04/07: Interview with Edmind White
Writer Frank Pizzoli interviewed gay author and icon Edmund White for Lambda Book Review. Pizzoli’s work has appeared nationwide in Instinct, POZ, New York Blade, Washington Blade, and numerous city papers. He is founding publisher and editor of Central Voice. Recently he produced the documentary film “Second Lazarus,” about people living with HIV. fpizzoli@aol.com
AUTHOR
Edmund White was born on January 13, 1940, in Cincinnati , Ohio . Precocious at conception, in his 1991 essay titled "Out of the Closet, Onto the Bookshelf," White has written, "As a young teenager I looked desperately for things to read that might excuse me or assure me I wasn't the only one that might confirm an identity I was unhappily piecing together. In the early 1950s, the only books I could find in the Evanston, Illinois, Public Library were Thomas Mann's “ Death in Venice ,” which suggested that homosexuality was fetid, platonic and death-dealing and the biography of Nijinsky by his wife, in which she obliquely deplored the demonic influence of the impresario Diaghilev on her saintly husband, the great dancer—an influence that in this instance had produced not death but madness."
In the mid-1970s, White and six other gay New York writers—Andrew Holleran, Robert Ferro, Felice Picano, George Whitmore, Christopher Cox, and Michael Grumley—formed a casual club known as the Violet Quill. Meeting in one another's apartments, they would read and critique one another's work, then move on to high tea. Together they represented a flowering of the kind of gay writing Edmund White as a teenager in Illinois had longed to discover. White's novels include his allegorical fantasia on Fire Island life, “ Forgetting Elena (1973),”” Nocturnes for the King of Naples (1978),” and the first two volumes of a projected autobiographical tetralogy, “ A Boy's Own Story ” (1982) and “ The Beautiful Room Is Empty ” (1988). White completed the tetralogy with “ The Farewell Symphony ” (1997) and “ The Married Man ” (2000). His newest book, “Chaos, A Novella and Stories” is now in bookstores.
AUTHOR
Edmund White was born on January 13, 1940, in Cincinnati , Ohio . Precocious at conception, in his 1991 essay titled "Out of the Closet, Onto the Bookshelf," White has written, "As a young teenager I looked desperately for things to read that might excuse me or assure me I wasn't the only one that might confirm an identity I was unhappily piecing together. In the early 1950s, the only books I could find in the Evanston, Illinois, Public Library were Thomas Mann's “ Death in Venice ,” which suggested that homosexuality was fetid, platonic and death-dealing and the biography of Nijinsky by his wife, in which she obliquely deplored the demonic influence of the impresario Diaghilev on her saintly husband, the great dancer—an influence that in this instance had produced not death but madness."
In the mid-1970s, White and six other gay New York writers—Andrew Holleran, Robert Ferro, Felice Picano, George Whitmore, Christopher Cox, and Michael Grumley—formed a casual club known as the Violet Quill. Meeting in one another's apartments, they would read and critique one another's work, then move on to high tea. Together they represented a flowering of the kind of gay writing Edmund White as a teenager in Illinois had longed to discover. White's novels include his allegorical fantasia on Fire Island life, “ Forgetting Elena (1973),”” Nocturnes for the King of Naples (1978),” and the first two volumes of a projected autobiographical tetralogy, “ A Boy's Own Story ” (1982) and “ The Beautiful Room Is Empty ” (1988). White completed the tetralogy with “ The Farewell Symphony ” (1997) and “ The Married Man ” (2000). His newest book, “Chaos, A Novella and Stories” is now in bookstores.
by Debra Miller
This year, Lantern Theater Company’s annual spring offering of Shakespeare, and second collaboration with Da Vinci Art Alliance, is arguably the world’s most famous play--the tragedy of Hamlet, whose tormented characters and eloquent quotes are classic theatrical and cinematic fare. Lantern’s co-founder and artistic director Charles McMahon will direct the new production, which runs from April 3-May 10 at St. Stephen’s Theater (10th and Ludlow Streets, Philadelphia). He will also serve as an awards’ judge, along with set designer Dirk Durossette and lighting designer Janet Embree, for the exhibition by Da Vinci artists inspired by the drama and installed from April 22-May 3 in the Lantern Lab, downstairs at St. Stephen’s.
