1 00:00:02,400 --> 00:00:09,040 Speaker 1: Happy Saturday, everybody. Uhguignon got the briefest mentioned this week 2 00:00:09,080 --> 00:00:10,959 Speaker 1: when its name appeared at the end of a quote 3 00:00:10,960 --> 00:00:13,520 Speaker 1: from the New York Times review of Dracula, which was 4 00:00:13,560 --> 00:00:16,479 Speaker 1: directed by Todd Browning. That mention was so brief we 5 00:00:16,520 --> 00:00:18,640 Speaker 1: did not even elaborate on what it meant. But the 6 00:00:18,720 --> 00:00:22,480 Speaker 1: Guignon was a theater that became known for it's terrifying 7 00:00:22,480 --> 00:00:27,160 Speaker 1: and gruesome plays in Paris, and you, in fact got 8 00:00:27,160 --> 00:00:31,200 Speaker 1: to visit the location. Yes, yeah, it is now. It's 9 00:00:31,200 --> 00:00:33,480 Speaker 1: still a theater, but it is now a theater where 10 00:00:33,840 --> 00:00:37,080 Speaker 1: most of the plays there are staged with the intent 11 00:00:37,400 --> 00:00:41,160 Speaker 1: that the hearing impaired can enjoy them, which is very cool. 12 00:00:41,200 --> 00:00:43,920 Speaker 1: And I must say, we wandered over and the woman 13 00:00:43,960 --> 00:00:47,240 Speaker 1: who is the manager happened to be outside at the time, 14 00:00:47,280 --> 00:00:49,960 Speaker 1: and she was like, why are you here? And I 15 00:00:50,000 --> 00:00:52,880 Speaker 1: tried to explain history podcast in French, which I did 16 00:00:52,880 --> 00:00:55,360 Speaker 1: not think about learning to say um, And then she 17 00:00:55,400 --> 00:00:57,200 Speaker 1: invited us in and just let us look around at 18 00:00:57,240 --> 00:00:59,000 Speaker 1: what it is now, which was very very kind of 19 00:00:59,000 --> 00:01:01,279 Speaker 1: her and incredibly week. So yeah, I want to give 20 00:01:01,280 --> 00:01:03,920 Speaker 1: a shout out to the International Visual Theater. It's still 21 00:01:03,920 --> 00:01:06,559 Speaker 1: there in the same place, and the building looks enough 22 00:01:06,600 --> 00:01:08,920 Speaker 1: like it looked in those pictures that we found while 23 00:01:08,959 --> 00:01:10,960 Speaker 1: we were doing research with a clang ule that it 24 00:01:11,080 --> 00:01:13,960 Speaker 1: is recognizable. So that was very very cool. Yeah, so 25 00:01:14,080 --> 00:01:17,240 Speaker 1: that research on the Grand Gnule. Holly did that back 26 00:01:17,240 --> 00:01:21,640 Speaker 1: in We covered this on the show on October seventeenth 27 00:01:21,720 --> 00:01:24,240 Speaker 1: of that year, so we thought we would fill in 28 00:01:24,280 --> 00:01:27,640 Speaker 1: the gaps for folks who had not heard that name before. 29 00:01:27,959 --> 00:01:33,720 Speaker 1: Asked Today's Saturday Classic Welcome to Stuff you missed in 30 00:01:33,800 --> 00:01:43,480 Speaker 1: History Class, a production of I Heart Radio. Hello, and 31 00:01:43,520 --> 00:01:48,000 Speaker 1: welcome to the podcast. I'm Holly Frown. I'm Tracy Wilson. Tracy. 32 00:01:48,040 --> 00:01:53,640 Speaker 1: It's time for more October horror. Yeay, Uh, this time 33 00:01:53,640 --> 00:01:59,880 Speaker 1: we're gonna delve into not just us an October spooky story, 34 00:02:00,040 --> 00:02:03,680 Speaker 1: it a story of spooky storytellers. Uh. We're going to 35 00:02:03,760 --> 00:02:06,400 Speaker 1: talk about a famous theater of Paris, and its name 36 00:02:06,480 --> 00:02:10,640 Speaker 1: translates to big Puppet or Big Puppet Show, which could, 37 00:02:10,680 --> 00:02:14,120 Speaker 1: perhaps to some ears suggest light silly fair. But the 38 00:02:14,160 --> 00:02:18,160 Speaker 1: works performed at the Tatla Dugout were aimed at adult 39 00:02:18,200 --> 00:02:20,520 Speaker 1: audiences and they were not for the faint of heart. 