Author: Brock Vickers

Emotion is the Heart of Melodrama

“It’s easier to fix than to create,” says director and adapter Matt Tallman of Anthony Hope’s The Prisoner of Zenda running March 30 to April 30 at the historic Hedgerow Theatre. This swashbuckling, romantic melodrama from the early 1900s takes audiences through a zany and adventurous world of Ruritania, a house of cards full of political intrigue and dueling heroes.

“When Jared [Reed] first talked to me about it, he talked about an adaptation in the vein of The 39 Steps or Bullshot Crummond, which are big stories featuring small casts creating spectacle through theatrical ingenuity, it appealed to me,” Tallman continued, “when I actually read Anthony Hope’s novel, I was struck by the emotional journey undertaken by our hero, Rudolf Rassendyll.”

In Hope’s adventure novel, the King of Ruritania is drugged on the eve of his coronation. In order for the King to retain the crown his coronation must proceed. Fortuitously, an English gentleman on holiday resembles the monarch and is persuaded to act as his political decoy in an effort to save the unstable court.

Like 39 and Bullshot, Zenda pulls much of its comedy from the simple fact that so few actors play so many parts. Actors Mark Swift, Josh Portera, and Allison Bloechl will do much of the comedic lifting in this show, however, Tallman knew he could find laughs in the structure of fitting an entire kingdom into five actors. Fortunately Hope’s novel provided the depth and fleshed out characters necessary to tell an adventurous melodrama, and it was clear to Tallman from the beginning that the source material could do the “heavy lifting” on its own.

“Yes, it is a swashbuckling romance,” says Tallman. “There’s comedy, there’s fun, there’s memorable characters, but I was sold by the deeper human story that ran through the show.”

Emotions are essential to melodrama. The nature of the piece is a sensational dramatic story with exaggerated characters and exciting events intended to appeal to the emotions of the audience. Bullshot Crummond plays on the antics of early spy novels. The 39 Steps satirizes heavily the film noir of the 1920s. Zenda, in its current form, is an homage to the days of Errol Flynn’s Robin Hood and Captain Blood.

“I knew I had a limited number of actors, that the majority of them would be Hedgerow company members. and I knew Hedgerow’s physical space from having acted there in 39 Steps and directing Bullshot, so those things certainly influenced my writing,” said Tallman.

The challenge that interested Tallman was the approach to the material. Given the nature of the play, the madcap style of Monty Python and the wit of Mel Brooks, finding a balance between fairly broad comedy and sticking the emotional landing is what drew Tallman into the quest.

As for Tallman’s writing, he stuck to good ole fashioned trial and error as it “gives him permission to get down a draft that isn’t perfect.” Initially sticking close to Hope’s writing style, throughout the creative process Tallman found himself adjusting and playing with Hope’s structure in order to find a perfect balance of emotion and drama.

“My real entry point was when I thought of how I wanted to do the ending.  The very end of the novel as written had tremendous emotional impact on me, but wasn’t theatrical in a way that felt satisfying to me. But, before I sat down to write, I had an idea of creating a different ending that hopefully mirrors the effect the book has on me, and I hope will be impactful for audiences,” said Tallman.

Throughout the process Tallman found himself reaching back to the “depth” of the story. The book has humor, romance, adventure, and a human story that has the potential to be very moving.

“At the end of the day, having an emotional impact was key for me, “ said Tallman, “Zenda is different from other plays in its genre by virtue of the depth of the emotional life in it, which was inherent in the source material.  When we did a table read of my third draft and Jared Reed, Hedgerow’s  Producing  Artistic Director, was in tears at the end, I thought that was a good sign.”

Adult ticket prices are $34, with a $3 discount for seniors. Tickets for those 30 and under, as well as students, are $20. For groups of 10 or more, tickets are $18. Prices include all fees and are subject to change. For reservations or more info, call 610-565-4211 or visit www.HedgerowTheatre.org. Hedgerow Theatre is located at 64 Rose Valley Road in Rose Valley (near Media).

Vibrations of a Good Story

What constitutes a good story? Good acting? A great arc? A strong protagonist? A compelling antagonist? A witty sidekick? A laughable fool? For centuries man has been writing and creating tales. Be it the master works of Chekhov or the eye of Kubrick, our obsession with drama and spoken word spans all of man’s history.

