Questions: Do most audiences hope to learn something new or do they just want their current knowledge reinforced? Are my responsibilities to the man I portray or the audience who looks for (the impossible) closure. History told is always an interim report.

   At this point in our nation’s development, there is less money in the non-profit coffers. The pandemic has left us fatigued and less interested in nuance. Founding fathers appear blemished and people of color underappreciated. 

    I deliberately chose controversial characters because their struggles might trigger dialogue. Great idea, but good taste today is served cold. This I believe: in hindsight, every historic event should have been done better, every participant was flawed, but “flawed” still deserves study, not censorship. 

    I have a duty to show my historical characters in the context of their time. Sugarcoating is for cereal, not history. Total accuracy is impossible, but nevertheless, must be the highest priority. I can not always satisfy the wary, but bless you for your doubt. Years ago, I got an evaluation about my Columbus performance, which read: “We would have preferred a more humble Christopher Columbus.” So, would we all.

    Last year, a pre-performance conversation included, “Hank, I assume you will show that Edison was a SOB.” I responded, “If you reduce a 70 year career to one sentence, you’ve lost the beauty, joy, and frustration of all human life, even if that sentence is complimentary.”

    My performance must include triumphs, setbacks, and provide insights beyond the “truths” of this moment, OR the crimes of the past will be reborn as new injustice. It’s a cycle I mean to break.

   Complex history inspires because of its intent.

   If you read this, thank you. Please consider booking a performance.

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