Marc Alaimo - Theatre - PART I (1960-1971)

“Even in these days of instant communication and television there is still nothing to approach the experience of live theatre, one of the oldest forms of communication between people.” – Marc Alaimo, 1970

 

Marc Alaimo’s theatrical career is both vast and diverse. It spans over four decades and he has worked everywhere from Wisconsin to California. This post is the first installment of a three-part series on his amazing theatre work. 

This first part will focus on Marc’s early days in theatre from 1960-1971; the second, his continued theatre work in New York and California from 1973-1979, and then finishing with a look at some of the plays he performed while juggling a full-time film and TV career from 1980-2010.

Read Part 2 here

Read Part 3 here

BEGINNINGS

Marc fell into acting almost by accident when his high school speech teacher, Mr. Gawronski, gave the class an assignment to mime an action. He chose to mime a prisoner being sent to the gallows to be hanged. He performed every action – from climbing the steps to the scaffold to the prisoner falling to his demise. When Marc finished the mime, the class was stunned into silence, and some of the girls were crying. It was then he knew how powerful theatre was and how much of a natural gift he had.

Marc told “Sci-Fi Universe” in 1998: “I knew something had happened. I didn’t know I would be going into the profession, but I knew I had affected people.”

Marc (middle) as Jim Stark in "Rebel Without a Cause," 1961

Although he had never been onstage before, Marc was persuaded by Mr. Gawronski to audition for the newly founded Greenfield High's first all-school play, "Our Town" and won the role of the Stage Manager in May 1960. He also appeared in his high school's production of "Rebel Without a Cause" as the lead, Jim Stark, and in "The Night Before the Game," an award-winning pep assembly skit in 1961. As part of the 1960 Wisconsin High School Forensic Association state drama contest, he played Nat Bartlett in Eugene O'Neill's "Where the Cross is Made," and his school received a "B" rating (second place). 

Marc related to "TV Zone" in 1998: "I made the audience laugh, I made them cry - it was wonderful....I got special mention [at the competition] because I was so ‘out there’ as an actor."

Being in drama and theatre turned Marc’s life around – he went from a troubled young man with poor grades to class president! After graduating high school in 1961, Marc attended Marquette University in Milwaukee, Wisconsin near where he grew up. He studied under Father John J. Walsh, a professor at Marquette who is considered the founder of modern theatre in Milwaukee. Although Marc was not officially registered as a student at the university, Father Walsh saw his potential and chose to mentor him. Marc has spoken fondly of Father Walsh many times in magazine articles and at convention appearances and considers him one of the main reasons he became an actor.

Marc's very first more professional roles were small parts in "Othello" and "Rain" at the Fred Miller Theatre in Milwaukee, and "Saint Joan" with the Marquette University Players when he was still a high school senior! Between 1961 and 1963, he appeared in other plays with the Marquette University Players at Father Walsh's Teatro Maria, including reprising his first theatrical role of the Stage Manager in "Our Town," "Sign of Jonah," "School for Wives," "Oliver Twist" (as Bill Sikes and various other roles), and "Caesar and Cleopatra" in 1963, which was the first play to christen Marquette's new outdoor Paul Claudel Theatre. Marc's handyman skills were put to good use as he also did set construction on various productions.

"Michael Alaimo bespeaks the military mind, as one of Caesar’s generals." - Gerald Kloss, Milwaukee Journal, June 26, 1963 

Trivia Note: Marc used his original name, "Michael" or sometimes "Mike" for early theatrical productions, but chose to change it to "Marc" (after Marc Antony) when he became an equity actor and discovered there was already another Michael Alaimo in the union.

From my research, during this time, Marc also appeared on NET TV (National Educational Television - what was to become PBS) in Milwaukee in 1964 in a dramatic adaptation of the short story, "The Outcasts of Poker Flat." I am currently trying to track down any footage of this appearance. It would be amazing if this still exists!

During his time at Marquette, Marc worked summers at the nearby Harley-Davidson factory and has been an avid rider since he was a young man.

In August 1964, Marc took the plunge and moved to New York City to pursue his theatrical career. He lived with four other men in a tiny apartment and continued chasing his dream:

“I hustled, I was a mover. I didn’t let anybody tell me I couldn’t do something,” Marc told Sci-Fi Universe in 1998.