McMahon, an acclaimed actor, director, and specialist in Shakespeare, renowned for his brilliant award-winning interpretations and casting, discussed his thoughts on the upcoming play and art exhibition.
DM: I imagine that Hamlet is a daunting project to undertake. How did you decide you were ready to include it in this season’s schedule?
CM: This is a play that I really love and have always loved. I was in a touring production of Hamlet before I moved to Philadelphia, I’ve seen a million versions, and did large segments of it for auditions, but I was not in a big hurry to stage it at Lantern; it’s a very different sensation to produce a play than to like it. My entrée into deciding to schedule it this season was because I reached the point of having an idea for an approach, something I hadn’t thought of before and had an interest in trying. I met with the Lantern committee, and we talked about the possibilities; we got excited as the ideas kept developing and continued to hold our interest. It’s a high bar, but we decided that, yes, we do have something new to bring to this, so let’s do it.
DM: In preparation for directing such a well-known play, do you critically view other productions to determine where you feel they succeeded and what elements you would change? Or do you purposely avoid them, so as not to be influenced in your personal vision?
CM: I didn’t used to, I preferred to stay in a cone of silence! But now I’m more relaxed, and I try to see everything of merit. I remember the productions I’ve seen in the past, but I’m not inclined to repeat them; I try to correct the weaknesses I saw in them. A play can get bogged down due to key mistakes, so the more you watch, the more you recognize the fundamental points that are uninvolving. It’s useful to compare and contrast, to identify the problems and avoid the mistakes.
This year, Lantern Theater Company’s annual spring offering of Shakespeare, and second collaboration with Da Vinci Art Alliance, is arguably the world’s most famous play--the tragedy of Hamlet, whose tormented characters and eloquent quotes are classic theatrical and cinematic fare. Lantern’s co-founder and artistic director Charles McMahon will direct the new production, which runs from April 3-May 10 at St. Stephen’s Theater (10th and Ludlow Streets, Philadelphia). He will also serve as an awards’ judge, along with set designer Dirk Durossette and lighting designer Janet Embree, for the exhibition by Da Vinci artists inspired by the drama and installed from April 22-May 3 in the Lantern Lab, downstairs at St. Stephen’s.
McMahon, an acclaimed actor, director, and specialist in Shakespeare, renowned for his brilliant award-winning interpretations and casting, discussed his thoughts on the upcoming play and art exhibition.
DM: I imagine that Hamlet is a daunting project to undertake. How did you decide you were ready to include it in this season’s schedule?
CM: This is a play that I really love and have always loved. I was in a touring production of Hamlet before I moved to Philadelphia, I’ve seen a million versions, and did large segments of it for auditions, but I was not in a big hurry to stage it at Lantern; it’s a very different sensation to produce a play than to like it. My entrée into deciding to schedule it this season was because I reached the point of having an idea for an approach, something I hadn’t thought of before and had an interest in trying. I met with the Lantern committee, and we talked about the possibilities; we got excited as the ideas kept developing and continued to hold our interest. It’s a high bar, but we decided that, yes, we do have something new to bring to this, so let’s do it.
DM: In preparation for directing such a well-known play, do you critically view other productions to determine where you feel they succeeded and what elements you would change? Or do you purposely avoid them, so as not to be influenced in your personal vision?