40 00:02:21,720 --> 00:02:24,240 Speaker 1: The roots of the film horror genre are in the 41 00:02:24,280 --> 00:02:27,440 Speaker 1: plays of the Grange and the plays that were staged 42 00:02:27,480 --> 00:02:32,680 Speaker 1: there really became known for telling the darker side of UH, 43 00:02:32,760 --> 00:02:36,079 Speaker 1: for exploring the darker side of storytelling, often in really 44 00:02:36,200 --> 00:02:40,080 Speaker 1: visceral and very gruesome and explicit and graphic ways. It 45 00:02:40,200 --> 00:02:44,320 Speaker 1: was outrageous and terrifying and sometimes scandalous, and it became 46 00:02:44,360 --> 00:02:47,959 Speaker 1: a beloved fixture of Parisian of the Parisian theatrical scene. 47 00:02:47,960 --> 00:02:51,880 Speaker 1: In the early nineteen hundreds and throughout the nineteenth century, 48 00:02:52,680 --> 00:02:56,079 Speaker 1: uh fae de veire were incredibly popular. And these were 49 00:02:56,120 --> 00:03:00,440 Speaker 1: short sensational stories that were printed in French papers, and 50 00:03:00,440 --> 00:03:04,360 Speaker 1: they were frequently illustrated, and they reported true life, sort 51 00:03:04,360 --> 00:03:08,519 Speaker 1: of crime stories, rife with gory details, and unlike fairy 52 00:03:08,560 --> 00:03:12,440 Speaker 1: tales or morality stories, these usually did not end happily, 53 00:03:13,040 --> 00:03:15,840 Speaker 1: and in some ways, the taste for stories of this nature, 54 00:03:15,880 --> 00:03:20,399 Speaker 1: which developed in the consciousness of France throughout the eighteen hundreds, 55 00:03:20,440 --> 00:03:25,160 Speaker 1: really set the perfect scene for the tatlad The story 56 00:03:25,280 --> 00:03:30,160 Speaker 1: of the Grand Gena starts in eight seven with Oscar Matagnier, 57 00:03:30,360 --> 00:03:33,959 Speaker 1: when he purchased the theater in the Cartier Pigal area 58 00:03:34,000 --> 00:03:37,960 Speaker 1: of Paris. He had worked on a police force and 59 00:03:38,000 --> 00:03:40,960 Speaker 1: one of his duties was watching over death row prisoners 60 00:03:41,000 --> 00:03:43,960 Speaker 1: at the time, uh basically in the time that was 61 00:03:44,040 --> 00:03:46,680 Speaker 1: leading up to their executions. He also worked as a 62 00:03:46,680 --> 00:03:52,000 Speaker 1: tabloid journalist. Before he became a playwright, Matainier had been 63 00:03:52,000 --> 00:03:55,960 Speaker 1: working with Andrea Antoine at the Tiatra Libre, which stage 64 00:03:56,040 --> 00:03:59,640 Speaker 1: stories of the lower classes of Paris. They really were 65 00:03:59,720 --> 00:04:02,400 Speaker 1: kind of doing this whole naturalist thing that was growing 66 00:04:02,400 --> 00:04:05,560 Speaker 1: in popularity, but that theater had really struggled and it 67 00:04:05,640 --> 00:04:08,280 Speaker 1: shut its doors for good in the mid eighteen nineties. 68 00:04:09,000 --> 00:04:12,400 Speaker 1: During the run of the Libre, Matinier had written some 69 00:04:12,480 --> 00:04:15,160 Speaker 1: of the most provocative short plays that were staged there. 70 00:04:16,120 --> 00:04:19,159 Speaker 1: The Tiata de Grando sat at the end of a 71 00:04:19,200 --> 00:04:23,520 Speaker 1: small cul de sac called the Impass Chaptel. It had 72 00:04:23,560 --> 00:04:25,839 Speaker 1: originally been built as a chapel, and some of the 73 00:04:25,880 --> 00:04:30,320 Speaker 1: original chapel decor remained, including angel sculptures hanging over the 74 00:04:30,440 --> 00:04:34,000 Speaker 1: orchestra pit and seating boxes, which, due to their carved 75 00:04:34,040 --> 00:04:38,599 Speaker 1: wood paneling, looked like confessionals. And the stage. There was 76 00:04:38,640 --> 00:04:41,720 Speaker 1: a tiny square twenty ft by twenty feet that's about 77 00:04:41,760 --> 00:04:44,760 Speaker 1: six by six meters, and there were somewhere between two 78 00:04:44,880 --> 00:04:47,400 Speaker 1: hundred and thirty and two hundred and eighty five seats 79 00:04:47,400 --> 00:04:50,560 Speaker 1: depending on what source you're reading. One of the