August 08, 2006
Interview with Joe Hanrahan of "ThomPain"
Joe Hanrahan's one-man play "ThomPain (based on nothing)" is set to run this weekend, at Balaban's. After a stint on last night's The Wire, I sent Joe a few questions via e-mail, relating to this show, and he quickly responded with his thoughts.
For full info, check his website: www.midnightcompany.com.
Allow the info below to help whet your appetite for this unique, intimate show.
What's your standard, walk-around description for the simple question that people might ask you this week: What's "ThomPain" all about?
Standard description, if I have a few seconds, is a melange - one man, one hour show (a marketing essential); very different, contemporary; 2005 Pulitzer finalist, First Fringe Award winner at Edinburgh (if I want to impress). If I don’t have a few seconds, I say, existential stand-up. Larry Dell had a good handle last night: stand-up tragedy.
What was your introduction to this material?
My introduction to the material was a review in the NY Times of its off-Broadway premiere – absolutely the most reverent, gushing, rapturous rave I’ve almost ever read of the show; plus the fact that it was a one-man show (one of those doable productions our company is always on the lookout for), and that, last but not least, it seemed to portray the profoundly poignant human condition in a very entertaining one hour of theatre. I then obtained a manuscript copy of the script, and pursued the rights for a year-and-a-half 'til they granted them to me.
Beyond yourself (as the sole actor) and director Larry Dell, how many people are involved in this production?
Larry and I are the production team; behind the scenes, box office help, plus designers, photographers and a post-production video house to help with the all-important marketing.
What's unique about your venue at Balaban's? Along those lines, which unorthodox space that you've used has been the most and least accommodating rooms?
At Balaban’s, we perform in a very small party room – capacity about 40. Besides a few lights (possibly sound, but not in this show) the venue is good for this kind of small one-person piece. Very intimate for the audience (we also presented "St. Nicholas" there two summers ago – another one man show that worked well there). Hopefully one of the good things about the space is that a lot of people know where it is – an essential when trying to attract St. Louis audiences. The Midnight Company has presented “Dracula,” taking up an entire abandoned warehouse at the Lemp brewery – that was very challenging in terms of little us making such a big production work. The History Museum was a great place to work, as has been Technisonic’s soundstage (three shows), and the original Contemporary Art Museum was good, too, partly because we produced shows that worked in that space. Least accommodating probably has been when we’ve done our “Jesse James” show at Innsbruck – on the porch of an old house, outside on a warm Missouri evening. But we made that work for our eventual performance of the show on the porch of the James Farm near Kansas City. We did it again this past June, and that was a memorable experience, performing the show right where a lot of it happened, using the historic James home as our dressing rooms.
How much of your spare time is given over to thinking about the production, esp. when you're this close to the opening?
As much spare time as possible is being spent right now; aside from formal rehearsal, and mini-rehearsals that happen in my head sporadically throughout the day, for this show, particularly, I’m spending a lot of time thinking, imagining, trying to feel the right attitude, approach for this character. Also, for myself anyway, as I get this close to performance, I do consciously try to indulge myself with the little creature comforts or intellectual distractions that will help keep me relaxed and refreshed for the stage.
You mentioned on the radio show that you'd be working the entire room during this show, that people would be right in the mix of your work. Do folks generally enjoy this type of intimate, set-free approach?
I don’t think audiences generally think they’ll enjoy or anticipate this type of show. I think most of us like the safety zone of the fourth wall – they’re up there acting like they’re in Chicago or ancient Greece, and I’m out here separate and safe and observing. (I think that’s why movies are so easy and likable and preferred to stage – ultimately non-threatening.) But this show engages the audience directly. If folks attend a Friday, 7:30 pm show at Café Balaban, that’s where and when it’s happening. My character is stepping in to the room and talking to them, eye-to-eye, at that moment. But I do think this script is structured and written to the point where audiences will be drawn in, captivated and ultimately appreciate it. The show has a lot going for it, including some very, very smart and often beautiful language.