CM: I didn’t used to, I preferred to stay in a cone of silence! But now I’m more relaxed, and I try to see everything of merit. I remember the productions I’ve seen in the past, but I’m not inclined to repeat them; I try to correct the weaknesses I saw in them. A play can get bogged down due to key mistakes, so the more you watch, the more you recognize the fundamental points that are uninvolving. It’s useful to compare and contrast, to identify the problems and avoid the mistakes.
by Debra Miller
After seeing Jennifer Childs’ hilarious and uplifting performance in The Search for Signs of Intelligent Life in the Universe last September at 1812 Productions (the all-comedy company she co-founded with Pete Pryor and for which she serves as Artistic Director), there was no doubt that she’d be a shoo-in for Best Actress at this year’s Barrymore Awards for Excellence in Theater. Written specifically for Lily Tomlin by her then-partner Jane Wagner, the one-woman show debuted on Broadway in 1985, with a total of nineteen characters and a running time of over two and a half hours. With the inevitable comparisons to Tomlin, very few actresses have had the desire, audacity, or talent to tackle the grueling production. But Jennifer Childs not only tackled it, she nailed it, and thereby cemented her position as Philadelphia’s top comic actress.
Local choreographer and director Karen Getz, who featured Jen in last season’s smash hit Suburban Love Songs (a musical comedy with no dialogue, just expressive movement and dance), is nothing short of ebullient in her praise:
There isn't enough space in your article to define the vast and varied talent that is Jen Childs. She has impeccable theatrical taste, unerring instinct, and a laser sharp mind that acts as some finely tuned, comedy seeking missile . . .
Fortunately, it doesn’t take much space for Jen’s sensitivity, dedication, and artistry to reveal themselves, as in the following conversation I had with her in July.
After seeing Jennifer Childs’ hilarious and uplifting performance in The Search for Signs of Intelligent Life in the Universe last September at 1812 Productions (the all-comedy company she co-founded with Pete Pryor and for which she serves as Artistic Director), there was no doubt that she’d be a shoo-in for Best Actress at this year’s Barrymore Awards for Excellence in Theater. Written specifically for Lily Tomlin by her then-partner Jane Wagner, the one-woman show debuted on Broadway in 1985, with a total of nineteen characters and a running time of over two and a half hours. With the inevitable comparisons to Tomlin, very few actresses have had the desire, audacity, or talent to tackle the grueling production. But Jennifer Childs not only tackled it, she nailed it, and thereby cemented her position as Philadelphia’s top comic actress.
Local choreographer and director Karen Getz, who featured Jen in last season’s smash hit Suburban Love Songs (a musical comedy with no dialogue, just expressive movement and dance), is nothing short of ebullient in her praise:
There isn't enough space in your article to define the vast and varied talent that is Jen Childs. She has impeccable theatrical taste, unerring instinct, and a laser sharp mind that acts as some finely tuned, comedy seeking missile . . .
Fortunately, it doesn’t take much space for Jen’s sensitivity, dedication, and artistry to reveal themselves, as in the following conversation I had with her in July.
21/06: Rick Herron Interview
Artist Rick Herron was born in El Salvador in 1949. A world traveler and automotive artist, Rick agreed to an interview with Inferno.
Inferno: You were born in El Salvador.
Rick: I suppose you want me to explain that?
Inferno: Sure… you are an American citizen, so were you an Army brat?
Rick: Not like John McCain… my dad was in the Foreign Service. He was a Latin American specialist. I was born in San Salvador, we stayed there for a year and then we traveled all through Latin America.
In 1958 I was in Argentina and my mom showed me all the ‘58 models. It used to be a big thing, all the guys would look at all the new cars every year. It wasn’t as diverse as it is now. It seemed like a lot of cars, but now you have Asian and European cars, and it is very hard to follow.
Then, all the new American cars would come out, and the one that struck everybody was the Edsel, for good or for bad. So I started drawing the Edsel from sight. Soon after that I began doing my own drawings, and most of these, from an eight year old, were from the front or the side until I learned a little bit a few years later on how to do perspective.
Inferno: You were born in El Salvador.
