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This week, we continue our conversation with Daniel Pollack-Pelzner, a tenured professor who has been fired from, and is now filing a lawsuit against, Linfield University, which would prefer to try to silence its critics rather than address the serious accusations of sexual misconduct against current and former members of Linfield’s board of trustees. Featuring: a special appearance from Washington Post theatre (and “Shipoopi”) critic Peter Marks; comic bestiality, William Goldman’s observation about what the real drag of a story can be; nostalgia for ancient things called “video stores;” shout-outs to In The Heights, Brigadoon (and its modern counterpart Schmigadoon!), Fiddler on the Roof, The Music Man, Ben Franklin in Paris, Rodgers & Hammerstein, Lerner & Leowe, Cabaret, and Sweeney Todd; and most fundamentally, important childhood connections to great musicals of the past. PART ONE OF OUR CONVERSATION CAN BE FOUND HERE. (Length 16:00)
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Cultural observer and embattled professor Daniel Pollack-Pelzner (who has appeared on the podcast before discussing Mary Poppins’ racist imagery and the queer narrative of West Side Story) discusses his $4 million lawsuit against Linfield University, which fired him for publicizing the serious accusations against…four members of the Board of Trustees at Linfield University. Featuring the disgusting nature of “himpathy;” how the helpful acronym “DARVO” articulates the process by which institutions betray their trust; the risks of telling truth to power; Shakespearean (and musical theater parallels) in real-life social justice dramaturgy; the dangers of boards of trustees who account to no agency; whether we’re in a Tragedy, Comedy, Romance, or Musical; the possibilities of a happy ending; and why the people who shine a light on the problem are never the problem. (Length 25:54)
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Daniel José Molina (who’s appeared on the podcast discussing his performances of Hal in both parts of Henry IV and Henry V), discusses playing the even more difficult role of Edgar in the St. Louis Shakespeare Festival production of King Lear starring Andre De Shields. Daniel reveals the challenge of playing a purely reactive character; the value of recognizing that Edgar only realizes when it’s almost too late what play he’s in; the trick of honoring Shakespeare’s intent to make ‘Poor Tom’ a crude performance, not a Daniel Day-Lewis transformation; the tricky irony of when performed mental illness meets genuine decline; gives a shout-out to Leland Fowler, who played one of the best bastards ever; a special appearance from Netta Walker, one of the stars of the upcoming CW series All-American: Homecoming; a preview of Daniel’s next Shakespeare challenge; and, ultimately, how Edgar is actually four or five characters in one. (Length 24:18)
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