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Season Info

Lenny
By Julian Barry
Based on the life and words of Lenny Bruce


Peter Morris, Bud Samiljan, Georgie Paul, Arnie Shamblin, and Wayne Liebman


Director
Set by
Costumes by
Lights and Sound by
Fantasy Trial Costumes by
Choreography
Production Coordinator
Assistant Director
Technical Directors
 

Michael David Wadler
Gene Mazzanti
Don Woodruff
Michael David Wadler
Kate Lindsay
Todd Nielsen
Barbara Beckley
Sandra Kinder
Robert Budaska and Ron Morhous
 

CAST (in order of appearance without masks):

Wayne Liebman
Bud Samiljan
 
 
 
 
 

Peter Morris
 
 

Arnie Shamblin
 
 
 
 
 

Danny Roger
 
 
 

Robert Budaska
 
 
 

Jennifer Susan Lawson
Edward Ansara
 

Madelyn Cates
 
 

Georgie Paul
 
 
 

Theresa Bailey
 
 
 
 

Craig Christiansen
 

Lenny Bruce
Juan
Radio Announcer
Nod-out
Southern Gent
Plainclothesmen
Cop
Bailiff
Drummer
Artie
Igor
Reporter
Trumpet Player
Ernie
Superintendent
Bishop
Detective
Cop
Hitler
Saxophonist
Best Man
Reporter
Cop
Lennyís Roommate
Club Owners
Father
Ike
District Attorney
Photographer

Rusty
Sherman Hart
Black Magic Rabbi
Judges
Sally Marr
Maria Ouspenskaya
Organist
Sophie Tucker
Aunt Mema
Nanny
Southern Lady
Matron Juror
Nurse
Chinese Waitress
Operator
Mrs. Sherman Hart
Court Reporter
Girl Without I.D.
Interviewer
Piano Player
Lennyís Lawyer
 
and assorted weird tribesman
 

Note: the role of Rusty will be played by Kimberly Alexander on April 23rd, 24th and 25th.

"Seven on Seven" written and performed by Craig Christiansen

"All Alone" Words and Music by Lenny Bruce

"Lenny Bruce" written and performed by Bob Dylan
 



 
Lenny Bruce was . . . an important, seminal, absolutely pervasive influence in American social commentary. You cannot watch a late-night show these days that has a comedian on it without finding some of Lenny Bruce in his performance. His impact on those who practice his craft was as fundamental as that of Louis Armstrong in his generation or Charlie Parker in his.
 
ó Ralph J. Gleason, Rolling Stone
 
There was community pressure . . . in the sense that the overwhelming percentage of the population wanted Lenny Bruce prosecuted and they wanted him punished because his words were offensive and his ideas hurt the Establishment. He said things that the Establishment didnít want said. For that reason, I feel, there was a compulsion to prosecute and punish him. And we did. He didnít harm anybody, he didnít commit an assault, he didnít steal, he didnít engage in any conduct that directly harmed someone else. So, therefore, he was punished, first and foremost, because of the words that he used . . . At the time, I was given a job to do, I was wrapped up in the prosecution of it and was oblivious to some of the things we were doing . . . I wouldnít have anything to do with his prosecution now.

ó Vincent Cuccia, Assistant District Attorney, New York City

 
There are few comedians to whom I would apply the word genius, but Lenny Bruce is one such... It requires reading Lennyís routines to oneself ó now, in the 1980's ó to realize that not only was he ahead of his time, he is still ahead of our time. Richard Pryor gets into some painful areas now and then. George Carlin calls a spade a spade in some particulars. But none of them ever comes close to Bruce, who did almost nothing else. Everything he said was deep, biting, cutting, and usually brilliant.

ó Steve Allan, Funny People

 
I first saw Lenny Bruce in San Francisco, and was puzzled. I then saw him in Chicago, and was intrigued. I then saw him in New York City and was slightly scared by the nakedness with which this performer revealed himself. And then I began to laugh ó to laugh at the wildness of on of the most bizarre imaginations thatís ever been let loose on a night club audience. Iíve been laughing ever since. Of course, Iím in a minority there, but I think Lennyís admirers always will be. He goes out to do a rush jib of psychoanalysis on the audience, to root out their deepest inhibitions, their deepest repressions, all the things that scare them and are never talked about, and holds them up to the most relentless scrutiny, analyses them, tries to force the audience to come to terms with reality ó actual, unspeakable reality. This is a hard thing to do anywhere, and itís even harder to keep it as comic as he does . . . At his best he rises above mere evangelism and moral fervor into flights of fantasy, unscalable skyscrapers of sheer wit and baroque invention that, as far as I know, have never had any rivals on the English-speaking stage.

ó Kenneth Tynan, Lenny Bruce Without Tears


 

Read the Drama-Logue Review