The Dove (De Düva) is an Academy Award-nominated short parody of Ingmar Bergman’s films, made in 1968. They used to show this a lot in the early days of HBO and it’s been screened at Bergman festivals to unsuspecting audiences. The short lampoons elements of Bergman’s Wild Strawberries, The Seventh Seal, The Silence and Smiles of a Summer Night.

Professor Viktor Sundqvist (co-director George Coe, seen often on SNL‘s early years) is being chauffeured to a lecture at a university, when a dove shits on the car’s windshield. He decides to make a visit to his childhood home ala Wild Strawberries.

In a flashback, Viktor and his sister challenge Death (screenwriter Sid Davis) to a game of badminton in exchange for Death sparing her life. A dove shits on Death and he loses the game.

The ridiculous fake Swedish is a mix of English, Yiddish and adding “ska” to certain words, as in “It will take a momentska” or “sooner or lateska.”

The Dove (De Düva) is notable for being the first appearance of the late, great comedienne Madeline Kahn.
 

 

Charles Ludlam and Black Eyed Susan in Eunuchs of the Forbidden City, 1971. Photo by Leandro Katz

A fine book came out a few years back, 2002 to be exact, about the great American absurdist dramatist, Ridiculous!: The Theatrical Life and Times of Charles Ludlam by David Kaufman is certainly one of the best books I’ve read in the past decade and I wanted to tell you about it. I feel it’s a book that deserves a far wider audience than it originally got (and you can buy it for a PENNY on Amazon). Even though it tells the story of a very particular person and of a very particular “scene”—in this case Ludlam and his gender-bending Off Off Broadway troupe of drag queens, druggies and bohos—like a biography of say, Andy Warhol, the canvas is so widescreen and cinematic that it tells the tale of an entire era, not just the story of one man and his orbit. Ludlam’s story—which Kaufman spent a decade researching, interviewing over 150 people who knew the playwright—is simultaneously the history of Off Broadway theater in the late ‘60s to the late ‘80s, it’s also the story of pre and post-Stonewall gay life, the early years of the AIDS crisis, the anecdotal histories of certain types of “only in NY” culture vultures and media mavens and, of course, the life of the complex and exasperating force of nature that was Charles Ludlam, a self-created character if ever there was one.

Charles Ludlam should in many ways be seen as Americas Molière. He was the proprietor, creative genius, task master and (one of) the star attraction(s) of The Ridiculous Theatrical Company, who called a small theater at One Sheridan Square—at Seventh Ave, where a street sign commemorates Ludlam’s memory—their home for many years.  For several years, I lived a block away. I only actually saw two Ludlam shows—The Mystery of Irma Vep (I still have the Showbill) where Ludlam and Everett Quinton played all the characters, male and female, their frenetic costume (and gender) changes part of the play’s berserk charm, and Salammbo, where Ludlam played the high priestess of the Moon, surrounded by muscle men. The play also featured live doves and an extremely obese naked woman—she had to be 400 lbs—with massive breasts and… leprosy. It was absolutely outrageous. Imagine a mutant cross of Shakespeare, early John Waters, Flash Gordon serials and Arsenic and Old Lace and you’ll (kind of) be in the right ballpark.
 

 
A few years later, in 1987, Ludlam was dead of AIDS at 44. When a theatrical company winds down, theater being what it is, there is usually not much left over to remind us that its performances ever existed. It’s an extremely ephemeral art form. You’d think that there might be some videos of Ludlam and the Ridiculous showing up on YouTube, but so far, there ain’t much. I keep hoping against hope that someone made decent videotaped documents of some of his plays, but so far none have turned up, at least that I am aware of. It had to have happened (I insist!)