Soon after moving to New York, Marc landed the dual roles of Monsignor Orsinego and Field Marshal Albert Kesselring in the Blackfriars Guild all-male cast production of "The Comforter," a biographical play about Pope Pius XII, a controversial figure during World War II. The production served as a rebuttal to another play which was running concurrently, "The Deputy," that put Pius XII in a negative light. In late 1964, Marc may have also been part of the cast of "Amphitryon 38" at the West End Theatre in Manhattan, a play in which he would later portray The Trumpeter with the MRT in 1967. Somehow, in 1964 or 1965, Marc found the time to tour as Macduff in "Macbeth" with the newly formed National Shakespeare Company that brought the Bard's work to junior high and high school students across the country. 

From 1964 to 1966, Marc studied with Philip Burton (adoptive father of renowned actor Richard Burton) at the newly founded American Musical and Dramatic Academy (AMDA), continuing both his acting and ballet training he began at Marquette. He told the Milwaukee Journal in 1969: “Philip Burton has a brilliant mind and gives a great lecture on Shakespeare. He is more academic than practical in teaching the trade of acting.” Marc also studied with famed acting teachers Wynn Handman and Olympia Dukakis.

In February 1965, Marc appeared in another Blackfriars Guild production – Father Brendan Larnen’s comic play, “Patrick–the First.” The play centers around the legend of St. Patrick, who comes to Ireland to convert the pagan population to Christianity. Marc played Cormack, a steward to an Irish king, who is set to marry the king’s daughter, Cynnia. After St. Patrick’s arrival, Cynnia chooses to become a nun, denying the king any future heirs and Cormack any happiness! 

“Mike Alaimo is a fine, manly Cormack.” - Joan Thellusson Nourse, Ph.D., The Catholic Transcript, Feb 25, 1965

After rehearsals in New York, Marc returned to Milwaukee to appear in a professional production of "Hamlet" at the Pabst Theater, with his friend and fellow actor John Cullum in the lead. Marc played Rosencrantz, one of the pair of jokesters from Shakespeare’s tragedy. In mid-1965, Marc joined the Actors' Equity and officially became a professional theatre actor. 

That summer, Marc became an originating member of the Chelsea Theater Center in New York City. Their first venture was a playwrights' series – twelve new plays presented as "rehearsed performance readings." Marc appeared in the first production, "Five Days" as The Guard as well as Euphelitus in "Three Days Before Yesterday" (aka "The Long War") at St. Peter's Episcopal Church. The company didn't last long at this venue–many parishioners objected to the content of the plays and the Chelsea Theatre was asked to find a new home.

In March 1966, he took part in a new playwrights series at the Chelsea Theater Center and performed in "One of Us Has Been Ignited" and "Island of Symmetrical People" at the Center's new home, the Church of Holy Apostles in Manhattan. The venue was known by casts and crews as the "Church of the Holy Impossibles," as production sets had to be torn down and rebuilt weekly so regular Sunday services could take place uninterrupted! 

In May 1966, Marc performed in off-off-Broadway productions of "After Dinner" as The Son and as Nero in "Nero's Game" at the esteemed Cafe La Mama, part of the La Mama Experimental Theatre Club. In "Nero's Game," he was the sole character in the play and delivered a 45-minute monologue recited by Emperor Nero as Rome burned!

In early June, Marc appeared briefly in the first English-language production in New York of Goethe’s “Faust” as part of the newly formed International Repertory Theatre. It was presented in recital form (no costumes or props) at The Mall in Central Park. Marc played Mephistopheles, the embodiment of the devil to whom Faust sells his soul. 

Next was an off-Broadway play called “Command Performance” at the Maidman Playhouse in June 1966. The play consisted of four smaller “playlets,” lasting 20 minutes each, that revolved around the subject of romance. Marc appeared as Fletcher Pratt in the second playlet, “Venus-Shot,” a young newlywed more keen on seeing a televised rocket launch to Venus than tending to his wife. And as Boy, one of a couple of young lovers who experience a fantasy in a public park that brings them closer together in the fourth playlet, "Miracle in Brooklyn."

“Also [the director's] boy and girl were a credible pair. He had help in this from Marc Alaimo and Elizabeth Berger…” - James Davis, Daily News, June 26, 1966

He then went on to perform with the McCarter Theatre in Princeton, New Jersey for the 1966 fall season, appearing as Laertes in “Hamlet,” Rodolpho in “A View from the Bridge,” three separate roles (including Flick) in "Once in a Lifetime," and The Herald in “Agamemnon.”

