Interview with "Arthur in Underland" Writer/Co-Director/Performer Mantra Plonsey

Emmaly Wiederholt interviewed “Arthur in Underland’s” Co-Director,
Writer and Performer Mantra Plonsey about the creation of Dandelion’s
new work:

EMMALY WIEDERHOLT: What was the process of
drawing from Eric’s personal history to write Arthur in Underland?
Conversely, what is it like to perform in?

had recently completed the process of creating and producing AND
performing in our past winter season’s piece FRIEND, which dealt with a
dear companion’s death from a brain tumor, with whom he had gallivanted
around during their middle teens in Berkeley. The material in that
project brought up deeper memories from that period in the 80’s, when he
was a perilously impressionable 15-year-old, separated from his Los
Angeles family home of origin, and out of his depth as he navigated
through the counterculture, including  neo-primitive, urban tribal music
and ritual experimentation.

One of the defining features of that
time was Eric’s deep attraction to a young male contemporary, prior to
his coming out, combined with his distant encounters with a older,
sexually predatory man who was both frightening and intriguing. This
series of encounters with this man and his entourage in a rock band sent
Eric into a descent into severe anxiety (“I went to pieces,” he says)
for a time, and his work with a therapist “saved his life”, as he told
me. He began to feel he was ready to address the earlier times that had
in part included his friend who recently passed away, and look back to
face that part of his past, and share those memories through art.

because of my acute travels through severe childhood neglect– (I was
abandoned in a locked apartment with my baby brother when I was 4, and
later spent two years of my teens in psychiatric institutional life–)
Eric felt he could trust me with what he felt required a dark re-telling
of his story. My five years of working with Eric as a performer and
collaborator convinced me that he could indeed face a story rich with
risk, requiring strong confrontations with his own fear and dread. This
direction builds upon themes of other works I have seen him initiate in
the past, which, as I see it, have often referred more to the higher,
more positive aspects of spirituality; I wanted very much to illustrate
his and my congruent points of view, that one doesn’t achieve
enlightenment by embracing only the light.
I asked Eric several
times before we began if he truly felt safe with the prospect of
confronting the character of Sarastro, the intensely violent and
transgressive antagonist I was developing for my role as Eric’s
opposite:  my own representation of an murderous, manipulative villain, a
pedophile, an archetypal “Dark Man”. (I continue to ask Eric to check
in with me regularly, in fact, and I need the same from him. His
emotional safety, and my own, and that of the entire ensemble is a
radical imperative for the two of us.) 


In the early stages, I
immediately became engaged with a notion I had of the therapist as
Sibyl, as a guide through the dream world, and as a foreteller. We share
dreams with the people who help us integrate our personalities when in
acute episodes of threatened personality and identity, and in recovery
from trauma. These thoughts quickly became expressed mythically, as I
wasn’t wanting to make a piece about two people in upholstered furniture
in an office with a clock and a box of tissues — at least in the
current creative cycle. Who knows.

I am fascinated with villains.
You can’t have a hero without at least one player in a black hat, and as
Eric said just yesterday, the enemy in a fable like this one is (at any
rate, in a truthful telling) making a sacrifice, which, I’d say, can be
of his or her self, body, life, or essence. I see this as a nearly
erotic submission, a consenting to being overthrown, and this is an
indispensable element in the play. There are, as well, the equivalent
and/or opposing sexual tides and rhythms influencing Arthur, Eric’s

For me to perform in this piece is exhilarating, and
I’m having the time of my life. This euphoria is tempered with bouts of
doubt. (Rhymes with trout.) And guilt, even. The metaphorical and actual
extremes I’m inflicting on my actor comrades in this play are often
harrowing to deliver– often not in the moment, but later when I’m
second-guessing myself. Was it too much? What are they thinking? Should I
go comfort them or are they OK? I find myself feeling remorseful and
pitying my performer friends for what I’m doing to them, but the ones
most disturbed seem to be the ones having to watch the violence, not the
ones being knocked around. The other side of the doubloon is that I’m
getting a colossal charge out of acting out the sadism. I’ve been on the
receiving end on stage several times, but very seldom have been the one
taking charge.

The balance of energy in a group when this kind of
business is written into the script can have chaotic consequences,
bordering on disaster and havoc, with people crying and withdrawing, or
becoming so psychically  merged with the power dynamic that their
identities become lost. For stable, self-aware people, of course, it can
have the best possible outcome. I hadn’t thought much about the
possible effects of being on the dominant side of the exchange, or that I
would find myself inhabiting the energy so completely, but I should
have known better!


