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Topic: Ludlam, Charles

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	glbtq >> arts >> Ludlam, Charles
		Ludlam graduated from Hofstra University in 1965 before moving to New York City to begin a career as one of the innovators of what became known as "Theatre of the Ridiculous." While at Hofstra, according to Steven Samuels, Ludlam "finally discovered the source of his outrageous, excessive 'difference': he was
		Ludlam made his first New York stage appearance in 1966 at the Play-House of the Ridiculous, a group formed by playwright Ronald Tavel and director John Vaccaro.
		Ludlam was diagnosed with AIDS late in November of 1986 and died May 28, 1987.
	www.glbtq.com /arts/ludlam_c.html (829 words)

	Ridiculous! The Theatrical Life and Times of Charles Ludlam - David Kaufman
		Charles Ludlam was a man of the theater with the ego of no less personages than Moliere, Shakespeare and Wilde.
		Ludlam started to break the mold for himself in high school in the early 60s with his long hair and outrageous costumes that brought him the admiration and derision of fellow students and faculty.
		Ludlam was both a visionary and ruthless opportunist, but he was always honest professionally and unapologetically gay in every sense of the word.
	www.culturevulture.net /Books/Ludlam.htm (1196 words)

	davidwarrenonline.com - ESSAYS ON OUR TIMES (Site not responding. Last check: 2007-10-20)
		Ludlam, who was not only "gay" but anarchic, promiscuous, drug-addicted, ruthlessly opportunist, a pathological liar and a genius, is one of my weirder heroes.
		He is the person to whom I would have referred the issue of "same-sex marriage", instead of to the Canadian Supreme Court, which took it up this last week, and is expected to report its predictable findings to Parliament early next year.
		Everyone is a creature of his time, and I suppose Ludlam must always speak from his.
	www.davidwarrenonline.com /SunSpec/Oct04/index143.shtml (682 words)

	Charles Ludlam's Punch Show
		Since his demise in 1987, Charles Ludlam, a key Þgure in the N.Y. avant- garde theatre during the'70s and '80s, playwright, performer, author, teacher, and fearless leader of the Ridiculous Theatre has become an increasingly important inþuence on continuing experimental theater efforts of the Absurdist strain.
		Since Ludlam credited his exposure at age 6 to a Mineola, N.J.fairground Punch and Judy show, as the start of his lifelong quest for"supreme" theatre, his own Obie-recognized Punch show, produced for children in Manhattan on West 11th St. starting in 1975 is worth remembering.
		Ludlam was an omnivorous student of theatrical traditions, particularly the popular commercial stage of the 19th century.
	profwill.spymac.com /Puppetry/Ludlam.html (773 words)

	Charles Ludlam - Wikipedia, the free encyclopedia
		Charles Ludlam (April 12, 1943 - May 28, 1987) was an American actor and playwright.
		Ludlam usually appeared in his plays, and was particularly noted for his female roles.
		Ludlam, Charles, Ridiculous Theatre: Scourge of Human Folly: The Essays and Opinions of Charles Ludlam, edited by Steven Samuels, 1992.
	en.wikipedia.org /wiki/Charles_Ludlam (583 words)

	glbtq >> literature >> Contemporary Drama
		One of Tavel's actors in the mid-1960s was the prodigiously talented, ambitious Charles Ludlam, whom Tavel fired after the troupe presented one of Ludlam's plays in 1967.
		Ludlam's theater survived his death in 1987 and, under the direction of his lover, Everett Quinton, continues to this day.
		Ludlam's The Mystery of Irma Vep (1984), in which two male actors portray all the male and female characters in a sendup of a Victorian "penny dreadful," has become one of the most popular plays in regional theater productions.
	www.glbtq.com /literature/contemp_drama.html (552 words)

	Amazon.com: Ridiculous!: The Theatrical Life and Times of Charles Ludlam: Books: David Kaufman (Site not responding. Last check: 2007-10-20)
		Ludlam, who died from AIDS in 1987 at age 44, founded his company at 23, was profiled in the New Yorker at 33 and wrote scores of plays before his death.
		Ludlam's odd, strict, Catholic household and childhood, the creation and success of the Ridiculous Theatrical Company, and his death from AIDS in 1987 are all well rendered.
		Ridiculous!: The Theatrical Life And Times Of Charles Ludlam is the award-winning biography of an especially talented man who first appeared in in an Off-Broadway production in the early 1960s and continued with a theatrical passion until his untimely death from AIDS in 1987 at the age of 44.
	www.amazon.com /Ridiculous-Theatrical-Times-Charles-Ludlam/dp/1557835888 (1850 words)

