To the editors:
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I won’t write here about why I left the troupe. I’ve talked to journalists about it, but the actual complexities of human interaction seem to be too difficult for them to assimilate. Therefore, the real story has not been told, and I can pretend it’s not too late to say, “None of your business.”
Oobleck is like the proverbial elephant groped by blind men who, grabbing a tusk or a tail, decide that that is the shape of the whole beast. Tony Adler, a longtime voluble supporter of new theater, grabbed Mickle and me early on. Bill Williams, less voluble but no less supportive, had grabbed David Isaacson first, but Bill didn’t go on to write about David in Chicago mag, Stagebill, and the Trib (as Tony had about Mickle and me, if not by name then at least by focus on our work or style). Consequently, even though I spell David’s name clearly six or seven times for some jackoff at the Lerner papers, he’s still not mentioned in the jackoff’s article. David has had as many Oobleck hits as I have, and he’s an excellent writer who deserves the attention of the press when it talks about Oobleck as a whole.
Theater for the Age of Gold