One can express an elemental animal force in
stage violence. You can give it or take it. There is genuine freedom in
allowing yourself to feel the emotional, if not the physical impact of
taking a slap in the face, or getting knifed, or just yelled at, to
release your inherent masochism, or beat the hell out of someone who
does or doesn’t like it… all of human variation is there.

WIEDERHOLT: There are so many allusions in the text… Shakespeare,
King Arthur, Lewis Carroll, The Rite of Spring, Tarot cards… why did
you draw on so many different references, and what do you hope to
illustrate through the use of so many references? Was there a particular
theme you looked for when choosing references to allude to in the text?

PLONSEY: The story of the transit through an “underworld”, in many
traditions, begins with the Epic of Gilgamesh, travels through Greek
theatre, European and Asian myth, appears in every recorded history in
every culture and continues to present day (and will, I predict, for as
long as we tell stories). Its themes have been unceasingly with us in
ancient and contemporary works– see Wagner’s Ring Cycle, The Matrix
films, Harry Potter– and in these, the residents of the Underworld must
always meet the hero with ordeals and tests before he or she may ascend
to the sunlit lands, and this occurs always with the hero receiving
precious new knowledge, gifts and secrets.

I chose to draw from
several “Underworld” traditions for the questions Arthur must answer
before he may reach each level — Tarot for the occult, Shakespeare for
tragedy and to express a use of  literary  scholarship as an arcane
challenge, Alice in her rather disturbing transit through distorted
reality– I believe it was David Ryther who contributed the idea of
using Le Sacre du Printemps, which happens to dovetail with the trope of
the virgin sacrifice– King Arthur appears as the champion of Right vs.
Might, whose visionary idea of chivalry is broken and destroyed at the
end of Malory’s medieval work, Le Morte D’Arthur. All of these sources
have a sort of shadow to them, and I love each of these elements for the
sense I have of their origins in a sort of eternal, infinite past,
which we imagined as the setting for the band’s lair.

The name
‘Arthur’ for our hero was my spontaneous impulse, which led startlingly
to countless parallels for the story. Eric was born in England, which I
had forgotten. King Arthur’s inclusion led, predictably, to irresistible
appearances from several other members of the Round Table. Eric
suggested we name a central character, played by Keith Penney, “Lance”,
perhaps half-jokingly, but the resonance really grew and continued to
evolve. I couldn’t help it. The references shouldered their way in, and,
for instance, one young knight in particular became utterly crucial to
the plot in ways we hadn’t anticipated. That’s the sort of thing that
happens all the time in Dandelion– happy accidents of lighting,
location, properties, circumstance, people showing sides of themselves
that were dormant or not fully expressed blossoming– myself included.

EMMALY WIEDERHOLT: How has your understanding of the text changed from when you wrote it to now when you perform it?

PLONSEY: One way to look at is that to perform this part myself means
that it can be played the way I see it. Besides this convenience, the
relationships between each of the characters and mine (onstage and in
real life) have deepened. I was becoming intensely identified with the
role as I was writing it, and because of this, the villain’s effect upon
my comrades is possibly more profound than it would have been if I
didn’t play the part. I feel that  my understanding of the text itself
hasn’t wavered. The individual words, dance, music, blocking, lights,
effects, etc., do indeed keep metamorphosing, as they always do in
Dandelion, which is a big reason why I love the company.

Therapist as Sibyl idea quickly disappeared almost entirely, becoming
subsumed into the character of the sinister bandleader Sarastro. Indeed,
I personally had never meant to play anything more than a disembodied
voice, nearly obscured in the darkened loft with my back to the
audience, and wearing a blindfold, leaving me free to help direct. Of
course, sometimes it seems that, due to our  dedication to create a
collectively functioning ensemble,  nobody in the troupe ever really
gives up one responsibility for another, except in the degree of
involvement per piece. Mostly we add more on! We thought of casting
every other member of the company as Sarastro, until Eric had the
brainstorm to try cross-gendered portrayal, with me playing the male
character as male in costume and makeup, yet ambiguously so, with the
spoken and singing voices ranging between male and female tonalities.
Sarastro himself went from being a purely evil, singly dimensional
archetype to becoming a more conflicted, fully developed personality
while still retaining a supernatural glamour; he assumed the classic
position of the disguised, apparently hostile guide who initiates the
novice into the mystery.

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