 I'll say a little bit more about the film itself before we show it, but I'm really excited to be showing it here at the Segal Center. Segal Center has been one of the places that I felt like really got the ball rolling with this sort of reza apto renaissance brand. About 15 years ago, I really felt like Reza just wasn't getting his adieu, and things began to start on a group level, and Frank was always putting together, you know, weekends about Reza. He screened the Adam Soch's terrific documentary about Reza, so it feels really fitting that we're here. And another really important, you know, crucial instigator of the rezaissance, if you could call it, was the Dune Magazine, which co-curated the amazing show at MoMA PS1, which really put Reza back in the conversation in a very large way. So I'm really happy that Elizabeth White from the Dune Magazine is going to start things off with a little presentation, giving a little background on Reza's life at work. So, Elizabeth, what's going on? Hi, everyone. Thank you, Tony, for inviting me here to speak a little bit about Reza. My name is Elizabeth White. I am a contributing editor at the Dune, and I'm here to give you just a little bit of a brief overview about Reza's life and work so that you have some context as you go into viewing a father with a peculiar man. As Tony mentioned, at the Dune, we did a show on Reza's work at MoMA PS1 in 2018, and that was followed by a truly outsized, appropriately maximalist book about Reza that we published in 2021. And much of my presentation today is drawn from the research that we did for the book. And much of that research wasn't just archival work. It wasn't just with secondary materials, but a lot of it involved very expansive, extensive oral history with Reza's company members. And so as much as I'm the only one here speaking right now, I think there's going to be a sense of polyvocality here too, at least I hope there will be. Reza Abdo created this really intense, sensually referential, monumental pieces of avant-garde theater that defy the conventions of the form. He pushed his actors to the limits, bringing together source material, both ancient and contemporary, high and low, to critique the political realities of his time, including governmental indifference to AIDS, genocide in Europe, and war in the Middle East. To some, he represented the second coming of Peter Sellers or Antonin Arcobe. To me, Sayers, he represented the worst of liberal culture run amok, all filth and sex and violence irredeemably immoral. He was a queer HIV positive Iranian immigrant in Reagan's America. His outsider status was threefold, but that very outsider status allowed him to challenge our culture's most deeply seated values and beliefs. Reza was born in February 1963 in Tehran to Ali Abdo and Homa Mohajari. Ali, excuse me, Ali by that point was about 35 years old. He was Iranian, but he had gone to college in the United States and lived there for nearly a decade. He was a very successful entrepreneur who was close to the last Shah, Mohamed Reza Pahlavi. He was also profoundly athletic. As you can see here, there was an old magazine issue of life that profiled his successful one-man defeat of an entire American volleyball team. He took these athletic interests back to Iran, where he founded the Persepolis Football Club, as well as an entertainment center named Bowling Abdo. Ali, through his business endeavors, amassed quite a bit of wealth as well as influence. But it was Reza's mother, Homa, who really represented Iran's old money, its old guard. It was to his mother and her family that Reza attributed his artistic sensibility. His mother, he said, could have been a great poet. Her cousins, her nieces and nephews became scholars and artists. And so you have this sort of dichotomy, this binary emerge in Reza's self mythologization. His dad was the brutish athlete whose sole purpose was to acquire wealth and power. His mother was the sensitive, civilizing force who valued art, that at least is how they are presented in Reza's work. I should also mention that Homa was many years younger than Ali was when they married, which caused some conflict, which was exacerbated in 1979, when Ali basically lost all of his money after the Shah's regime fell through revolutionary forces. Around that time, Homa asked him for a divorce. He granted her one, on one term, that she stay in Iran while he fled to Los Angeles with their three sons, Reza Salah did. Reza, at the time, was enrolled in the Wellington boarding school in England. He had received an elite Western education, which ended up heavily influencing his theater work. The star reversal of fortune that his family experienced during the revolution is one that I imagine he personally likened to a Greek tragedy. Soon after the family's arrival in California, Ali suffered a heart attack. The apocrypal story is that Reza