Rick: I suppose you want me to explain that?
Inferno: Sure… you are an American citizen, so were you an Army brat?
Rick: Not like John McCain… my dad was in the Foreign Service. He was a Latin American specialist. I was born in San Salvador, we stayed there for a year and then we traveled all through Latin America.
In 1958 I was in Argentina and my mom showed me all the ‘58 models. It used to be a big thing, all the guys would look at all the new cars every year. It wasn’t as diverse as it is now. It seemed like a lot of cars, but now you have Asian and European cars, and it is very hard to follow.
Then, all the new American cars would come out, and the one that struck everybody was the Edsel, for good or for bad. So I started drawing the Edsel from sight. Soon after that I began doing my own drawings, and most of these, from an eight year old, were from the front or the side until I learned a little bit a few years later on how to do perspective.
An Interview with Kathryn Pannepacker
by Debra Miller
Kathryn Pannepacker had an active month in Philadelphia this March. In addition to curating her biennial fiber arts exhibition at Da Vinci Art Alliance, which this year featured the work of 46 regional textile artists in a salon-style installation, she herself was featured at The Art Gallery of the William Way LGBT Community Center in a solo exhibition, Works Woven, which runs through May 2. A group of her new text-based works was also included in Stitch: Contemporary Fiber Art, a ten-artist exhibition at B Square Gallery in Philadelphia. In an eloquent artist’s statement at the William Way Center, Kathryn described her style, content, and artistic goals: “Mixing textures, materials and techniques, as well as addressing political, social, and personal agendas, this 'retrospective-of-styles' shows one year's work in the life of a studio artist . . . [who is] committed to art and community.” Inspired by this positive message, I was moved to conduct an interview with the artist, to delve further into the meaning she places on her art and life.
by Debra Miller
Kathryn Pannepacker had an active month in Philadelphia this March. In addition to curating her biennial fiber arts exhibition at Da Vinci Art Alliance, which this year featured the work of 46 regional textile artists in a salon-style installation, she herself was featured at The Art Gallery of the William Way LGBT Community Center in a solo exhibition, Works Woven, which runs through May 2. A group of her new text-based works was also included in Stitch: Contemporary Fiber Art, a ten-artist exhibition at B Square Gallery in Philadelphia. In an eloquent artist’s statement at the William Way Center, Kathryn described her style, content, and artistic goals: “Mixing textures, materials and techniques, as well as addressing political, social, and personal agendas, this 'retrospective-of-styles' shows one year's work in the life of a studio artist . . . [who is] committed to art and community.” Inspired by this positive message, I was moved to conduct an interview with the artist, to delve further into the meaning she places on her art and life.
14/11: Eudamonia Interview - 2/3/04
On February 3rd, 2004, the 10 artists participating in this groundbreaking show convened in order to speak to our intrepid interviewer. After many bottles of fine Merlot, this is what transpired:
Inferno: OK - we'll try to do this as sanely as possible. First question - what the fuck is Eudamonia?
Betsy: Is this taped? Are you taping this?
Inferno: The tape is running. OK - I have the definition - but what is your definition of Eudamonia? Come on Terri - you're the one that came up with it.
Betsy: The way it was explained to me, when I first was invited, was, women working with a soulful spirit.
Jo-ann: Considering your question, my answer is "fuck if you know".
Group: That was Jo-Ann!
Patty: From what I experienced, Eudamonia is women creating their own soulful experience, whatever that might be. Their own happiness, their own life, their own existence. And standing strong within it.
Inferno: OK - we'll try to do this as sanely as possible. First question - what the fuck is Eudamonia?
Betsy: Is this taped? Are you taping this?
Inferno: The tape is running. OK - I have the definition - but what is your definition of Eudamonia? Come on Terri - you're the one that came up with it.
Betsy: The way it was explained to me, when I first was invited, was, women working with a soulful spirit.
