Faire Folk at Work

Dawn recalls many of things she did at Faire, including her role in Peasants For Peace, some of things the lady Halbadiers did, and the circumstances why she thought the presence of Puerto Ricans in her underwear were worth mentioning. Much, some of which she regrets in retrospect, will be revealed.

Kevin talks about how a perceptive teacher changed his life by specifically inviting him to a filmed version of Othello which gave him a lifelong appreciation of Shakespeare, lessons learned acting and dancing with the Merry Pranksters,  and what his goals to his forthcoming Reign as King of the Fools will be.

Billy talks about becoming a mime, his life as Charlie, how the Faire spoke to him before there was a Faire, and how the spirit of the faire informs his life.  Be sure to check out his reading of his original two poems about the Agoura site at https://www.spreaker.com/episode/2-poems-by-billy-scudder--59143511 Feel free to download or post elsewhere.

Gary reflects on what makes the Faire unique and what else has been like it in his life and what the Pattersons had to do with it all. He also recalls the midnight bus ride through Buttonwillow.

Nell worked crew and worked beverages. She painted faires full of signs and she baby sat Baby Pattersons who later became her boss.  Occasionally, she would give Phyliss a ride. Here are some of her stories.

Paula and Dan discuss play writing techniques out at Faire, and Paula tells how she has incorporated lessons learned at Faire in other numerous theatrical ventures outside of Faire. She also recalls how Phyliss once waived the rule of historical accuracy in the case of one of Paula's shows, and who in her family, precisely, still think that Drench a Wench was a dunking booth.

David talks about what it feels like to connect with an audience at faire, some of his contempories he worked with and respected, and gives a bit of his street personna.

Richard has been at over 400 days at Rennisaince Faires, and over 1200 Belly Dance shows. And he has over 700,000 photos on the web that can be dowloaded for free https://www.richardlowejr.com/RenaissanceFaires or sample a wider diversity of his photos at https://www.richardlowejr.com In this interview Richard talks how he can tell a good faire from a bad faire without even going through the Front...

Kelly has worn pants at Faire with approval by Phylliss; has rendered Will Wood speechless on the street for upwards of 10 seconds, and has done extended street bits with David on a daily basis.

Long a favorite at Faire, Shelby discusses the skills and techniques he honed at the Faire that he brings latest production Dungeons and Shakespeare . In addition to patiently explaining how one combines a Faire show with a D and D adventure that is different with each performance, Shelby reflects on what the Faire community has meant to him.

Bob, a musician as well as a dancer as a teacher reflects on what Linda Underhill told him were the tests for making something sound like period "enough".

Michael tells about his career and innovations as a fight director, lessons derived from Faire as a stage director and why he doesn't mind being the center of attention when he's shooting arrows at something.

Douglas Michael Burger has been taught by legends; passed along legacies and dreamt new dances. Additional material by Sally Burden Burger.

Morgan talks dance theory, dancers, period music theory, musicians in the context of the Faire and how they all combined at the Faire. The Beatles contributed too.

She was a happy peasant and Merry Prankster, and learned valuable social skills serving ale. All these elements have given her skills she uses to this day.

With lessons learned at the Horse Tourney and the Lord Mayor Players, Randal reflects of Faire performance experiences derived for a lifetime at performing at Faire, and why he will never say, "if you have any complaint, write them on a back of a 20 and toss it in the hat." (for very good reasons btw)

Imagine listening to a Faire weekend workshop taught by someone who has thought about Faire and how it can work. Also hear what David Sprinhorn, Luisa Puig and Adam Long have in common.

He's challanged patrons at Faire as a Puritan, a Soaked Bloke and as a serious Shakespearean actor. He is simply, Taliesin and he shares stories drawn mostly from the streets.

James was trained in the uber School of Method Acting taught at UCLA and also has had years of street acting experience at the Renaissance Faire, and somehow mixed the two together successfully. Hear how.

She was a servant at court who noticed things including Danese and Luisa.

Doreen shares with Dan what she admired about performers such as Luisa Puig, Kevin Brown and David Springhorn and how Faire helped teach respect for the audience.

In part 1, Marilyn, who has taught and performed for over 40 years) discusses the importance of teaching theater to children and techniques to get them excited, especially in Commedia. While geared to children, these are techniques than can be used by students of any age.

In Part 2, Marilyn recounts various what happens when a fellow actress "forgets" she has a joint in her bag when she has a show in a prison (short answer, she assumes another role, quickly); when stage design and lighting design are not in sync in the actor's mind and how the audience was always their long lost friends.

John talks about creating, and sustaining realities as varied as Elizabethan England, The Old West and the future recreationally and professionally all while retaining the interest of an entertained audience.

Jim, master commedia mask maker and performer talks abouth some the of legendary women of faire he has worked with such as Peg Long, Judy Kory, Phyllis Patterson, and his equally legenary wife Marliyn.