	Charles Ludlam
		Critically, Ludlam's works were often overlooked or misunderstood, and since his death The Mystery of Irma Vep is the one of his 29 plays that is consistently performed in regional theatres.
		Ludlam, the actor/director/writer/artistic director of the Ridiculous Theatre, knows a lot about creating art and as a result of his experience, has some very strong opinions on the subject.
		The essays included in this anthology are extremely insightful and thought-provoking as Ludlam proffers his opinions on every subject from critics to drag to opera (and everything in between).
	www.queertheory.com /histories/l/ludlam_charles.htm (582 words)

	Berkeley Repertory Theatre
		Charles Ludlam was a bit mad; mad in that wildly inventive, courageous way that leads one either to genius or ineptitude.
		And yet Charles Ludlam was an “underground” artist whose aesthetic was about tearing down the cultural elite and mainstream society in general.
		Yes, Charles Ludlam questioned sexual norms; yes, he underscored the social construction of gender; yes, he created a space for the gay performer, but he never argued, preached, pleaded or, for even a moment, took himself seriously.
	www.berkeleyrep.org /HTML/Season0304/IV_programnotes.html (3425 words)

	washingtonpost.com: An 'Earnest' That Won't Go to Camp
		Ludlam's farces were also among the first in New York to address explicitly homosexual themes.
		Ludlam and Quinton won the hearts of critics and huge audiences with their split-second changes of costume and character in an uproarious sendup of bad melodrama.
		With Ludlam, Quinton honed his stage skills and gifts, burnishing them with research into the styles of acting he might be satirizing at any given time.
	www.washingtonpost.com /ac2/wp-dyn/A62277-2004Nov19?language=printer (1418 words)

	Welcome to the Best of New Orleans! Theater Review 08 19 03
		For instance, Ludlam says that the aim of his theater is "to get beyond nihilism by revaluing combat." Not what one would have expected from the author of Isle of the Hermaphrodites, Turds in Hell, or that insane tribute/nose-thumb to Wagner (with its totally invented, Yiddish-flavored language), Der Ring Gott Farblonget.
		Part of the trick in playing Ludlam is to bring the character to life -- in between the lines, as it were, since the lines and situations are so utterly bizarre.
		Bluebeard was not only Ludlam's first big hit, it was a breakthrough artistically as well, since it marked the beginning of his own whacked-out sense of "the well-made play." Nonetheless, I don't think it's among the very best of his scripts.
	www.bestofneworleans.com /dispatch/2003-08-19/thea_review.html (812 words)

	How Ridiculous!: Tunes, Tomes, & Videos on TheaterMania.com
		The book traces the arc of Ludlam's life and career from his formative years to his early days and his eventual break with John Vaccaro's Playhouse of the Ridiculous, his first mainstream success with Bluebeard, his signature role as Marguerite in Camille, and his relationship with longtime companion and theatrical protégé Everett Quinton.
		Kaufman spends pages and pages describing how each member came to the group, when he or she had sex with Ludlam, when people had affairs outside of the group and with whom, and how all of this related to the work they were doing with the company.
		Apparently, sex with Ludlam was almost an initiation rite for new members of the company; Kaufman quotes Ethyl Eichelberger as saying "You had to sleep with Charles, or he didn't trust you." (There are times, of course, when Kaufman goes a bit overboard with sexual details.
	www.theatermania.com /content/news.cfm/story/2783 (862 words)

	Irma still thrills - Westside Theater, New York, New York - Review Advocate, The - Find Articles
		Although Ludlam was legendary for his drag performances in the title role of Camille and as the Callas-like diva in Galas, most of his 29 plays were erudite comic pastiches of various literary genres (from fairy tales to science fiction) that rarely attracted mainstream audiences.
		The original production was essentially a tribute to their close-knit partnership, which ended with Ludlam's death in 1987, one of the theater world's most devastating AIDS casualties.
		Ludlam was a formidable talent steeped in classical literature and performance who could descend into camp and low comedy to get the effect he wanted and then return to dramatic heights.
	www.findarticles.com /p/articles/mi_m1589/is_1998_Nov_10/ai_54879392 (647 words)

	Cincinnati CityBeat : 02/08/2006 : Pop Culture Spoof (Site not responding. Last check: 2007-10-20)
		Charles Ludlam was not interested in a gay-themed theater patterned after straight theater.
		Ludlam feels free to change the setting without notice to the Egyptian desert, where we get some new characters and many more shenanigans.
		There is some very nice design work here, particularly the costumes by Charles Russell, which serve not only the characters but the quick changes as well, and the set by Ted J. Weil, which works to set the mood in a very small space.
	www.citybeat.com /2006-02-08/webonstage2.shtml (640 words)

