expressionist film, Universal monster movies, and innumerable classical sources to tell the sordid tale of the Mandercrest Estate, where Lady Enid is haunted by the vengeful spirit of her new husband Lord Edgar’s former wife, Lady Irma Vep. The servants Nicodemus Underwood and Jane Twisden initiate Lady Enid into the regrettable past of Irma Vep, her and Edgar’s dead son Victor, and a mysterious killer wolf that roams the moors. Add in a vampire, a werewolf, and an Egyptian mummy, simmer for ninety minutes in heavy camp, and already you have an absurd farce unlike anything that’s ever been seen on Court’s stage.

But here’s what really makes The Mystery of Irma Vep extraordinary: all 6+ characters in the plays are performed by strictly two actors. This isn’t just a case of creative double-casting. Ludlam engineered the play such that characters enter and exit at a rapid rate, meaning that actors must not only keep tabs on which character they’re portraying, but they must execute impossible costume changes within a matter of seconds. The skill demanded to perform this play, therefore, is not only artistic but athletic. You see, therefore, why I Cannot Wait to See This Show. Our two actors, Chris “Sully” Sullivan and Erik “You Saw Him in Arcadia, Remember?” Hellman, were hilarious at our first reading of the play, but they certainly have their work cut out for them to get this play ready by November 12. We’re also ecstatic that Sean Graney, visionary director and man’s-man-lady’s-man-man-about-town, is back at Court Theatre to direct Charles Ludlam’s magnum opus.

I’ll be back later to share some more information about Charles Ludlam, the Ridiculous Theatrical Company, and The Mystery of Irma Vep, including a daily look into the myriad sources that are bricolaged in the play. Check this blog early and often as we gear up for opening night!

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July 8, 2009

Sean Graney’s Oedipus

by Drew Dir in 2009/2010 Season, The Mystery of Irma Vep

This coming weekend is the last chance you’ll get to see Oedipus by The Hypocrites across town at the The Building Stage. The promenade-style production is directed by our artistic friend Sean Graney, who is directing Court’s upcoming The Mystery of Irma Vep. Most of the Court staff are going to see it this weekend (and Jack claims to have seen it multiple times already)—we’ll see you there, yes?

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