“There is one moment toward the end of the first act that actually gives cause for hope. Marc Alaimo, as a herald, enters the city and, before delivering his message that the war is won and Agamemnon is coming home, remarks in effect how great it is to be back. For that one ephemeral instant, Alaimo ceases to be a character in a classic drama – with all that that implies – and becomes a man, a believable being with whom we can identify.” - Barry Robinson, Asbury Park Press, Oct 10, 1966

“Marc Alaimo is perfectly cast, in the difficult and overshadowed role of Rodolpho.” - Jacqueline Pellaton, Trenton Evening Times, Oct 16, 1966 ("A View From the Bridge")

Marc continued on at McCarter Theatre for the spring season, reprising his role as Laertes in “Hamlet,” appearing briefly in another of the Bard's works, "The Tempest" as the Boatswain, and adding the role of Lucky from “Waiting For Godot” to his resume. Marc’s roommate and friend at Marquette, Michael Schultz, directed "Waiting for Godot," and would later direct Marc in the 1977 film, Which Way is Up?

“Alaimo’s Lucky is more animal than man. He is brought to life by his master’s commands and then settles into oblivion. His non-stop performance of thought is a marvel of sound.” - Ernest Albrecht, Central New Jersey Home News, Feb 5, 1967 ("Waiting for Godot")

“Lucky, chafed, ulcered and at the end of his rope, is portrayed by Marc Alaimo. It’s a splendid part, one to be relished by any actor, and Mr. Alaimo fulfills his mission.” - Katharine Bretnall, Town Topics, Princeton, NJ, Feb 9, 1967

“Marc Alaimo cautiously handles his dumb servant’s role building up to a spastic word-diarrhea climax, the only dramatic crescendo in the whole play.” - Olivia De Pastina, Trenton Evening Times, Feb 5, 1967

“Also, Lucky’s reply to Pozzo’s command, “Think!”, a passage celebrated in modern theatre is made by Marc Alaimo into one of the most engrossing moments I have ever seen on the stage.” - Barry Peterson, Daily Princetonian, Volume 91, Number 2, Feb 6, 1967

Marc's MRT headshot, circa 1967

Marc has stated that one of his favorite theatre experiences from this period was being part of a southern touring production of the then-new hit comedy, "Generation." He played Walter Owen, a young husband at odds with his pregnant wife's conservative father.

In 1967, Marc joined the company of the Milwaukee Repertory Theater (MRT), which also included now-famous actors Charles Kimbrough (“Murphy Brown”) and Michael Tucker (“LA Law”). The MRT was housed in the Fred Miller Theatre, where Marc had previously performed several plays in 1961.

Marc's MRT fall season included playing Steve Hubbel in “A Streetcar Named Desire,” The Trumpeter in "Amphitryon 38," and the villainous Iago in “Othello” to rave reviews! 

"And Marc Alaimo (Iago) will certainly prove to be one of the leading men of the resident company this year. His Iago is flawless. He uses quick gestures and movement, and every word is distinct. A turn of his head tells the audience what turn the subsequent action will take...Alaimo uses his agile movements to fit comfortably and perfectly into the role." - Paula Orth, UWM Post, Oct 17, 1967

"Marc Alaimo is perfect as the conniving Iago, certainly one of drama's foulest characters." - David F. Wagner, Appleton Post Crescent, Oct 14, 1967

“Iago emerges as the most interesting character, and Marc Alaimo, a product of Father John Walsh’s early training at Marquette university, has imbued this ingenious creation with a matter of factness that increases its sinister overtones.” - Jay Joslyn, Milwaukee Sentinel, Oct 13, 1967

At FedCon XVIII in 2009, Marc mentioned that he has a prop from every performance he's ever given and made something special for Iago: "Oftentimes, in the theatre, I would make my own prop. When I played Iago in “Othello” I made my own sword, my scabbard, a purse. I used to love making something personal for myself as the character.”

In 1968, for a mere ten-dollar subscription, you could see Marc in MRT’s productions of “Mary Stuart” as Sir Edward Mortimer, reprising his role as Steve Hubbel in “A Streetcar Named Desire,” as Smiley Coy in "The Big Knife," as Lane in "The Importance of Being Earnest," and as Willie Need in “Oh, Pioneers,” a world premiere play that was part of the MRT’s Theater for Tomorrow series. 