coming up to him as gay literally killed him. Reza was only 17, and suddenly he found himself having to care for two younger brothers. He worked menial jobs at gas stations or at the front desks of hotels. If you believe the stories of Tom Fitzpatrick or Brendan Doyle, and we have no reason not to, Reza even hustled to survive. Though he enrolled at the University of Southern California, he dropped out soon after. But at the same time that all of this uncertainty and upheaval was happening, Reza somehow discovered his life's calling. He wanted to make theater. Lacking academic training in theater in any meaningful way, and barely out of his teams, but preternaturally talented, Reza quickly developed a reputation as the LA theater scenes wonderkin. Perhaps owing to his boarding school education, he began by staging classic and recent plays from the European dramatic canon. He directed a trio of hollard-brenton plays at the hole in the wall of the state theater in 1983. He did a sort of nushkin-inspired production of King Lear at the gangway performance center in 1985. He did a production of Franzaver Croats's The Farm Yard at the theater upstairs on Hollywood Boulevard. Also, oops, I just realized I went too far. You just got a little bit of a preview of what I'm going to talk about next. Actually, hold on. Did I have a shifter in the wrong order? Excuse me. He directed a trio of hollard-brenton plays at the hole in the wall at the state theater in 1983. He did a nushkin-inspired production of King Lear at the gangway performance center in 1985. He did a production of Franzaver Croats's The Farm Yard at the theater upstairs on Hollywood Boulevard also in 1985. But it was really with 1986's Amadea, the requiem for a boy with a white white toy that I think we see as his mature aesthetics start to germinate. As implied by its title, Amadea drew from Euripides' famous play about a scorned wife's choice to murder her children in an act of retaliation against her husband for cheating on her. But it wasn't a straightforward adaptation. Rather, it wove together excerpts from Euripides' script with selections from Shakespeare's Macbeth, Tennessee Williams' Cat on a Hot Tin Roof, Dear Abbey Letters, Children's Story Are You My Mother, Bertrude Stein Verses, an original writing from Abdo and a woman named Miralani Oglesby. Taken together, this source material alpha-mised into a play not about a mother's murder of her children, but about a child's grief about losing their mother. It is easy to read Reza's separation from Homa into this work. Even so, mother figures largely exist on the periphery of Reza's canon. It is, instead, the father, the patriarch, who looms large over and in most of Reza's major works. This patriarch, as some of you might know, is almost always played by Fitzpatrick. Here's the slide you already saw. He's the farmer in the farmyard. He's crayon and big daddy in Amadea. He's crayon and King Oedipus. Juan Cuarón and Eva Cuarón, Dr. Gene Scott and Peep Show, the father and bogeyman, Warren Maxwell and tight right white, and the dual symbol of American patriarchy, the Puritan and the businessman, and Reza's final work, Quotations from a Ruin City. And father was a peculiar man, Tampitz is Fyodor Pavlovich Kalamazov, who, like Ali Abdo, was the father to three sons, Dimitri, Alyosha, and Ivan. I think we would all caution against a two simple biographical reading of Reza's work, but Ali, who bullied Reza for not living up to his expectations of what an oldest son should be, Ali, physically violent, he thought Reza was too queer, too bookish, too effete, too unathletic, had clearly lodged himself into Reza's psyche. Yet what Reza does so brilliantly in father, as well as in plays like bogeyman, is link his personal experiences, his personal traumas, to larger social, cultural, and even mythic issues, doubles, triples, even quadruples abound in Reza's work. The patriarch and father is not just Fyodor Kalamazov, it is also the benevolent John of Kennedy and the not so benevolent Donald J. Trump. Reza uses his experiences at the hands of his particular father as ammunition in a larger battle against the perniciousness of patriarchy as such. Given the deeply personal nature of the work, there's no doubt that Reza himself was responsible for generating much of the material for his plays, but it should be noted that he wasn't a playwright in the traditional sense. He was ultimately a director, an artist whose great skill lie in bringing together disparate images, gestures, sounds, and written material, literary, news, stories, court transcripts, popular songs, one-off words uttered by his company members in startling and unusual combinations. Reza was a collage artist. He was the ideas guy. He had the vision. And while he did write a good amount of the text of his plays, it's important to stress that he also relied on collaborators, such