I’m at my computer trying to figure out what happened to my email. It may be a mystery — did anyone say climate change? — as to why we’re getting hit with hurricanes, earthquakes, tornadoes and hail the size of baseballs, but email should be simple. So after I call my hosting service and my domain registrar, and Mike the tech guy comes over, I’m back in action with a new theater email address, which I now send out to most of my Outrageous Fortune Company contacts.
A number of OFC alumni respond, especially when I remind them that the company is still homeless after more than a year’s departure from Queens Theatre in the Park, where I produced 50 contemporary plays of significance over 17 years. All I’m looking for is a building with parking, preferably in northeast Queens, to house a 99-seat theater, with rehearsal, storage and office space. Maybe it’s all a fantasy, but the search continues. Find me a place and we’ll talk about naming rights.
Among the first to break in my new email address is the legendary Frank DiSpigno, who recently completed his 126th main stage show! These included three with OFC — “Nuts,” “Other People’s Money” and “Picasso at the Lapin Agile” — as well as two directing assignments. Now that he’s been retired from his longtime employment at Safe Horizon, he’ll be able to do even more. And he’s still a kid, at least according to the women he dates.
Vicki Klein stops by, on the verge of a permanent move to Florida. For OFC, Vicki holds the record of five appearances, most notably in “Lost in Yonkers” and “The Tale of the Allergist’s Wife.” Hopefully, she’ll be able to help the residents of the Sunshine State with their voting skills. (Yes, I’m still not over the 2000 presidential election.)
On the social front, Pat Clune (“Spalding Gray: Stories Left to Tell”) got married in October after a long “engagement.” She keeps busy studying and auditioning, and performing with her musical group “Shows From The Heart.” Rodney Hakim superbly directed two challenging plays for OFC, “Frozen” and “Shining City.” He’s been away from the theater for three years — marriage will do that — and he and his wife are now expecting their first child.
Ardelle Donohue always stays in touch — she did the program graphics for many OFC productions – after relocating to Athens, Ohio, a few years ago. She’s turned into a prop master for a number of shows in that college town and enjoys being with “a wonderful group of very talented, interesting, and vivacious people.” Among the educators are Kelly Ronayne (“Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean”), an associate dean at St. John’s University, Damon Noland (“The Cripple of Inishmaan”) who’s back in Brooklyn teaching high school biology, and Carol Carota (four starring roles including “Sylvia” and “Betrayal”), one of the best actors around, earning a living teaching on Long Island.
A number of audience members tell me that they miss The Outrageous Fortune Company and are awaiting its return, while many of the actors remain active in their craft and would like another chance to perform with the company.
Kevin Hauver writes: “Funny, theater is such a strange and temporary thing, and tends to exist in memories so much longer than on the stage. My memories of ‘Roulette’ and working at your theater are so very positive for me.” From Indiana and the MFA acting program at Purdue, John Cabrera sends this fan letter: “(‘Our Lady of 121st Street’) was one of the most rewarding experiences of my life. I’m forever in a debt of gratitude for that opportunity and for producers such as yourself with the vision and drive to offer such quality work out of passion rather than for profit.”
And that, friends, is what it’s all about.
Contact Ron Hellman at RBH24@Columbia.edu.