Remember the days of yesteryear when vaudeville burned the microphone with witty banter? Or when suspense played on the minds ability to fill in the void? Return to those days of mystery and laughter from the ole towering General Electric Radio at Hedgerow Theatre Company as it presents a new Storyboard series of Radio Mystery Theatre: Theatre for the Mind.

Homer filled our dreams with the spoken word and created heroic odysseus and influential gods. Shakespeare’s use of language in unparalleled in evoking human emotion and thought through speech. These masters of the spoken word turned language into music.

Our ear and brain are acutely tuned to create truth from this barest of experience. For years, this power of sound  was capitalized on by one of the most revolutionary tools of its era, the radio. Men such as Thomas Edison, Nikola Tesla, and Braun (yes, that one) put their focus on the technology and a boom occurred from use of frequency to the standardization of the radio from submarines to homes.

Today, podcasts are reinvesting in the power of headphones open our imagination to the sound of great voices. However, for a generation Amos & Andy, Suspense!, The Shadow, Buck Rogers, Jack Benny, and The Adventures of Superman filled the airwaves and made great language king.

Drama, comedy, and variety could be found at all hours of the day, next to news and advertisements seeking to reach the masses. From the late 1800s to the 1960s radio was creating the “theatre of the mind.” Tales such as Three Skeleton Key were being produced with writers like Rudyard Kipling, Robert Louis Stevenson, and F. Scott Fitzgerald fueling their plots.

The radio powered the sounds of vaudeville, American folk music, and Red Rider.  By 1944 over 30 million U.S. homes had 57 million radio sets. However, by 1949 nearly 4 million TV sets were produced and the stories that filled audiences ears and minds moved to the new medium.

Now, Hedgerow brings the “Theatre of the Mind” back to life. Bringing mystery, adventure, and comedy, Hedgerow presents a new Storyboard series, “ The Radio Mystery Plays,” featuring the voice talents of the Hedgerow Theatre company.

Running March 10 to the 19, this show will put human voice and the imagination back in the driver’s seat.

Sonya’s Chekhov

Jennifer Summerfield is excited to make her Chekhov debut with such a wonderful team of artists. She’s appeared in several productions at Hedgerow, including Macbeth (Lady Macbeth,) Hamlet (Horatio,) “Don Quixote” (Dulcinea,) Dracula (VanHelsing,) and Gaslight (Bella.)  She is a graduate of Smith College and the Neighborhood Playhouse. www.jennifersummerfield.com 
Who do you play? Tell me a little about them.
I play Sonya, who, together with Uncle Vanya, runs the country estate where the play is set. Without us, the estate would be in ruins.
Where did you study theatre?
I studied theatre at the Neighborhood Playhouse in Manhattan.
What fascinates you about live theatre?
I love that no two people will ever approach a role in the same way, so you could perform the same play in twelve different productions and it would always be new because of what the other actors bring to their characters. I love that constant sense of discovery.
What interests you outside of theatre?
I love to travel.
Who’s your favorite writer? Why?
I’ve always been drawn to Charlotte Bronte because of the complex inner lives of her characters. I’ve always felt a deep connection to Lucy Snowe in “Villette.” And having grown up in Wyoming and those wild, open spaces, I always imagined myself on the moors with the Brontes.
Why did you want to do this play? Why do you think it should be done today?
I’ve wanted to perform Chekhov for years, ever since I was in school, and have never had the opportunity until now. So, thank you, Jared Reed, for making this possible. There’s no greater “actor’s playwright” than Anton Chekhov. He created complicated characters who often don’t know their own motivations and sometimes feel things their words contradict. I can’t describe how satisfying it is to research and develop these lives on stage. It’s a gift.
Why does Chekhov matter as a writer? 
When Chekhov was first performed in Russia, theatres had no idea how to stage his plays and performed them with the overblown theatrics they were accustomed to. Audiences were perplexed and even angered by them. And then the Moscow Art Theatre came along and understood the naturalistic way Chekhov wrote and the pace and build of his plays. We owe our modern theatrical tradition to him.
What’s your favorite quote of Chekhov’s?
Medicine is my lawful wife and literature my mistress; when I get tired of one, I spend the night with the other.
Why should an audience member come see this play?
The play is a work of art and is peopled with characters you’ll recognize from your own life. Also, the acting is superb.