as dramaturgs or other playwrights. I mentioned Miralani Oglesby in passing. She was his primary collaborator in his early years in Los Angeles. She worked with him on the text for Amidia, Minamata, Keep Show, Father was a peculiar man, and likely other works from that period as well. The chemistry between Reza and Miralani was electric. They fought like a married couple, even though Reza was gay. Here I want to flag something really important. Reza's company members, the members of Dara Luz, are some of the most astute critics we have on Reza's work. And so in describing Reza's working relationship with Miralani, I actually wanted to refer to some words from Tony. When we were doing the book, he told us, quote, the thing with Miralani was that she could really claim to be an equal standing with Reza as co-creator of the shows. He was a writer. The plays are full of these insanely fantastic lines that are pure Reza. But he was more this methodical sifter of gold, where Miralani was a volcano of text. I think Reza was perfectly happy working with her, as long as she remained a font of usable text that he could do whatever he wanted with. When he started feeling pushback from her, that created a conflict, end quote. Father, for reasons that I will delve into further as I close out this talk, was a transitional piece for Reza. It marked the shift from his early work in LA storefront theaters to his mature work at the Los Angeles Theater Center and his work in New York. One of the reasons it's transitional is because it was his last full collaboration with Miralani. In his final years, he'd shipped to writing with his brother Salar. I'd like to now pivot a bit and talk about Reza's use of space, especially because it's so important for a site-specific piece like Father. As a director, he's really known for two things. His main stage productions and the LATC's Presenium Theater, and then his site-specific productions that made use of unusual spaces in unusual ways. A medea, which I mentioned previously, was staged in a rec center in a gym in Los Angeles. Passes in La Obscuridad, which Reza would do for the Los Angeles Festival, not too long after Father, was staged in the terrace room of the Park Plaza Hotel. But it is Peep Show, which was staged at the courtesy in North Highland Avenue in Los Angeles in April 1988 that I think provides the most interesting point of comparison for Father. This was a true piece of site-specific theater. As mentioned, it took place in a hotel, specifically six hotel rooms, where six different scenarios about power and subjugation played out. Audience members moved from room to room, an egg timer marking the pace. Each scene lasted 25 minutes. We have little extent documentation from this piece, but I imagine that the experience must have felt a bit cramped for viewers. As its title implies, it was also intended to feel voyeuristic. Viewers squeezed onto beds together to watch scenes that felt private, intimate, like something that should be kept out of view. They shared the same space with the actors, but something about the drama felt uncomfortably alienating, like watching the marriage of Artel and Black. Father both extends and revises this use of space. Like Peep Show, it asked its audience to share space with the actors, but the space itself was much different. Traded for the cramped motel rooms of Peep Show were the sprawling cobblestone streets of the Meatpacking District in New York create gentrification. Passers-by and residents bore unwitting witness to the action. It drew on the tradition of the medieval pageant, the roving mystery play cycles that both delighted and instructed common citizens by presenting stories from the Christian Bible. The cobblestone streets evoke the 19th century spirit of the Father's Karamatsa, the Dostoevsky novel on which the play was roughly based. According to the critic Marvin Carlson, quote, almost all of the play shared the same general shape, a more or less guided procession to a new location defined by a number of theatrical set pieces, this location serving as a central gathering spot for a variety of images, events, and speeches, end quote. The Meatpacking District was, at the time, a bit of a no man's land. A neighborhood that, due to the industry it supported, often smelled like blood and shit. It was also one of the most popular sites for gay cruising and public sex in New York prior to the AIDS crisis. In his review of the play, David Kaufman described the culminating scene of Father, called Ivan's Nightmare, by comparing it to the sex club The Mindshaft, which had been located close by. Ivan's Nightmare evoked the voyeurism of peep show, but it placed it in a specifically sexual and queer context. Kaufman describes it thusly, quote, a couple could be seen fucking in an elevator shaft at the top of the stairs where you entered the space. In the