Which is not to say that Charles Ludlam has been forgotten, far from it: His plays are performed with ever increasing regularity on college campuses and several scholarly works have been written about his 29 plays and influence on American culture (Bette Midler and the original cast of SNL, are two prime examples, according to Kaufman’s book). When Ludlam died, his obituary made it to the front page of the New York Times. Here’s an excerpt from another appreciation of Ludlam from the New York Times:

To be Ridiculous is to be a step beyond the Absurd. Ludlam defined his form of theater as an ensemble synthesis of ‘‘wit, parody, vaudeville farce, melodrama and satire,’’ which, in combination, gives ‘‘reckless immediacy to classical stagecraft.’’ That recklessness led some people to misinterpret his work as anarchic. It was spontaneous, but it was also highly structured - and always to specific comic effect. Though Mr. Ludlam was a titanic Fool, he was not foolish. He knew exactly what he was doing, whether the object of his satire was Dumas, du Maurier, the Brontes, Moliere, Shakespeare, soap opera or grandiose opera - or himself.

I first encountered him in performance 17 years ago when he was playing ‘‘Bluebeard’’ far Off Broadway - with a beard like blue Brillo and a diabolical glare in his eye. This was a distillation of every mad-doctor movie ever made. In his role as Bluebeard, he said, ‘‘When I am good, I am very good. When I am bad. . . ,’’ and he paused to consider his history of turpitude. Then he concluded, ‘‘I’m not bad.’’ As hilarious as ‘‘Bluebeard’’ was, it gave no indication of the body of work that was to follow it. Almost every year, sometimes twice a year, there was another Ludlam lunacy on stage. As a critic who reviewed almost all of his plays, I must say that Ludlam was always fun to watch and fun to write about. His flights of fancy could inspire a kind of critical daredevilry, as one tried to capture in words the ephemeral essence of Ridiculous theater.

Looking back on our debt to him, one remembers his rhapsodic, hairy-chested ‘‘Camille’‘; the Grand Guignol vaudeville of ‘‘The Ventriloquist’s Wife,’’ in which he spoke both for himself and for his back-talking dummy, Walter Ego; ‘‘The Enchanted Pig,’’ a helium-high hybrid of ‘‘King Lear’’ and ‘‘Cinderella’‘; ‘‘Le Bourgeois Avant-Garde,’’ a Molieresque send-up of minimalism; ‘‘Galas,’’ with Mr. Ludlam as the title diva. The range ran from ‘‘Corn,’’ a hillbilly musical, to ‘Der Ring Gott Farblonjet,’’ a three-Ring Wagner circus. There were also sideshows - a Punch and Judy puppet theater in which he played all 22 characters, and ‘‘Anti-Galaxie Nebulae,’’ a science fiction serialette.

‘‘The Mystery of Irma Vep’’ (in 1984) was a tour de force, a horror-comedy in which he and his comic partner, Everett Quinton, quick-changed roles in a scintillating send-up of ‘‘Wuthering’’ and other Gothic ‘‘Heights.’’ For Ludlam, ‘‘Irma Vep’’ became a breakthrough of a kind. The first of his plays to demonstrate a broader, popular appeal, it has been staged by other companies, in other countries as well as in America’s regional theaters. Not all of Ludlam was equal, but his batting average was extraordinarily high -as author, director and actor.

His acting was, of course, his most noticeable talent. As a performer, he unfailingly enriched his own work, as he charted a chameleonesque course, specializing in satyrs, caliphs and fakirs - as well as playing the occasional damsel. He was also an expert teacher of theater, as I discovered some years ago when, over a period of several months, I took an acting workshop with him. In these intensive sessions, we studied and practiced physical, visual and verbal comedy. He was most informative about what he did on stage. For example, he thought of his body as a puppet; through his imagination, he pulled his own strings.

One extraordinary document that we do have of Charles Ludlam in action—only posted a few days ago—is his wonderful guest appearance on his old college pal Madeline Kahn’s short-lived 1983-84 ABC sitcom, Oh Madeline! In the series, Kahn played a bored housewife married to a man who writes steamy romance novels under a female pen name, so she is obliged to portray that woman in public.

The actress knew the show was about to be cancelled so she asked the producers if she might bring in her college chum from Hostra University to do “something different” for one of the final episodes. That something different was Charles Ludlam, in drag, as “Tiffany Night,” the author of Barbara Cartland-ish fare. True to the mores of the era, Ludlam’s character was “revealed” to be a man all along, ala Tootsie.