An Interview With
Michael Baron
The Whore of Sheridan Square

Your play, The Whore of Sheridan Square, is based on the life and work of the late actor-playwright Charles Ludlam, and is an affectionate send-up of Billy Wilder's film Sunset Boulevard. How did you come up with the idea of putting the two together? And where did your initial idea for the play come from?

As an artist I’ve always been interested in figuring out what theatrical tradition I stem from. Modern playwrights such as Charles Busch, Tony Kushner, and Paul Rudnick initially influenced me. But by going back in history, I realized I also felt a kinship with Charles Ludlam, Wilde, Moliere, Shakespeare, and Sheridan in that they are all dealing with the politics of gender and sex, the role of the arts in society, and the power and humor in wordplay. I knew I wanted to write a play exploring Charles Ludlam’s life in some way, but didn’t want to do a traditional bio-play. I didn’t know Charles Ludlam so I wanted to write a play about how his influence as a “ridiculous” artist is still felt today. One of his first drag performances was of the forgotten silent film star, Norma Desmond from Sunset Boulevard. I thought the structure and tone of the movie, of a poor writer discovering a lost legend, would be a juicy way into Ludlam’s life that he might have approved of.

You got your Master's degree in Directing at the Trinity Rep Conservatory. How did you like it there? And, with the proliferation of graduate theatre programs throughout the country, what was it about their program that made you decide to go there?

I had a fantastic experience at Trinity Rep. A few things made the program stand out to me. One, the school is at a regional theatre so I was able to work with professional directors, actors, and designers—often on new work. Two, the faculty is made up of working professionals so as a student you are able to see your teachers practice what they are teaching. Three, I took almost every acting class as well so I understand the importance of an honest director/actor relationship.

How'd you get your start in the theatre?

I grew up in a theatre going family, but didn’t start my own career until college. My junior year I spent a semester in London seeing 60+ plays. Once I came back, I was hooked and began acting, directing, and writing.

Whose work inspires you, as both a director and a playwright?

As a director, I am inspired by George C. Wolfe, Robert Lepage, Michael Bennett, Bob Fosse, Mike Leigh, Baz Luhrmann and Billy Wilder. As a playwright—Ludlam, Busch, Paula Vogel, Sheridan, Wilde, Shakespeare, Kushner, Sondheim, Brecht.

I understand you're currently writing a new musical based on the life of Brownie Wise, the founder of Tupperware Home Parties. Could you tell us a little more about that?

Brownie Wise was a single mother from Detroit who decided to sell Tupperware from her home. Earl Tupper, the product’s New England-based inventor, had tried selling it in stores but found the public needed it to be demonstrated to them. Brownie met with Earl and convinced him to make her president of a new company called, Tupperware Home Parties. He built her a world headquarters in Orlando, FL (my hometown) where she celebrated women who could make a living for themselves while still honoring the role of homemaker. She was the first woman on the cover of Business Week magazine and was an inspiration to women everywhere who wanted to make a career for themselves within the essentially strict new suburban society of the 1950’s. Even though within a few years Brownie had made Tupperware into a multi-million dollar company, Earl Tupper thought her personality was outshining the product and he fired her. She received $30,000 and lost her home, which belonged to the company. She’s a pioneer who deserves to be celebrated.

Obviously, you like historical figures. What is it about them that you're drawn to?

I am interested in the historical figures that broke true ground in their field, but for some reason have been forgotten or marginalized to history. Ludlam’ s influence was cut short in many ways due to his death from AIDS and therefore a whole generation of artists like myself lost a teacher. Brownie’s influence was practically erased by a society that was determined to keep women “in their place”.

You're about to start work on a new play at Signature Theatre in Virginia. Could you tell us a little bit more about that?

It’s called The Sex Habits of American Women and was written by Julie Marie Myatt. It’s a smart, funny, and thought-provoking play that is a mix of Desperate Housewives, Far From Heaven, and Kinsey. The “live” action onstage concerns the 1950’s family of a professor who is writing a new book called, The Sex Habits of American Women. In addition, there are filmed segments of a modern-day woman being interviewed about her sexual habits. The designers I’m working with are making this period production look fantastic and the actors are exceptional. Can you tell I’m excited? It runs March 27th-May 7th.

What's next for you, once you're done with The Sex Habits of American Women and the Brownie Wise musical?

In addition to directing drag performer Miss Richfield 1981’s new show for Provincetown, I am also writing a musical about tap legend Ann Miller and a play that takes place in Orlando, FL (the town where I was raised) called Tales from the Orange Blossom Trail.

Interview with Michael Baron was conducted by Michael Criscuolo February 2006.

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