	Aisle Say (CT): THE MYSTERY OF IRMA VEP
		Charles Ludlam's plays are ridiculous -- and I mean that literally.
		Ludlam himself was brilliant in drag, and his plays frequently cast men in women's roles and vice versa.
		Ludlam's Ridiculous Theatrical Company was made up of friends, freaks, enthusiasts and people who wandered in off the street.
	www.aislesay.com /CT-IRMAVEP.html (724 words)

	'The Mystery of Irma Vep' Opens Iowa Summer Rep's 'Summer Camp' June 22 - University News Service - The University of ...
		Ludlam's 1984 gothic spoof for his Ridiculous Theatrical Company might be offered as Exhibit A in any definition of theatrical "camp." With two actors, each performing four roles that require rapid-fire changes of costumes, wigs and personalities, Ludlam borrows freely from popular films, Shakespeare, Ibsen, Poe, Plato, Oscar Wilde and even Omar Khayyam.
		Ludlam describes 'Vep' as 'a full-length quick-change act,' and he isn't kidding.
		After Ludlam's death in 1987 the banner of ridiculous theater was taken up by Busch, who wrote and starred in his own theater pieces, broke into Broadway and is now a rising movie star.
	itsnt166.iowa.uiowa.edu /uns-archives/2006/june/060806irma_vep.html (1129 words)

	Review of "The Mystery of Irma Vep"
		Ludlam was a true, scenery-chewing, drag diva, but since the audience at Weston probably had never heard of Ludlam until last night, Lloyd's performance was good enough to satisfy.
		This is actually the third area production of Ludlam that I am aware of in as many years, and the second of "Irma Vep" - his most performed work.
		They usually featured Ludlam in full drag and were placed next to the ads for Divine in "Pink Flamingoes" and Bette Midler appearing at the gay bathhouse.
	myvanwy.tripod.com /companies/weston/irmavep.html (571 words)

	2006 Philadelphia International Gay & Lesbian Film Festival \| Artistic Achievement Award • Charles Busch (Site not responding. Last check: 2007-10-20)
		Charles Busch was born in New York City (where he still resides) in 1954; he is the quintessential New Yorker.
		Charles' first Broadway hit was "The Tale of the Allergist's Wife," which ran for 777 performances.
		Charles stars as a gay male nurse who helps raise a young sissy boy who has overriding obsessions with classic film and theater.
	www.phillyfests.com /piglff/templates/busch.cfm (745 words)

	Temple University News Bureau - News Releases (Site not responding. Last check: 2007-10-20)
		In the manifesto he wrote for his Ridiculous Theatrical Company, playwright Charles Ludlam instructs, "This is farce not Sunday school"--a statement underscored by the 29 productions he wrote, directed and starred in over two decades.
		In the play, the characters are identified as "Charles, a playwright," and "Everett, his man Friday." The premise is an exaggerated send-up of the playwright's classic dilemma: he sits down to write in peace and quiet under the pressure of a looming deadline only to encounter unrelenting interruptions from what looks like the entire world.
		In bringing Ludlam's deliciously subversive style of comedy to the stage, Cotter is ever mindful of the demands of theatrical farce.
	www.temple.edu /news_media/hkg252.html (445 words)

	Amazon.com: The Complete Plays of Charles Ludlam: Books: Charles Ludlam (Site not responding. Last check: 2007-10-20)
		With Ludlam's brilliant career stopped in mid-stride by his 1987 death from AIDS, these plays are important in preserving and transmitting his odd genius, in validating the positive if sometimes preposterous results of a risk-taking not often seen in contemporary American theatrical productions.
		Charles Ludlam's Theater of the Ridiculous was one of the pioneering gay theater companies of the twentieth century.
		Ludlam's Camille follows the story of the original very closely, but he adds modern touches to make the humour more contemporary.
	www.amazon.com /Complete-Plays-Charles-Ludlam/dp/0060551720 (974 words)

	03/23/99 Committee on the Judiciary - Ludlam Statement
		Ludlam has served as BIO's Vice President for Government Relations since BIO was founded in July, 1993.
		Prior to this he served as legal counsel to House and Senate Committees and Subcommittees from 1975-1979 and 1982-1993, counsel to the White House from 1979-1981, and trial attorney at the Federal Trade Commission from 1972-1975.
		Professor Lemley suggests that because of the new law the prosecution times will be reduced by 20%, under the new law, Professor Lemley's data still indicates that the average biotechnology patent will still loose patent term.
	judiciary.house.gov /legacy/106-ludl.htm (5480 words)

