Fringe Festival 2017!

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Director Ben Rock and actor Eric Curtis Johnson (Rumfoord) Photo: Scott Golden our knowledge. It’s kind of meta. Why Sirens? Vonnegut’s stuff is smart, spare and straightforward. t’s not owery or wordy. He has a very specific authorial voice terse and dry, brutally sarcastic and fun. Of course in the case of The Sirens of Titan, it’s an outrageous story. There’s a lot of wackiness and humor. He takes a crap all over everything that is sacred and couches hard truth in delicious, ironic narrative science fiction that’s full of weird aliens and robots. You’re allowed to laugh. And the laugh disarms you a bit. But then the philosophy sinks in. This appealed to the adolescent in me then and now and I saw the message as one of humanism and people exercising free will within a deterministic universe. The sirens in ancient Greece called to sailors with beautiful songs from the island and made them wreck their ships. What Vonnegut is referencing there is that Malachi, the protagonist of the book, who is rich by birth, is promised at the beginning that he’s going to end up on Titan, the Moon of Saturn and he’s going to meet these beautiful women. He’s shown a picture that entrances F14 visit footlights.click him. When he gets there, however, it’s just a statue. Nothing is real. Malachi is a guy on a pathway seeking these allimportant, all-consuming things. When he finds them he realies none of them are what they were supposed to be. And he bears a terrible responsibility for everything that’s happened along the way. How did you discover the play even existed? In 1991 I was living in Orlando. There was a theater there called Theatre Downtown run by Frank Hilgenberg. Frank told me he came from the Organic Theatre and had worked for Stuart Gordon as a 19-year-old horror fan. Of course, Stuart Gordon’s name meant the world to me because of Re-Animator and I couldn’t have been more excited. Shortly thereafter, Frank saw me reading a Vonnegut book and says, “Oh we did a Vonnegut adaptation of The Sirens of Titan.” I was just starting college. I didn’t know how to track something like that down. And there was no internet. So filed that away until four years ago when I was working on Taste with Stuart. Stuart didn’t have a copy so that started me on a little quest. I went from archive to archive and finally landed in a specific archive at the Chicago Public Library that housed all the Organic scripts. I got permission from Stuart. But I also needed to get permission from the Vonnegut Estate. The Vonnegut Estate has been instrumental in helping us set this up. The executor of the estate Don Farber, Kurt Vonnegut’s actual lawyer, then in his 90’s, agreed to let me get it as long as we could get a copy to them. They didn’t have one. (Cont’d on page F1 6 )
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