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Raise Your Hand If You’re Invulnerable!: An Interview with Harry Groener

Tanya R. Cochran

While Buffy the Vampire Slayer featured many superb "Big Bads", Season 3's Mayor Richard Wilkins is not merely among the most remarkable on Buffy but among the most memorable in TV history. We talk at length with the man who brought the Mayor to life, Harry Groener.

On Monday, January 24, 2011, I had the privilege of spending some phone-time with Harry Groener. A versatile and seasoned actor, Groener may best be known to the “Spotlight on Joss Whedon” readers as the third-season Buffy the Vampire Slayer antagonist Mayor Richard Wilkins, a frontrunner for the Buffy fan’s favorite villain. Yet Groener has been acting for decades, commanding both screen and stage. In the following interview, Groener answers questions about what it means to be honored by his peers and remain rooted in the theatre, what it was like to work with Whedon and Buffy actors Sarah Michelle Gellar and Eliza Dushku, what constitutes a healthy actor/fan relationship, and what he’s excited about concerning his latest project.

PopMatters: First and foremost, congratulations on the Ovation Award for Equivocation. After quite a few prestigious nominations -- including nominations for several American Theatre Wing Tony Awards® -- over your career, what does this particular award mean to you? How does it feel to be recognized in this way?

Harry Groener: It’s recognition by the community of my work, and it means a lot because of the play itself. I love the play, and I adore Bill Cain who wrote it. The experience was a very meaningful one for me, so it meant a lot that [my role in Equivocation] was the one that was pulled out and was recognized. It’s always good when your peers in the community recognize you for your work. It makes you feel good! And it is good to be nominated. People make fun of saying that, but it is, in fact, true. Somebody has to win because that’s the contest, right? Those are the rules. But in truth -- and this is the way I felt about the other nominations -- the fact that you are singled out as one of the few for that season does mean a lot to me. Winning is the icing, the recognition of it, the acknowledgment of it. It means a lot.

PM: I know that you and your wife Dawn Didawick are among the founding members of the Antaeus Company in North Hollywood, California, and that the theatre’s mission includes helping actor-members stay grounded and rejuvenated, mentoring each other, and reaching out to the community. As a teacher myself, I’m interested in the teaching roles you have taken on in the company (or on the sets of your various projects) and what you enjoy most about teaching others -- actors or community members -- your craft.

HG: Well, this is funny because I’ve been asked if I wanted to teach. At the moment, what I enjoy doing are the question and answer sessions with the younger actors, as opposed to master classes. Going in and working on scene work... I still have a reluctance to do any of that, only because I feel that I’m still working it out myself so I don’t know that I’m... I don’t want to say “qualified” because I think there is a certain qualification that I have to give out information. But as far as being in a classroom situation, I’m a little uncomfortable with that at the moment. I might not be later on. But I’m not uncomfortable in the question and answer format. I know that benefited us greatly when I was [a student] at the University of Washington and we had actors come in. We would pump them for information and get as much as we could about what it was like “out there". And I liked that. It opens up all kinds of subjects. And if that leads to some demonstration, that’s one thing... but it’s that type of work that I enjoy. As far as [The Antaeus Company’s] concerned, I’ve done some of that. We’re very involved and we have a wonderful outreach program and we go out to schools. Our company does mainly classical plays, so we try to bring those plays to a younger audience and try to help build [the art] because we’re losing that audience to computers and other media. We have to try to find a way to bring them into the theatre, and I enjoy that. In fact, many people in the company enjoy that. We have a lot of good teachers in the company, many who teach Shakespeare classes and all kinds of other things...

Dear reader:

Joss Whedon’s importance in contemporary pop culture can hardly be overstated, but there has never been a book providing a comprehensive survey and analysis of his career as a whole -- until now. Published to coincide with Whedon’s blockbuster movie The Avengers, Joss Whedon: The Complete Companion by PopMatters (May 2012) covers every aspect of his work, through insightful essays and in-depth interviews with key figures in the ‘Whedonverse’. This article, along with previously unpublished material, can be read in its entirety in this book.

