My favorite children’s television show, Square One Television, first appeared to the television world 28 years ago today. Happy Birthday, Square One!
The show remains conspicuously absent from the DVD collections market, most likely due to a complicated copyright involving (then) Children’s Television Workshop and (now) Sesame Workshop. A fan site, SquareOneTV.org, which I formerly contributed to, seems to have gone offline. So the show’s Wikipedia page provides a thorough overview of what each episode was like and why people like me grew so affectionate for it. (and so upset when it suddenly left the airwaves in the fall of 1994.)
In the summer of 2006 I had the chance to meet one of the show’s core ensemble cast members who was appearing in an off-Broadway show I attended, and wrote about the experience on LiveJournal:
I got a front-row seat and read the program before the curtain went up. I scanned the cast list and was surprised to see a cast member (Cynthia Darlow) from Square One Television, one of my top-5 favorite childhood TV shows, was part of this cast. She displayed just the same brasyness and captivating theatricality that she had displayed in the show, and was a stand-out among the secondary characters of the show. Later, I was waiting around in the lobby and she happened to come out from backstage. We made eye-contact briefly and I decided to take a minor risk and say that I loved her work on Square One. She smiled broadly and said she always is charmed that people still remember the show and that it was “one of her best jobs” of her career with a very tight-knit cast and crew. She is also always amused that people my/our age still remember the show and can tell her how they watched it compulsively when it aired first-run. Once again it felt good to take a risk of approaching a celebrity, especially when Cynthia was as friendly as she is.
Square One briefly reappeared on television screens around the turn of the millennium as part of cable network Noggin (a joint venture between Nickelodeon and Sesame Workshop) and its anthology series “The Phred on Your Head Show” – with segments from Square One intercut into the newer show, and perhaps most importantly, the show-within-a-show Mathnet, which was always my favorite part of the program, reappearing in full glory.
I owe a longer post on the enduring appeal of Mathnet – but it won’t be tonight! I will say that the show contributed greatly to my lifelong love of numbers and coincidences and mysteries and number sequences. And it indirectly introduced me to the theatre world at a young age, with one episode set in a Broadway house and all of the main actors coming from strong theatrical backgrounds.
I only realized a few years ago (possibly on moving to Michigan) that Square One included many references to Michigan and the University of Michigan Ann Arbor, where its creators attended college. So from an early age I had many little snippets of Michigan lore seeping into my brain, most notably centered around U of M life and my current area code, 313, which once covered the entirety of Southeastern Michigan. To that I just say… “wow!”
And it’s a perfect segue to the other birthday I learned is today, which is the state of Michigan itself! 178 years young! MLive asks its readers to guess how well they know the state.
Today is #LoveTheatre day over on Twitter. So it’s a perfect time to recount my quartet of theatregoing experiences so far this week, and reiterate my satisfaction that the rest of the week will be spent working shows here at The Hilberry Theatre.
The majority of the show viewing has been right here on campus in midtown Detroit, and it’s a great treat to have so many options right here at my fingertips.
A Song for Coretta, which recently concluded its run at the Studio Theatre, offered a contemporary and fresh voice to the local theatre community. The play tracks the stories of five women who assemble at Ebenezer Church in Atlanta, drawn there by a large communal desire to pay their respects to the recently deceased Coretta Scott King. The play explores the variety of stories that each women possess and an eventual commonality they can all face.
Director Billicia Hines made her Wayne State theatre debut with this production, and she brought a sensitive precision to the staging of each sequence in the play, making a one-act piece have many more dimensions than one might expect at first glance. The capable and committed ensemble of women knew how to express their characters, most vividly seen in a climactic sequence expressing the stories of two of the women who had been hesitant to speak prior to that point.
A second Wayne State show, Peter Pan, concludes its run with three more performances this weekend at the Bonstelle Theatre. It was a pleasure to watch this show alongside an extremely energetic young audience. The script is a new adaptation by author Janet Allard, with a particular focus on the Peter – Wendy relationship and the timeless goal of “never growing up.”
Nearly all of Wayne State’s undergraduate theatre ensemble is given a chance to shine in this production, both in central and supporting roles. Actress Maggie Beson brings impish charm to the stage as Peter, paired with Luke Rose’s dual roguish ways as Captain Hook and Mr. Darling. The set design skillfully morphs from nursery to water to forest over the span of an hour and twenty minutes. And several actors literally reach new heights through the magic of flying wire technology, moving up, down and around through the air.
A third Wayne State show, All In The Timing, will be opening on Friday night; I attended an early dress rehearsal. One look at Max Amitin’s schoolhouse funhouse set lets the viewer know they are in for a wild and fun ride, filled with David Ives’ trademark wit and humor. (you’ll just have to come see the show to find out more about it.)
Finally, our northern neighbor The Ringwald Theatre has debuted a fresh and notable contemporary work. The company is currently offering the Michigan premiere of Stupid Fucking Bird by Aaron Posner, billed appropriately as a contemporary riff on The Seagull. This play was the best thing I have seen at the Ringwald, with a notable and provocative focus on character, atmosphere and wordplay.
A tight ensemble, led by Jonathan Davidson as Con, proceeds to riff on Seagull in contemporary tones, and with occasional knowing asides to the audience. The playwright’s three act structure is also honored, which helped lend an intriguingly epic feel to the evening, with two intermissions and bitter cold and snow outside the storefront doors. Several moments in the play, particularly those that focus on Mash, played by Vanessa Sawson, incorporate winsome music and story through song. However, the story comes back around to dramatic heights, primarily thanks to Kelly Komlen as Emma, who lends imperious height to her maternal role. I hope the word gets out about this production and that it is seen as a major coup for the Ringwald!