reasons 80 00:04:50,600 --> 00:04:53,800 Speaker 1: Matinnier started this venu in the smallest theater in Paris 81 00:04:53,880 --> 00:04:57,560 Speaker 1: was to mount his own productions. His naturalist plays were 82 00:04:57,560 --> 00:04:59,719 Speaker 1: just not the kind of thing that other playhouses were 83 00:04:59,720 --> 00:05:03,240 Speaker 1: will to produce. He had done some work writing farces 84 00:05:03,320 --> 00:05:08,520 Speaker 1: and pros, but Mattinie eventually went back to short plays 85 00:05:08,520 --> 00:05:12,120 Speaker 1: like those that he had worked on at the Oscars. 86 00:05:12,160 --> 00:05:16,120 Speaker 1: Plays written for the Glouigneo featured characters of the street, 87 00:05:16,560 --> 00:05:20,039 Speaker 1: such as hustlers, sex workers, and homeless people, and he 88 00:05:20,120 --> 00:05:23,359 Speaker 1: launched his theater on April thirteenth, eight seven with a 89 00:05:23,400 --> 00:05:27,920 Speaker 1: slate of seven shorts. Two dark tales performed that evening 90 00:05:27,920 --> 00:05:30,440 Speaker 1: were written by Mattinier, while the other five were a 91 00:05:30,480 --> 00:05:32,960 Speaker 1: mix of comedy and drama that had been written by 92 00:05:33,000 --> 00:05:36,680 Speaker 1: other writers. This mix of styles was part of an 93 00:05:36,680 --> 00:05:39,839 Speaker 1: approach that Mattinier started that he called hot and Cold theater. 94 00:05:40,720 --> 00:05:44,680 Speaker 1: Dark or gruesome fair was was alternated with often body 95 00:05:44,800 --> 00:05:49,560 Speaker 1: comedic pieces. Because the theater would run anywhere from four 96 00:05:49,600 --> 00:05:51,919 Speaker 1: to seven different plays every night, they could take the 97 00:05:51,920 --> 00:05:54,640 Speaker 1: audience through a series of emotional highs and lows over 98 00:05:54,680 --> 00:05:57,159 Speaker 1: the course of one evening. As a result of this 99 00:05:57,279 --> 00:06:01,520 Speaker 1: style switching, the horror seemed more frightening and the comedy 100 00:06:01,600 --> 00:06:05,599 Speaker 1: seemed funnier. Yeah, it's often explained as if you run 101 00:06:05,680 --> 00:06:07,559 Speaker 1: hot water on your hands and then switched to cold, 102 00:06:07,600 --> 00:06:10,000 Speaker 1: the cold seems icier than it is, and vice versa. 103 00:06:10,440 --> 00:06:12,359 Speaker 1: So that same sort of thing was being applied to 104 00:06:12,440 --> 00:06:16,560 Speaker 1: staging their productions for the evening. And while Mattinier had 105 00:06:16,600 --> 00:06:18,919 Speaker 1: thought that in running his own theater house he'd have 106 00:06:18,960 --> 00:06:21,600 Speaker 1: the freedom to stage the shows he wanted, it turned 107 00:06:21,640 --> 00:06:24,080 Speaker 1: out that the Paris police actually felt a little bit 108 00:06:24,080 --> 00:06:28,719 Speaker 1: differently about the situation. One of his first shows, Mademoiselle Fifi, 109 00:06:28,839 --> 00:06:31,440 Speaker 1: which was an adaptation of a novel, was shut down 110 00:06:31,480 --> 00:06:35,039 Speaker 1: temporarily by police sensors because the main character was a 111 00:06:35,080 --> 00:06:40,600 Speaker 1: sex worker. Although the police didn't appreciate the gritty realism 112 00:06:40,640 --> 00:06:45,240 Speaker 1: of Matineer's plays, audiences really did. The Grand Genole was 113 00:06:45,360 --> 00:06:51,480 Speaker 1: successful basically immediately. Yeah, people really loved it. But even 114 00:06:51,480 --> 00:06:54,440 Speaker 1: though it was doing quite well, Oscar Mattinier did not 115 00:06:54,560 --> 00:06:59,080 Speaker 1: head up the theater for long. In just the following year, 116 00:06:59,440 --> 00:07:02,560 Speaker 1: Max Moore. He took over as director and Mattainnier had 117 00:07:02,640 --> 00:07:05,279 Speaker 1: run the theater for four seasons, but he really felt 118 00:07:05,320 --> 00:07:08,440 Speaker 1: like it was impossible to keep the shocking stories going 119 00:07:08,560 --> 00:07:11,960 Speaker 1: long term, so he sold the whole business to Maury. 