Astrov’s Vanya

Producing Artistic Director and Dr. Astrov in the Barrymore Recommended Uncle Vanya, Jared Reed answers a few questions about legendary playwright Anton Chekhov and Vanya. Reed is a Julliard trained actor and has been a part of Hedgerow Theatre for the majority of his life in one way or another.
What fascinates you about live theatre?
The connection between actors in front of an audience. There is nothing like it. It’s why theatre is so powerful. You can’t hide. The baring of one’s heart in public (so much different than letting a camera peer in).
What interests you outside of theatre?
My Children. Being a father changed my life and the way I see the world.
Who’s your favorite writer? Why?
In Russians: Chekhov, his ability to see people. Vladimir Nabokov, use of language. Dostoeyevsky, his moral center.
Why did you want to do this play? Why do you think it should be done today?
It’s wonderful for us as a Theatre Company to work on Vanya because Chekhov is one of the great dramatic writers, one of the great writers of all-time, and you have to be working at your best to meet him.
Why does Chekhov matter as a writer? 
He shows us that people don’t change – we still feel and process and laugh and cry over the same wonderful and absurd things
Why should an audience member come see this play?
To experience life that is funny at the same time it is sad, and the sad makes it funny, as the fact that you laugh makes it sad

Humanity as It Is

Enter the provocative world of master playwright Anton Chekhov’s Russia as tension and secret ignite into comedy at Hedgerow Theatre in Uncle Vanya, February 9 to March 5.

Vanya and his niece, Sonya, have toiled for years to keep the family estate going, when Sonya’s father, retired Professor Serebryakov, returns with his new wife Yelena. All work comes to a halt as buried resentments and forbidden feelings resurface. Vanya thematically focuses on the idea of a “wasted life,” as each character is consumed by lethargy and regret over their unsatisfactory lives; however, through Chekhov’s wit the dialogue is both pointed and comic.

Under the direction of Barrymore Recommended director of On the Verge Kittson O’Neill, Producing Artistic Director Jared Reed steps into the role of Serebryakov with his mother Penelope Reed as Maria along with an all-star Philly cast including Adam Altman as Vanya and Jennifer Summerfield as Sonya.

“It’s wonderful for us as a theatre company, because Chekhov is one of the great writers of drama and you have to be working at your best to meet him…He shows us that people don’t change – we still feel and process and laugh and cry over the same wonderful and absurd things, and to experience life that is funny at the same time it is sad, and the sad makes it funny, as the fact that you laugh makes it sad,” said Reed.

A founder of both the modern short story and modern prose drama, Chekhov was intimately acquainted with nineteenth-century provincial due to the debts amassed by his father. He became a tutor and writer in order to support himself, ultimately choosing to study medicine. Throughout his life Chekhov would have two loves, famously quipping that medicine was his lawful wife, while literature was his mistress.

“Chekhov is always relevant. His characters are like us in every possible way, with love, and sorrow, and caring. Chekhov is unmatched when it comes to showing us humanity, as it is,” said Reed.

Though he would not live to see it, Chekhov died of tuberculosis in Germany in 1904, he would transform the modern theatre. Chekhov’s plays use indirect action, focusing on understatement, broken conversation, off-stage events, and absent characters as catalysts for the dramatic action of a realistic play.

Adult ticket prices are $34, with a $3 discount for seniors. Tickets for those 30 and under, as well as students, are $20. For groups of 10 or more, tickets are $18. Prices include all fees and are subject to change. For reservations or more info, call 610-565-4211 or visit www.HedgerowTheatre.org. Hedgerow Theatre is located at 64 Rose Valley Road in Rose Valley (near Media).

Painting the Colors of the Universe

When given the opportunity to return to an absurd, gleefully dark galaxy, artist Phoebe Titus jumped at the chance. After drawing last year’s first instalment of Douglas Adams The Hitchhiker’s Guide to the Galaxy, Titus again puts her pencils and brushes to use to create images from Adam’s words.  

“Drawing, painting, and creating are funny things.  They take a lot of time and a lot of work.  Actors probably have a similar experience when they’re in a role; you inhabit your work while you’re doing it, so it invades your whole life.  It’s fun to have a project where all the images are imaginative and fun…There are also some unique challenges to making images that get projected live behind people.  Brush strokes, movements, and colors look very different in that context and it’s fun to see it all come together,” said Titus.

Though all rules are bent in Adams’ Galaxy, it is the limitations of the medium that make the story powerful, and also give Titus the inspiration to paint.