main room, a number of naked men were washing themselves, being washed, or involved in a variety of SNM activities. One was hanging upside down and being whipped by another. Still another was sprawled naked and tied to a bed where clothes pins were applied over different portions of his body, end quote. For those who know Reza's work, it's easy to see and hear shades of the cramped scenes of SNM that we will go on to see in Boogie Man and The Law of Remains. We're not entirely sure when exactly Reza found out he was HIV positive. We do know that he made this fact publicly known a few months after Father was produced, while doing press for his play, The Hip Hop Vaults of Eurydice. Critics and Darlu's company members alike have argued that the HIV diagnosis caused the dramatic shift that we see between the early works and the pieces he did with Darlu's. Amidia, Father, and Passo's were all sprawling, durational works, coughing in at about three hours each. But the Darlu's works, such as Boogie Man, The Law of Remains, and Tight Right White, are much tighter. They cram three hours worth of material into an intense 90 minutes. Part of this was due to logistics. After dealing with significant walkouts during intermissions for Amidia, Reza decided he would never do an intermission again. But when he came to the LATC, Bill Bushnell told him he needed intermissions if he wanted to do three-hour shows. Reza didn't like this, so 90 minutes it was. But the argument could also be made that Reza knew he was racing against time. He would die from AIDS-related complications in 1995 at the age of 32. In the span of a decade, he created more work than many directors create in a lifetime. The extreme condensation of time, the extreme speed of the Darlu's productions, was part of this. He was creating as much and as fast as possible. Father was a peculiar man, was either created right before or during the period that Reza found out he had HIV. It is the last of the sprawling early works. It is the last of the plays written in full with Miralani. To go back to my earlier point about how it is the transitional piece in his canon, it is also the bridge between his early unnamed company, which was centered around the actress Microshevska, and the company with which we now associate him, Darlu's. The actors in the earlier company were a bit older, were often formally trained. Darlu's were younger, punkier, and a bit rar, who were willing to go to the extremes that Reza wanted to push them to. For those of us who consider ourselves to be Reza nerds, there's something a bit startling about watching Tony's film of father, because we see an actress like Meg, and an actress like Giuliana Francis Kelly, together sharing the same screen. So much of Reza's early work feels like it is lost to history. It is the Eurydice that has slipped from our grasp. We didn't yet have Adam there to document it all. And so, to borrow somewhat liberally from ancient myth, which we know Reza was obsessed by. To me, Tony's film feels like the fairy man Karen, leading us down the river sticks into the Hades of Reza's untapped, understudied early works. It is the beginning of an important journey backwards. And so without further ado, I'll turn it back to him. So when we did Father in the summer of 1990, that hot, intense summer of 1990, the videographer Ami Storm, who is here with us tonight, showed up many times during the month that we performed and shot tons of video. There's 13 hours of this incredible footage. But the piece itself is a maximalist sprawling piece. And so the 13 hours are also maximalist and sprawling. One of the things that's really exceptional to me about the footage, it really kind of captures the feeling of a person wandering through this amazing wild landscape. And I think that that amazing wild viewer, their quality, prevented it from being cut for many years because people who didn't really know the show intimately would look at it. And they were like, I can't figure out how this all fits together. But I'm very fortunate that I had a really fun role, but a very, I didn't have much lines. They spent most of my time in the play sitting watching what was going on. So I've actually been looking to work with material for, I don't know if you know this, Ami Storm, but back in the 90s, I actually got my hands on some jobs of it. And I tried to cut together an early version just with two VHS decks, trying to figure it out. So when Patty Abar at Brown University got a grant to do a project documenting this work in particular, since it's really the work that has, that's never really come together. The footage has never really been documented before. I finally had my opportunity to fulfill my obsession with going to this material. We have a lot of original cast members here tonight. This is really exciting. So we're going to have a talk back afterwards. And the other