ABOUT THE PROJECT
The Mutilated is one of the funniest, strangest, most neglected, and most moving of Tennessee Williams' later plays.
"I think the strange the crazed the queer will have their holiday this year."
The French Quarter of New Orleans on Christmas Eve in the mid-20th century and a chorus of misfits and freaks sing a carol about life on the fringes of society and tell the tale of two mysterious women whose strong bond of friendship overcomes their constant and vicious quarreling.
Once a society woman, Trinket Dugan — played by Mink Stole — has hidden herself away at the Silver Dollar Hotel in the French Quarter and lives there with a painful secret.
Vagrant, shoplifter, and over-the-hill (though always hopeful) prostitute, Celeste — played by Penny Arcade — is Trinket’s only real friend and the only person who knows her secret.
But their friendship has been pushed to the limit; Celeste wants money, a free meal, a jug of California tokay wine, and takes anything she can bully, bribe, or blackmail from Trinket.
When Trinket finds out Celeste has humiliated her by broadcasting her secret around the Quarter, the battle is on and they fight cruelly among the singing “Quarter Rats” — con men, hookers, cops, freaks, sailors, and drunks — until they find a way to resuscitate their friendship just in time to share a mystical experience that changes their lives.
Perfect for these roles, Mink Stole and Penny Arcade are beautifully matched with director Cosmin Chivu who has directed several late plays by Tennessee Williams.
The production/design team and acting ensemble thus far includes Beth Bartley, Warren Bub, Augustin Correro, Jack Dilday, Tom Drummer, Jillian Goldstein, Dana Greenfield, Thomas Keith, Graham Kindred, Anka Lupes, Laura Malseed, and Niko Papastefanou.
Original music will be composed by Jesse Selengut and performed live on stage by his band TIn Pan.
HOW YOU CAN BE IN ON THE ACTION
Your contribution will go directly to the expenses related to producing this remarkable play in New York City in November 2013: theater rental, sets, lighting, costumes, actors salaries, musicians, and publicity.
We have only 54 days to reach our goal. If we do not reach our goal we will not receive any of the money! It's all or nothing with Kickstarter, so please do your part and contribute whatever you can as soon as you can. The sooner we reach our goal, the sooner we can get to work.
Please enjoy the rewards that come with your donation — we are happy to be able to offer them. If you decide you only want part of the reward offered, just contact our producer with the details via the link provided.
ABOUT THE AUTHOR
The most influential American playwright of the twentieth-century, Tennessee Williams’s impact on our culture is profound and his reputation continues to grow. Along with the power and poetry of his greatest plays — The Night of the Iguana, The Rose Tattoo, Sweet Bird of Youth, Orpheus Descending, Camino Real, Cat on a Hot Tin Roof, A Streetcar Named Desire, and The Glass Menagerie — audiences have been delightedly discovering his later works, many of which experiment with style, subject matter, and theatricality.
WHY THE MUTILATED?
“I know Mr. Williams is trying to do something ambitious and ambiguous but, gee, I wish he would just give something old and square like A Streetcar Named Desire.” —from John McClain’s review of A Slapstick Tragedy in the New York Journal-American, February 23, 1966
When it premiered on Broadway in 1966 (with The Gnädiges Fräulein under the collective title Slapstick Tragedy), critics were flabbergasted and frustrated by The Mutilated and why Tennessee Williams was not writing plays like Cat on a Hot Tin Roof or The Glass Menagerie. Williams’s explorations into experimental, less conventional forms of theater were met with stinging reviews, disappointment, and even anger. But, Williams kept writing and now, decades later, many of these plays are being rediscovered and successfully produced.The Mutilated is indeed one of the funniest, strangest, most neglected, and most moving of these later Williams plays.
For an article about the plays in Esquire magazine in 1965, Williams wrote, “The style is kin to vaudeville, burlesque and slapstick, with a dash of pop art thrown in. . . . [an] allegory on the tragicomic subject of human existence on this risky planet.”
ABOUT THE STARS
Penny Arcade: A runaway at thirteen, a reform-school graduate at sixteen, a performer in the legendary Play-House of the Ridiculous at eighteen, and an escapee from Andy Warhol’s Factory at twenty, Penny is an originator of what came to be called performance art and is the author of ten evening-length performance plays including the international hit Bitch!Dyke!Faghag!Whore! She has also collaborated with Steve Zehentner on the long running video series The Lower East Side Biography Project “Stemming The Tide of Cultural Amnesia.” http://pennyarcade.tv/
Cult film legend, Mink Stole writes about herself: “As an actor I’ve worked with filmmaker John Waters since the world wore diapers [Pink Flamingos, Female Trouble, Polyester, Hairspray, Serial Mom, Pecker, etc.]. For my whole filmography, just check out IMDB – it’s mostly right. I've been singing and performing one-woman shows with my Wonderful Band for the last few years, A track I recorded, “Sometimes I Wish I Had A Gun,” was released in 2008 on the compilation disk A Date With John Waters. My debut album for Mink Stole and the Wonderful Band, Do Re Mink, has just been released.” http://minkstole.com/
Risks and challenges
We have only 54 days to reach our goal. If we do not reach our goal we will not receive any of the money! That is the greatest risk. It's all or nothing with Kickstarter, so please do your part and contribute whatever you can as soon as you can. The sooner we reach our goal, the sooner we can get to work.Learn about accountability on Kickstarter
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