“As a double agent trying to follow his heart, Marc Alaimo, in the role of Mortimer, provides a fine patch of colorful emotion.” - Jay Joslyn, Milwaukee Sentinel, Jan 19, 1968 ("Mary Stuart")

“As Willie, Marc Alaimo plays the part of the unsure and unsecure “young pioneer” in a manner which highly fitted the character and the play.” - Lary Youngsteadt, UWM Post, Feb 23, 1968 ("Oh, Pioneers")

“Marc Alaimo as [the] husband gives a tense portrayal of social impotence.” - Jay Joslyn, Milwaukee Sentinel, Feb 21, 1968 ("Oh, Pioneers")

“Marc Alaimo…made his most important moments superb.” - Dominique Paul Noth, Milwaukee Sentinel, Feb 21, 1968 ("Oh, Pioneers")

The MRT cast on the cover of the Milwaukee Sentinel

That summer, Marc appeared as part of a special troupe headed by MRT artistic director Tunc Yalman that aimed to bring theatre and culture to the small town of Spring Green, Wisconsin. He reprised his roles as Sir Edward Mortimer in "Mary Stuart," Steve Hubbell in "A Streetcar Named Desire," and The Trumpeter in “Amphitryon 38” at the newly founded Robert E. Gard Theater. From all I've read, the troupe really enjoyed their time in Spring Green, especially Marc since he had the chance to take long country rides on his new motorcycle!

“Marc Alaimo is low key sinister and cynical.” - Dominique Paul Noth, Mar 29, 1968 ("The Big Knife")

“And Marc Alaimo, witty and sharp as the Trumpeter, who gives true life to a minor character.” - Paula Orth, UWM Post, Jan 5, 1968 ("Amphitryon 38")

“As earthlings, Marc Alaimo and Michael Tucker provide a fine moment in their praise of peace.” - Jay Joslyn, Milwaukee Sentinel, Dec 15, 1967 ("Amphitryon 38")

His fall MRT season included the play “Dulcy,” and roles as The Apothecary in "The Imaginary Invalid" (directed by Anthony Perkins!) and Henry Antrobus in “The Skin of Our Teeth.”

"Marc Alaimo [is] a grotesque, yet humorous, apothecary." - Paula Orth, UWM Post, Jan 10, 1969 ("The Imaginary Invalid")

“Providing the high points with [a] sharply carved cameo [is] Marc Alaimo, in outrageous makeup, as the maniacal apothecary.” - Jay Joslyn, Milwaukee Sentinel, Dec 21, 1968 ("The Imaginary Invalid")

"Michael Alaimo [turned] in an excellent characterization as the perennially juvenile delinquent son.” - Tom Smith, Waukesha Daily Freeman, Oct 12, 1968 ("The Skin of Our Teeth")

“Marc Alaimo, in playing the son, rose out of a doltish juvenile into a sympathetic personification of the anarchist with which society is faced today.” - Jay Joslyn, Milwaukee Sentinel, Oct 12, 1968 ("The Skin of Our Teeth")

During this period, the MRT received several Rockefeller and National Endowment for the Arts grants. Plays were constantly sold out, and the MRT gained the reputation of being the most prestigious theatre company in the area.

In 1969, MRT, headquartered in an old local movie house, started their spring season with Marc in “Marat-Sade,” and as Solyony in Chekhov’s “Three Sisters,” in which he would appear again in 1976. As well as acting in the plays, Marc and the other MRT members conducted free workshops for local theatregoers, educating them on the plays they were performing and various aspects of theatre itself.

“Marc Alaimo stands out in an excellent portrayal as a cynical soldier.” - Paula Orth, UWM Post, Feb 7, 1969 ("Three Sisters")

That fall brought MRT their brand new digs – the Todd Wehr Theatre – an intimate, 504-seat theatre with plush purple seats! The first play to christen the new thrust stage was “A Midsummer Night’s Dream," in which Marc played Demetrius. He also appeared as Nicholas in “The Kitchen,” Joseph Percival in Shaw's "Misalliance" and possibly in "The Burgomaster" (an American premiere, also directed by Anthony Perkins).

“Penelope Reed and Marc Alaimo’s relationship is one of humor and mild antagonism…He is properly tormented and excellent in conveying his unhappiness.” - Paula Orth, UWM Post, Oct 7, 1969 ("A Midsummer Night's Dream")

At the beginning of 1970, the MRT continued at the Todd Wehr Theater, with Marc in the lead role of Charles Marlow in their production of “She Stoops to Conquer.” This is one of those plays I wish I had a time machine to go back and see, since it sounds like Marc got to play such a charming romantic lead! 

“But the boredom and stodginess disappear with the appearance of Alaimo. He possesses a vibrant style that the others seem to lack. His words come tripping out, each as perfect as it should be. Especially appealing were his quick transitions from a stiff, twitching, stuttering embarrassed man to a charming, witty suitor. The encounter between him and Elizabeth Shepherd, his intended, is the brightest moment in the entire production.” - Paula Orth, UWM Post, April 7, 1970

“Carrying the most difficult role in the script, Marc Alaimo, portraying Charles Marlow, deserves full credit. Playing Marlow, the victim of a split personality, Alaimo was called upon to sudden and striking transitions in character throughout much of the play. He did this extremely well.” - Eleanor Sussex, Portage Daily Register, March 30, 1970

“When Marc Alaimo…is trapped into believing a woman of quality is a serving lady, the audience is treated to some of the finest moments of the season…Alaimo was wonderfully confused and he stopped the show with his efforts.” - Jay Joslyn, Milwaukee Sentinel, March 3, 1970

During this season, Marc also appeared in the world premiere of “The Prince of Peasantmania” as Jeremiah Agate and "The Lesson/The Chairs."