	The Dickens, He Says (Seattle Weekly)
		FOR ME, AS FOR most of its fans, New York's famed Theater of the Ridiculous was Charles Ludlam, its founder, dramatist, and star performeror at least so it was until I saw The Artificial Jungle, Ludlam's dark and steamy stage send-up of classic film noir.
		Uncharacteristically, Ludlam played a secondary character in Jungle, the pathetic pet-shop owner betrayed by his floozy of a wife.
		For 10 years after Ludlam's death in 1987, Quinton tried to keep the Ridiculous going, at first by mounting as yet unperformed Ludlam scripts, then, more successfully, by performing shows of his own devising.
	www.seattleweekly.com /arts/0348/031126_arts_dickens.php (711 words)

	The Seattle Times: Theater & arts: "Irma Vep": 2 guys, 8 characters, one big wardrobe
		But the prime Intiman slot is an indication that Ludlam's stylishly absurd send-up and valentine to monster movies, Gothic novels, old-time melodrama and Shakespearean hammery may well have the staying power of a comedy classic.
		But the deliberately silly agitations of the plot are secondary to Ludlam's celebration of old-school acting and quick-change theatrics, and his incorrigible panache for sprinkling puns, pan-sexual double-entendres and quotations from literary classics.
		It's instructive to note that Ludlam was considered quite the daring maverick in the 1960s, when he began combining drag acting and an openly gay bent with witty, flagrantly over-the-top pastiches of cultural iconography high and low.
	seattletimes.nwsource.com /html/theaterarts/2002256580_mystery29.html (720 words)

	Playbill News: Charles Ludlam's Theatrical World Examined in Feb. 5 Discussion
		The life and works of the late Charles Ludlam, the playwright and actor who founded The Ridiculous Theatrical Company, will be explored during a panel discussion Feb. 5 at the New York Public Library for the Performing Arts.
		Playwright-director-actor Charles Ludlam died in 1987 of AIDS at the age of 44.
		Ludlam typically starred, often in drag and in fantastical, over-the-top costumes and make-up.
	www.playbill.com /news/article/90961.html (497 words)

	Press Information \| Discussion on Charles Ludlam at Performing Arts Library
		Charles Ludlam was a founder, playwright, director and lead actor for the Ridiculous Theatrical Company, the counterculture Off-Broadway theatre he led for two decades.
		A spoof of Gothic horror flicks, The Mystery of Irma Vep (1984) was Ludlam’s most well-known play, winning awards and recognition from publications such as Time and The New York Times and went on to be one of America’s most frequently produced plays.
		Ludlam was diagnosed with AIDS in November 1986 and died May 28, 1987.
	www.nypl.org /press/2005/ludlumdiscussion.cfm (427 words)

	Charles Ludlam's "Reverse Psychology" directed by Robert Salerno
		Ludlam was a true theatre revolutionary, but, unlike those pretentious artists of his time whom he rejected, he was a great student and lover of theatre history.
		Ludlam’s particular genius lay in the fact that he was able to lay a long-standing theatre tradition on its head- another paradoxical reversal that delighted him so.
		It is a wickedly funny satire that mercilessly lampoons two of Ludlam’s favorite targets, the avant-garde Soho/Warhol art world of the 1960’s (of which Ludlam took part briefly) and contemporary sexual mores (of which Ludlam took part extensively).
	home.san.rr.com /vantagetheatre/Ludlam.html (729 words)

	Busch League: Interview with playwright & performer Charles Busch: Feature Story at Metro Weekly magazine - News ...
		The late Ludlam, whom Busch idolized, was reportedly bitter about Busch’s commercial prowess -- a fiscal success that eluded the godfather of the satirical gay camp genre.
		Ludlam was so encouraging and so nice to me when I was starting out.
		Charles Busch’s The Tales of the Allergist’s Wife opens at the National Theatre on March 4 and runs through March 23.
	www.metroweekly.com /feature/?ak=357 (5074 words)

	Sex is the driving farce behind 'Psychology' (Site not responding. Last check: 2007-10-20)
		Charles was really quite subversive, as much so now as 20 years ago.
		Ludlam and the RTC were Manhattan cultural treasures.
		But Ludlam plays are seen mostly in lower Manhattan, where the RTC carries on despite losing its master of the revels.
	seattlepi.nwsource.com /theater/fanf032.shtml (852 words)

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