thing I did, which I just want to let you know is that I decided to do the whole movie as a split screen, because with this piece, it's so sprawling. How could you ever choose where to put the viewer's attention? So I decided to just lean into an experiential way of being in the piece. And anybody who saw our original Reza show would know if you went in and you tried to sort of follow it in a typical way, a typical linear way, your brain would short circuit. There's no way to really be a successful audience member in a Reza piece without just letting yourself go into the experience, let it wash over you, and then maybe two weeks later you'll wake up in the middle of the night and go, oh my god, that's what that moment meant. So just give me breath, try not to hold on too much to anything like what's going on, just let it happen. And that's it. I'm going to get it going. Just give me a moment to figure out the video. So I heard the piece was three hours long, but the video is only two hours long. So that's one of the advantages of doing a split screen. We can fit four hours with the footage into two hours long. See what I'm doing over here. For Pete's death, I'll tell you in the story that I've been terrible. Order. Order, tell. Order. Order, tell. Order, tell. I've been terrible, brandy of my self, first formally sitting in the paddle of hour, by after the war with Poland in the dampest first life, these were scattered conspiracy everywhere. Fits of rage, alternated with periods of repentance and prayer, while in one of his fifths, he killed his own son, was the man of God. He doesn't need that number, he's wise, he was the problem and everything about many times. Bring himself upon wrongs by forcing them to go on the ground, or religion, but they're murderers. His body is put off the heel of the name, and the devil can't see the name. Maybe he didn't do such a thing during his reign. He teased on the order to meet them, to survive the dark, on his favor. Or, excuse me, on paying the power. Now, every time I said that, oh, to the range of the murder, I'll feed on the younger brother and he'll need you to get the power. Don't believe that. He's such a good-looking man in the name. That's your teeth, that's worth it. Most of all, Madonna is a symbol of the 20th century pocketed, a thesis by Yvonne Karamazov. I think the point is simply this, that all these crosses, should we talk for a while, I think, at the early age, when she started this, that it was kind of like history. She was spitting on our Christian narratives that these symbols were, this was making fun of the people, clearly she is not. We know in 1990, she's going for the big time. She is Christ. She is taking over and becoming our religious center. I think Yvonne, I think she has a very interesting philosophy. It's tied clearly with the California U.S. and not to be yourself. But, you know, get out there and see what we want. But the masses that he is practicing, it is over. Well, it's far more than Christ ever did. Far more than the Jewish community. Australia, Austria, Europe, Japan, everywhere, it's about Madonna. The latest, Judy, hold on to the latest, the one that I like about her, now like a prayer. Here again, the image she is holding right now. What she's doing in this one, she's down on her knees, giving this guy a blow job. Not in the video, but in the song. It's clearly, you call my name, it's like a prayer. I reveal you in the arm and all. The blow job and it's a prayer. So Madonna now, in the age, age and age, is incorporating sexual imagery. Now this is not, by my price, price two, seeing naked in our culture. Seen in rags and making 20th century go, oh no, no, he's not sexy. Jesus is not sexy. He is sexy. Clearly, the sexuality and spirituality relationship has been evident for a night always. Madonna is playing on it now. The difference is that Madonna is not going to die. They will not have to kill her. We had to kill Marilyn just because, you know, these people we adore must die. We had to kill Christ. We don't have an honor. She's out there. She will grow old with us. We will all grow old together. We will not die. In this way, she is our redeemer, I believe. I never thought that she'd ever die. I never thought that she'd ever die. I never thought that she'd ever die. Women who break the engagements, forget the romances. We make them white with their haze. Lips over teeth, arms dying. Nose on the tail, fist there. Beautiful, relaxed, disappointed, legs turning black, falling off trees in a small town somewhere in a safe place and melt. In a safe place for wicked women. I gave women no meaning to talk to her. I didn't know what to do. I didn't know what to do. I didn't know what to do. I needed to go lose her and I'm not in this story. It would be sad when I do become a good boy and I love my family. Obvious would kill me. I have to versilosis. Also, I