“One of the best things about doing this project is trying to come up with what everything and everyone is going to look like.  How do I really get the character of Majikthise across?  What’s so magical about his thighs? What about the couch that comes alive?  What sort of couch comes alive? Is it cushy? Ratty? Modern? These are fun questions to ask!”

With these questions in mind, and many more, Titus creates the art of Adams’ Universe. It is a time and place reminiscent of the Twilight Zone if it were written by Monty Python. Hitchiker’s is an absurd look at reality through the guise of satire. By allowing the listener, or the reader depending on your favorite version of the story, to laugh at the banality of the Galaxy we are better able to laugh at ourselves.

To Titus, the genius of Douglas Adams’ writing is that he’s able to turn everything on its head:  Eternity is a joke, people are people, aliens are fundamentally flawed in the same way people are, and time plods on no matter where you are in it.

“Nothing and everything matters.  It’s comforting, almost cozy.  Then there’s the wonderful way he drags everything to its absurd logical conclusion, like the creatures who evolve several times a day because they’re so impatient, and how inconvenient that is for them.  The common theme is that everyone’s lives are annoying, full of idiots who don’t know what they’re doing, and destined to end at any moment.  Yet somehow he makes that all seem hilarious and endearing.”

Titus was first attracted to the “gleefully” dark humor of the material. “They get flung all over time and space while this planet or that gets exploded yet they’re all hung up on bickering with each other and trying to get a drink.”

Philosophy, stupidity, and the mundane mix as Adams’ worlds collide, reconfigure, and expire. With odd characters at every turn and clever turn of phrases lurking in every narration, The Hitchhiker’s Guide to the Galaxy is bound to entertain young and old.

“My kids saw Part 1 last year and have been familiar with the stories for years, so that cat’s out of the bag; however, if I was to try to pinpoint what I’d like them to take away from this I’d want them to know that they shouldn’t bother trying to figure out the meaning of life and just focus on living.  Then I’d remind them to make sure they keep their phones clean and sanitary.  It’s the little things, you know?”

In part two, the characters visit the legendary planet Magrathea, home to the now-collapsed planet-building industry, and meet Slartibartfast. Through archival recordings, he relates the story of a race of hyperintelligent pan-dimensional beings who built a computer named Deep Thought to calculate the Answer to the Ultimate Question of Life, the Universe, and Everything. Ford and Arthur find themselves trapped on primitive Earth as Zaphod makes a run for it.

 

Wisdom Through Madness

Wisdom through Madness

Click here to install your Babel Fish Reader.

Douglas Adams is one of the most recognizable authors of our time. Next to J.K. Rowling’s Harry Potter series and perhaps John Grisham or Stephen King, Adams brand is easily one of most memorable and enjoyable series to ever be produced.

The Hitchhiker’s Guide to the Galaxy is a radio play that was adapted into a book that became trilogy in five parts that then became a television show which was adapted into a movie that did not quite live up to the hype that then returned to television. Somehow or another this story has ended up here at Hedgerow Theatre, and that is exactly what this fascinating ride is: a story.

No matter the form, no matter the method, the arc stays the same. Adams wrote in a witty, sardonic tone that equalled that of Charles Dickens. Each character seems to posses a quick whip or a beautiful simplicity, but either way it is Adams way with words that draw us in.

It is as if the Trickster god has stepped behind the keyboard, and is offering up sage wisdom through irony and puns.

There is a theory which states that if ever anyone discovers exactly what the Universe is for and why it is here, it will instantly disappear and be replaced by something even more bizarre and inexplicable. There is another theory which states that this has already happened,” writes Adams.  

If Adams is a bit of Loki or Anansi, his desire is to transgress. He breaks social taboos by placing them in far off vessels and allowing us to see the ridiculousness of a belief, crosses between worlds and time as a passenger unnoticed, and presents multiple contradictory truths.

It is as if Harlequinno or Truffaldino has taken hold of the pen and become the scribe. The Fool stands the test of time, whether he is in commedia or cartoon, because he places for us, a context of madness.

“Many were increasingly of the opinion that they’d all made a big mistake in coming down from the trees in the first place. And some said that even the trees had been a bad move, and that no one should ever have left the oceans…” writes Adams.

If we look at another dramatic example from Shakespeare’s King Lear, Lear’s Fool functions as the same role. Loyal and honest, he comments upon the king’s actions as well as functions as the king’s conscience. The Fool is able to point at the faults of the king, and through irony, sarcasm, and humor he eases the truth to protect and educate his friend.