Place your order for Joss Whedon: The Complete Companion by PopMatters, published with Titan Books, here.

Cover down, pray through: Bob Dylan's underrated, misunderstood "gospel years" are meticulously examined in this welcome new installment of his Bootleg series.

"How long can I listen to the lies of prejudice?
How long can I stay drunk on fear out in the wilderness?"
-- Bob Dylan, "When He Returns," 1979

Bob Dylan's career has been full of unpredictable left turns that have left fans confused, enthralled, enraged – sometimes all at once. At the 1965 Newport Folk Festival – accompanied by a pickup band featuring Mike Bloomfield and Al Kooper – he performed his first electric set, upsetting his folk base. His 1970 album Self Portrait is full of jazzy crooning and head-scratching covers. In 1978, his self-directed, four-hour film Renaldo and Clara was released, combining concert footage with surreal, often tedious dramatic scenes. Dylan seemed to thrive on testing the patience of his fans.

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TV

Inane Political Discourse, or, Alan Partridge's Parody Politics

Publicity photo of Steve Coogan courtesy of Sky Consumer Comms

That the political class now finds itself relegated to accidental Alan Partridge territory along the with rest of the twits and twats that comprise English popular culture is meaningful, to say the least.

"I evolve, I don't…revolve."
-- Alan Partridge

Alan Partridge began as a gleeful media parody in the early '90s but thanks to Brexit he has evolved into a political one. In print and online, the hopelessly awkward radio DJ from Norwich, England, is used as an emblem for incompetent leadership and code word for inane political discourse.

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The show is called Crazy Ex-Girlfriend largely because it spends time dismantling the structure that finds it easier to write women off as "crazy" than to offer them help or understanding.

In the latest episode of Crazy Ex-Girlfriend, the CW networks' highly acclaimed musical drama, the shows protagonist, Rebecca Bunch (Rachel Bloom), is at an all time low. Within the course of five episodes she has been left at the altar, cruelly lashed out at her friends, abandoned a promising new relationship, walked out of her job, had her murky mental health history exposed, slept with her ex boyfriend's ill father, and been forced to retreat to her notoriously prickly mother's (Tovah Feldshuh) uncaring guardianship. It's to the show's credit that none of this feels remotely ridiculous or emotionally manipulative.

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If space is time—and space is literally time in the comics form—the world of the novel is a temporal cage. Manuele Fior pushes at the formal qualities of that cage to tell his story.

Manuele Fior's 5,000 Km Per Second was originally published in 2009 and, after winning the Angouléme and Lucca comics festivals awards in 2010 and 2011, was translated and published in English for the first time in 2016. As suggested by its title, the graphic novel explores the effects of distance across continents and decades. Its love triangle begins when the teenaged Piero and his best friend Nicola ogle Lucia as she moves into an apartment across the street and concludes 20 estranged years later on that same street. The intervening years include multiple heartbreaks and the one second phone delay Lucia in Norway and Piero in Egypt experience as they speak while 5,000 kilometers apart.

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Featuring a shining collaboration with Terry Riley, the Del Sol String Quartet have produced an excellent new music recording during their 25 years as an ensemble.

Dark Queen Mantra, both the composition and the album itself, represent a collaboration between the Del Sol String Quartet and legendary composer Terry Riley. Now in their 25th year, Del Sol have consistently championed modern music through their extensive recordings (11 to date), community and educational outreach efforts, and performances stretching from concert halls and the Library of Congress to San Francisco dance clubs. Riley, a defining figure of minimalist music, has continually infused his compositions with elements of jazz and traditional Indian elements such as raga melodies and rhythms. Featuring two contributions from Riley, as well as one from former Riley collaborator Stefano Scodanibbio, Dark Queen Mantra continues Del Sol's objective of exploring new avenues for the string quartet format.

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