Word: futz
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Dates: during 1970-1979
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THEATRICAL tricks are the trademark of Tom O'Horgan, the Superstar director. He turned Futz, nominally a modest little play about bestiality, into a Dionysian celebration with actors writhing all over the stage in transports of pagan ecstasy. In Hair O'Horgan set a similar kind of group grope to a rock upbeat. In Lenny, a crowd of gigantic papier-mâché figures symbolizing his fantasies loom over the doomed comic Lenny Bruce. In Jesus Christ Superstar, O'Horgan has characters descend grandly from on high?now in a huge mysterious whalebone basket, now on a platform designed like...
Anti-Church Mélange. O'Horgan, who honed his free-flowing, choreographic style of staging at off-off-Broadway's Cafe La Mama and in the productions of Tom Paine, Futz and most famously Hair, emerges in Lenny as one of the top directors of the U.S. theater. He manages to meld Bruce's sleazy world of one-night stands, his marital hopes and horrors, his helpless, raging entanglement in the courts, and even his vaulting fantasies into a fluid continuum up, down and around the multilevel stage. Lenny was a microphone man; mikes perpetually...