In the fall of 1970, Marc auditioned for and won the opportunity to bring professional theatre to Mississippi. From what I could gather, he acted as sort of an “ambassador” of professional theatre, helping to launch the initial productions at the Theatre Center of Mississippi in Jackson, the first equity theatre in the state. He not only performed in several plays, but also taught acting classes, along with his then-wife, Doris, who taught dance and movement classes.

Staged in a church, Marc’s first play with the Center was “Becket,” that deals with the negative relationship between Thomas Becket and King Henry II of England. The cast was made up of both professionals and first-time actors with Marc taking the lead as Becket.

“In keeping with the overall restraint, the finest factor on this historic occasion was the disciplined power in the performance of Marc Alaimo, a guest professional such as Theatre Center of Mississippi promises to provide.”

“Bright light of the night is the aforementioned Marc Alaimo, an Actors Equity professional who won the role in New York auditions. He had a magnificent command of the role and a superb stage presence. Watching this man work is what professional theatre is all about…”

“The work of Marc Alaimo is a rare treat, and one should keep in mind that he’s here only for just this show. See him!”

- Jean Culbertson, Clarion-Ledger, Jackson, MS, Oct 2, 1970

Marc’s second play in Mississippi was “The Little Foxes,” in which he played invalid Horace Giddens, with Marc’s then-wife Doris playing Alexandra Giddens. Both were met with great reviews:

“From the time he makes his entrance, his commanding presence puts him in the lead. This is not to suggest that he takes anything away from other players. He never upstages anybody, but he’s just that forceful when he is merely staying in character, sitting still in his wheel chair and saying nothing.”

“Alaimo walks the fine line between milking the very most out of a climatic moment without overstepping, going ham. His prolonged death scene builds exquisitely.”

“One characteristic most noticeable in the New York professionals is the way they use their voices. Both Alaimo and Miss Williams start with good vocal instruments which they project with absolute authority. The difference this kind of projection makes contrasted with an ordinary way of speaking is the difference between Shakespeare and Mother Goose.”

“Doris Alaimo is a beautifully and utterly believable girl-child, placing a poignant and sympathetic characterization in the proper perspective.”

- Jean Culbertson, Clarion-Ledger, Jackson, MS, Nov 13, 1970

From all accounts I’ve read, Marc’s time in Mississippi was incredibly successful and the locals absolutely loved him! 

In 1971, Marc returned to New York for a new off-Broadway play called “Any Resemblance to Persons Living or Dead...” at the Gate Theatre. He played Lars, the lead, a man on a quest for ultimate power. Unfortunately, this play did not do well and was harshly panned by the critics. Thankfully, Marc was spared the critic’s reviewing spear:

“As Lars, the insufferable hero, Marc Alaimo had a certain raffish distinction…” - Clive Barnes, Arizona Republic, May 26, 1971

“Marc Alaimo plays the all-wise, all-powerful, all-things-to-all-men godhead with frenzied enthusiasm.” 

- Leo Mishkin, New York Morning Telegraph, May 26, 1971

In October, Marc was part of a cast of 30 in the premiere of a brand new musical by Susan Yankowitz called “Slaughterhouse Play.” He played Paul, one of the executive butchers. It premiered at the new Public Theatre annex and was part of a free workshop series. The play itself was very original in that it incorporated the audience seating into the set itself!

Late December saw Marc join the National Shakespeare Touring Company and appear as Orsino in a production of “Twelfth Night” in Washington, D.C. at the Arena Theatre.

You can see from the roles Marc played during this time that he has always been a truly gifted and diverse actor, meant for the stage!

This concludes Part 1 of Marc’s amazing theatrical career. 

Click here for Part 2

Special thanks to playwright Susan Yankowitz, the amazing Lizzie at the Milwaukee Historical Society, Michelle and R.C. MacDonald at the Blackfriars archive, April at the Princeton University archive, Louie at the Brooklyn Academy of Music, John at the New York Public Library, Dan Pagel, Davi Napoleon, and the La Mama archives for help with info and photos.

©2020/2021 Elisa Ward