can hit bottom, check the law. My parents, when I met a country, it's what the doctor came up with to do to me anyway. He said that there was nothing he could do for me, that I'm his daughter. My brother came to see me and they brought me dog and a cat. My mom really liked the cat, but my father had taken away from me when she started putting it in her mouth. My mom has all the time. My one sister's got multiple strokes and she's got her own integrity. And sometimes that bugs me, but I understand we're a pretty safe family, I guess. But we all really love each other. At the beginning, at the end, back, we try not to stop. You're going to stop, I'm always talking about it. Mommy, can we buy a handkerchief? No, dear, not under your desk. If you stop, I'm sweeter. We should buy a good cloth. God gives me what we need. Can I help you? I feel sorry for my mom. She knew what she was going to say. She married Donald Trump. Every guy is like Donald Trump, at least a part of his history. With some, it lasts longer than the others. Nighttime. Backyard. Oh, my goodness. Things are hard, and I literally cannot stop. And this is my backyard. But it did you well. I'm a meeting man, and I'm sick of you. I don't even know I'm loved, and I'm not. I'm not going to have to meet you. I'm not going to have to meet you. Go ahead. The devil's dating me. The devil's dating me. When I'm in the right mood, I enjoy discussing. The devil's dating me. Making the most out of them first. My oldest son, and he'd be a daughter of his, threatened to kill me. Can you imagine that? The murderous son of a bitch is just like his mother. I loved her. They say I didn't, but I did. I loved her because I know she was a spoiled, arrogant girl. I loved her, and she physically beat the shit out of me every chance she was getting. In front of me shall lead you by 35 pounds. The third station is all of me. She could have me online, but it's on the floor, on a two-second flat, begging for mercy. I could use her to rule instead of your father. Who are you? She wanted me to fail. Because she wanted to fail. She was overleaved. I believed in her, and I told her if you were wrong, and I told her wrong. I said totally wrong. I believed in her, and I told her that she and her children had the courage to do the same thing to you. But you know, when your father did, when he did for the pizza, the food of his time, he would rebel. I made a fool of myself. I believed I'm priceless, and I'm doing it because I don't want to. I also don't want to take a car. I don't want to take anybody. I believe in the family, but you are not in the school, and you're doing it. I am not in the school either. But you are not, and you're doing it. And why? Because I'm between them. Why a bunch of monsters. And I know why. Yeah, yeah, yeah, yeah. Yes, but what are you dealing about her? About her why? About her why? About her, about her why? Let's do this. No, he's going to hurt someone. He's going to hurt someone. He's got so many mothers. He's got a lot of children. He didn't like the group that had ever told her to feed her, but she didn't even shout on the frat like a dog. I'm not going to get out of there. He didn't tell her to feed her, but I don't care. He said, I don't even know what I was talking about. There's got to be a theater response team. They didn't even encourage the group of men to play ringer out early. Miss Stingham was about it. That person was about to say it was like, and she became confused, and it became clear that the men were not children. When we handed her the money, she just jumped in and mouthinated. I'm just going to say it was funny. Jesus, it's so hot right now. I was just getting super cold. I mean I just wanted to be someone, but not real. I shouldn't have been more specific. Gentle, sensitive. I found an item that And you might Professor right. Don't tell me screenplays, But the church, she did to deserve my contempt. I'm a generous man. I'm generous than you are, but I'm not good for money. Some people never worry about parking tickets. Some people never worry about parking tickets. Some people never worry about parking tickets. Some people never worry about parking tickets. And I'm gonna tell you that he didn't get it on him, and he didn't even put him on the plane. Don't have to be a truck. I'm a truck queen. I'm standing right here. I'm standing right here. How do you do it tonight? You know it's a signal not 3 times on the window. No, never say no, my darling, you don't know what a tweet you're missing three times my pretty little one. No, I won't let you. She's a beautiful woman. She's beautiful. She's a beautiful woman. She's a beautiful woman. I'm sorry, Katja. I blew it with you. I'm sorry. I'm sorry. I'm sorry. You blew it too. Energy is a wonderful thing, but sometimes it goes, yeah, hey, my little one. 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