Jo-ann: Considering your question, my answer is "fuck if you know".
Group: That was Jo-Ann!
Patty: From what I experienced, Eudamonia is women creating their own soulful experience, whatever that might be. Their own happiness, their own life, their own existence. And standing strong within it.
Hangin' in the Studio with Stan - An Interview with Pastel Painter Stan Sperlak
By Liz Nicklus, 2003
Stan Sperlak was born in Denver Colorado in 1960. He was raised in Hawaii, New York and Minnesota before he wopund up in Cape May Courthouse were he lives today.
He asked me to make sure I mentioned his sons, Michael and Joseph. His pastels are legendary throughout the region. He has just completed a very successful show at the Riverfront Renaissance Center for the Arts in Millville, NJ.
Liz: You look like somebody who's from Denver (looking at Stan's bio)
Stan: Somewhere along the line I realized maybe why I'm a little bit the way I am, and it dawned on me that I was born a mile high. You know, Mile High Stadium? OK, so I was born a mile high and you know, maybe I've been coming down ever since, I don't know, or leveling off, but I've never been back to Denver since I was 18 months old, and I have some relatives out there, and I do want to go. And now that these past few years I've met a lot of artists from around the country, with the Wings and Water, and the Plein Air Festival, and they've invited us out to Colorado, so I know I'll go back out there.
Liz: That's cool.
By Liz Nicklus, 2003
Stan Sperlak was born in Denver Colorado in 1960. He was raised in Hawaii, New York and Minnesota before he wopund up in Cape May Courthouse were he lives today.
He asked me to make sure I mentioned his sons, Michael and Joseph. His pastels are legendary throughout the region. He has just completed a very successful show at the Riverfront Renaissance Center for the Arts in Millville, NJ.
Liz: You look like somebody who's from Denver (looking at Stan's bio)
Stan: Somewhere along the line I realized maybe why I'm a little bit the way I am, and it dawned on me that I was born a mile high. You know, Mile High Stadium? OK, so I was born a mile high and you know, maybe I've been coming down ever since, I don't know, or leveling off, but I've never been back to Denver since I was 18 months old, and I have some relatives out there, and I do want to go. And now that these past few years I've met a lot of artists from around the country, with the Wings and Water, and the Plein Air Festival, and they've invited us out to Colorado, so I know I'll go back out there.
Liz: That's cool.
Kevin Quigley - "A Spontaneous Attack on Canvas"
by Liz Nicklus
Let me start out by saying that this is not an unbiased interview. Kevin Quigley has been one of my favorite painters since I met him in 1999. So if you're looking for an unprejudiced review, stop now. If you're still with me, read on…
I'll start with his background. He was born on Long Island in September 1957, as he says "the week the Giants and the Dodgers left New York". (Being a native New Yorker myself, you can see why we hit it off.) As our luck would have it, he and his wife Hiroko moved to Newport, New Jersey in 1989.
He started his art career as a cartoonist (which he still pursues - check out his "Big Place" comics.) Since he began to explore painting, his work has always stood apart from the pack - his brilliant blocks of color and staccato brushwork remind one of Georges Rouault, whom Kevin admits is one of his influences.
by Liz Nicklus
Let me start out by saying that this is not an unbiased interview. Kevin Quigley has been one of my favorite painters since I met him in 1999. So if you're looking for an unprejudiced review, stop now. If you're still with me, read on…
I'll start with his background. He was born on Long Island in September 1957, as he says "the week the Giants and the Dodgers left New York". (Being a native New Yorker myself, you can see why we hit it off.) As our luck would have it, he and his wife Hiroko moved to Newport, New Jersey in 1989.
He started his art career as a cartoonist (which he still pursues - check out his "Big Place" comics.) Since he began to explore painting, his work has always stood apart from the pack - his brilliant blocks of color and staccato brushwork remind one of Georges Rouault, whom Kevin admits is one of his influences.
