Word: geidt
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Dates: during 1980-1989
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...institute as opposed to a school," says Senior Actor Jeremy Geidt, a founding member of both the Yale Repertory Theater and the ART. "The training can change from year to year to accommodate the company...
...play, DeLillo's first, begins serenely enough. In a semi-private hospital room, Budge (Jeremy Geidt) engages in oriental exercises while roommate Wyatt (Thomas Derrah) sits in bed, reading The National Enquirer...
...riveting and outrageous, as he takes both of his characters, Grass in the first act and the nebbishy Freddy of Act Two, to the edge and beyond. Nevertheless, the play never loses balance because DeLillo has spread out hilarious lines quite evenly among his insane asylum inmates. Derrah and Geidt start off by creating an atmosphere of subdued surrealism that clues us in to the weirdness ahead. As a human television in Act Two, Derrah switches channels effortlessly. Sitting to the side, looking straight ahead, and wrapped in a straitjacket, he transfers his voice with manic precision from soap opera...
...play opens in a semi-private hospital room--or so it seems; in this play, no one can be too certain of anything. As patients Jeremy Geidt and Thomas Derrah are alternately confused, comforted, and terrified by a stream of mind-bending loonies on the loose from a neighboring psychiatric ward known as (what else) the Day Room, it becomes clear that nothing whatsoever is as clear as it seems...
...questioning of madness and reality, and simultaneously manipulating their insanity into hilarious buffoonery. A headcase in point is John Bottoms as the Man With Synthetic Bodily Fluids. He practically steals the show with his twisted non sequiturs, including a description of a suit made of polyester blood. And Jeremy Geidt turns in a wonderfully manic performance as a man obsessed with conversation...