“I may not have gone where I intended to go, but I think I have ended up where I needed to be,” writes Adams.

In this example, we are Lear: mad, betrayed, heart-broken, confused, and lost. It is the Fool who writes to us and allows us the opportunity to see truth through comedy, to swallow the sugar-pill of knowledge with a smile. Adams zanny Universe offers us a chance to laugh at our own stupidity, at our own futility, and our own fragility.

Whether it is Loki or Harley, Adams or Mel Brooks, the clown speaks the truth that no one else can say. He plays the trick that forces us to see reality. He bends the laws in order to show us what things could be.
As we prepare to open The Hitchhiker’s Guide to the Galaxy Part 2, we prepare to imagine how the Universe might be, what aliens might be like, and how we would act if faced with utterly ridiculous circumstances.

The Hitchhiker’s Guide to Douglas Adams

The Hitchhiker’s Guide to Douglas Adams

by Allison Bloechl

The worlds of science fiction and snarky humor received the most fantastic joint gift on March 11th, 1952.  On that day, far out in the uncharted backwaters of the unfashionable end of the western spiral arm of the galaxy on a little insignificant blue green planet whose ape-descended life forms are so amazingly primitive that they still think digital watches are a pretty neat idea, Douglas Adams was born.

Perhaps best known for his radio play series The Hitchhiker’s Guide to the Galaxy, which he then adapted into a five-and-a-half novel “trilogy”, Adams is known for his ability as not only an author and scriptwriter, but as an essayist, dramatist and all-around funny dude.

In his remarkable life, Adams also authored Dirk Gently’s Holistic Detective Agency (now a TV series starring Elijah Wood) and The Long Dark Tea-Time of the Soul.  He co-wrote several other stories as well as several episodes of the beloved BBC classic Doctor Who.

A classic staple of science fiction and literature in general, Adam’s works have gone on to influence its genre and pop-culture in general.  Similarly, Adams’ work was inspired by the art of his time.   As is clear to any fan of British humor, Adams drew inspiration from Monty Python, having been discovered by the group’s Graham Chapman in 1974.  In fact, Adams was one of only two non-Python members ever to be credited with writing a Python sketch.  He additionally made two appearances on the show during its time.   Pink Floyd references also feature in many sections of The Guide.

Adams was a man of steadfast views.  A self-proclaimed “devout” or “radical” atheist, one can find a myriad of different religions or debunkings of them in his work.  Famously, Adams wrote of Great Green Arkleseizure, an omnipotent being who sneezed creation out of its nose and whose worshippers live in “perpetual fear of the time they call ‘The Coming of the Great White Handkerchief’”.

As is also apparent in his works, Adams had a great passion for environmental causes.  He produced a non-fiction radio series called Last Chance to See featuring many rare and endangered animals.  In 1994, Adams climbed Mount Kilimanjaro with the Save the Rhino International organization dressed in a Rhino suit.  Since 2003, the organization holds an annual memorial lecture to raise money for environmental causes.

In May of 2001, Adams suffered a fatal heart attack at the age of 49.   His funeral service was the first church service ever broadcast by the BBC.  He leaves behind his remarkable works, two asteroids (one named for Arthur Dent and one for himself), a legacy of towel-toting nerds and geeks, and an international holiday on May 25th for those tote-ers known as Towel Day.

Adams to Adams: Elements of Comedy

Time is an illusion. Lunchtime doubly so.” –Douglas Adams

There are six elements of funny, according to cartoonist Scott Adams: naughty, clever, cute, bizarre, mean, and recognizable, and for a joke to land it must have at least two of these elemensts. For example, if we take a cartoon like Garfield, then we, usually, have two animals, Garfield and Ottis (cute), and one of them can talk (bizarre). If we would like to push it a tad further, then we could say that Jon represents the recognizable, a middle-aged man going through life with a troublesome cat.

Now, if we take the theory of one successful cartoonist, how can we apply it to the humor of a novelist? Douglas Adams created one of the most absurd, and delightfully witty radio shows/”trilogy in five parts” ever written.

The Hitchhiker’s Guide to the Galaxy—running at a small Volgonian watering hole near you from January 13 through the 29, is assuming they have not destroyed your planet, yet—is a savory satire on life, existence, and banality.

Arthur Dent, is a delightfully droll young man (recognizable). He is then swept across the galaxy (bizarre) into surprisingly familiar and yet tastefully odd Universe.

Actor Mark Swift put it, “I think Arthur is a tragically dragged about individual. This is what makes him so fun to play, he’s hapless and trying to gauge just how insignificant he is with every mind boggling bit of information thrown his way. Honestly, I think that the Earth’s destruction was freeing for Arthur in many ways, as he didn’t really have many prospects there.”

So this everyman from nowhere, and even when he had a somewhere its nowhere now, becomes the center of our comedic Universe and his utter lack of any heroic skills make him the perfect foil on which to hang our towel.

“Last year when I played Arthur, there was constantly a balancing act of being amazed and horrified by every event that transpired. It was really fun to play someone desperately trying to grasp the concepts being thrown at him,” said Swift.

This childish since of wonder—although, how else would one act when faced with the reality that humans are, 1) not alone in the Universe, and 2) things are vastly more complicated and yet equally trite—puts our everyman in bizarre situations.

It is this use of the commonplace and the wondrous that sets Adams apart.

Douglas Adams – Master Jokester  

 

By Allison Bloechl

Douglas Adams is by far one of the funniest authors I have ever experienced and certainly one of my favorites.  His works are filled to the brim with wit, satire and humor.  One would think this would get boring over the course of radio plays and half-dozen books comprising his most famous work The Hitchhiker’s Guide to the Galaxy.  And it would, if it were just one style of joke.  But Adams was a master joke-teller and never let you see where the joke was going.  He was particularly adept at deadpan, satirical, and absurdist humor as well as the classic bait-and-switch.  As a towel-toting fan, here are some of my favorites of each.

Deadpan humor is just how it sounds – delivered mater-of-factly and without emotion.   The Hitchhiker’s Guide is chock-full of it. One of my favorite lines from both the radio plays and the novels – the creation of the universe.

“In the beginning, the universe was created. This has made a lot of people very angry and been widely regarded as a bad move.”

Another example would be the overzealous man who disproves God and goes on to prove that “black is white and gets killed on the next zebra crossing”.

 

Satire mocks specific humans or humanity in general.  It is meant to point out flaws and weaknesses.  More often than not it has political or social ramifications.   One of the most obvious examples is that of Lady Cynthia Fitzmilton, and obvious dig at Margaret Thatcher.   We can tell how Adams felt about the former PM by making Fitzmilton ignorant, offensive and oblivious.  In the first fit (or radio play) she commends a construction team for bulldozing a town in front of the very people whose homes are being destroyed.

“And I must say immediately what a great honour and a great privilege I think it must be, for you, the people of Cottington, to have this gleaming new motorway going through your cruddy little village. I’m Sorry, sorry, your little country village of cruddy Cottington. I know how proud you must feel at this moment to know that your obscure and unsung hamlet will now arise reborn as the very splendid and worthwhile Cottington service station. Providing welcome refreshment and sanitary relief for every weary traveller on his way.

Absurdist (or surreal) humor is the deliberate violations of causal reasoning, producing events and behaviors that are obviously illogical.  Throughout the story, our heroes travel by the infinite improbability generator which makes the extremely improbable into reality.  Arms melt off, people become couches, and, perhaps most famously, missiles turn into sperm whales and bowls of petunias, keeping readers always guessing as to what the hell will happen next

And finally, we come to the bait-and-switch, my favorite type of humor employed by Adams.  The bait-and-switch requires the author to set up and the audience to invest in one particular narrative, where, at the end, the author reveals not what the audience expected.  Adams uses this technique frequently and to great effect.  In my favorite joke in the entirety of The Guide, our heroes travel across the universe to “the far side of the Quentulus Quazgar Mountains in the land of Sevorbeupstry on the planet of Preliumtarn, which orbits the star Zarss, which is located in the Grey Binding Fiefdoms of Saxaquine” to see the last words of God inscribed on the mountain for all to see in thirty foot tall fire.  And they are “WE APOLOGIZE FOR THE INCONVENIENCE”.  Adams sets up the narrative of an impossible quest for truth, knowledge and glory, and then pulls the rug out from under us and gives us a sign found frequently on out-of-order toilets.

Thers are, of course, just a few of my favorite examples of the wit and humor of The Hitchhiker’s Guide.  For more examples, come see Hedgerow’s The Hitchhiker’s Guide the Galaxy: Part Two this January!