120 00:07:12,080 --> 00:07:14,880 Speaker 1: With that change in leadership was a significant change in 121 00:07:14,920 --> 00:07:18,000 Speaker 1: the tone of the offerings on stage. Mari had a 122 00:07:18,000 --> 00:07:21,160 Speaker 1: lot of theater experience, but was not one of Paris's 123 00:07:21,280 --> 00:07:26,080 Speaker 1: highbrow artistes. He wasn't especially concerned with continuing the style 124 00:07:26,120 --> 00:07:29,280 Speaker 1: of naturalism for artistic integrity. He wanted to make the 125 00:07:29,280 --> 00:07:35,960 Speaker 1: theater profitable just because it's a business. Under his guidance, 126 00:07:36,040 --> 00:07:42,720 Speaker 1: Grandio gained a reputation for bloody, terrifying offerings, and Maury 127 00:07:42,920 --> 00:07:46,480 Speaker 1: catered to a sort of voyeuristic blood lust in the audience. 128 00:07:46,880 --> 00:07:50,240 Speaker 1: His lineups filled with unsettling visuals that struck fear and 129 00:07:50,320 --> 00:07:54,160 Speaker 1: viewers and made them question exactly where the line between 130 00:07:54,200 --> 00:07:57,680 Speaker 1: theater and reality sat came to be called Slice of 131 00:07:57,720 --> 00:08:01,120 Speaker 1: Death as a counter to Matinier's pace of life dramas. 132 00:08:01,840 --> 00:08:05,320 Speaker 1: Mari was a masterful marketer of the Grand Nile during 133 00:08:05,360 --> 00:08:08,040 Speaker 1: this time. He hired a doctor to attend all the 134 00:08:08,080 --> 00:08:11,080 Speaker 1: shows in case anybody needed to be treated for fainting, 135 00:08:11,520 --> 00:08:14,480 Speaker 1: and he reveled in the publicity that that move brought. 136 00:08:15,080 --> 00:08:17,560 Speaker 1: He measured the success of any given show by how 137 00:08:17,560 --> 00:08:21,640 Speaker 1: many people fainted during it. Yeah, they really were doing 138 00:08:21,760 --> 00:08:30,200 Speaker 1: some very very graphic you know, beheadings, dismemberments, uh, disembowelings, 139 00:08:30,800 --> 00:08:34,200 Speaker 1: lots of stabbings and eye gougings. They were really like 140 00:08:34,320 --> 00:08:38,280 Speaker 1: doing some pretty impressive on stage effects. And as a director, 141 00:08:38,360 --> 00:08:42,040 Speaker 1: Max Maury was exacting. He may not have been driven by, 142 00:08:42,120 --> 00:08:45,120 Speaker 1: you know, this intense artistic vision, but he was adamant 143 00:08:45,200 --> 00:08:48,000 Speaker 1: that the place had to be paced perfectly to maximize 144 00:08:48,000 --> 00:08:50,680 Speaker 1: the effect of the comedy or horror that was being 145 00:08:50,679 --> 00:08:53,920 Speaker 1: delivered to the audience. And he pushed the acting troupe, 146 00:08:54,040 --> 00:08:57,800 Speaker 1: which is normally a group of about fourteen actors, two 147 00:08:57,880 --> 00:09:02,200 Speaker 1: extremes with endless rehearsals and some pretty cutting criticism that 148 00:09:02,240 --> 00:09:05,680 Speaker 1: he could dole out. The actors were basically always on edge. 149 00:09:05,920 --> 00:09:08,880 Speaker 1: Arguments were frequent, so the behind the scenes drama was 150 00:09:08,920 --> 00:09:11,720 Speaker 1: apparently just as heightened as that on the stage, although 151 00:09:11,760 --> 00:09:16,280 Speaker 1: it was absent of the blood and dismemberment portions. One 152 00:09:16,320 --> 00:09:20,080 Speaker 1: of Marie's discoveries during this time was Andre de Lord, 153 00:09:20,200 --> 00:09:24,040 Speaker 1: a novelist and playwright who collaborated with Dr Alfred Binet, 154 00:09:24,600 --> 00:09:29,760 Speaker 1: an experimental psychologist, to create stage scripts that that explored 155 00:09:29,840 --> 00:09:34,320 Speaker 1: insanity in depth. The Lord was a physician's son and 156 00:09:34,360 --> 00:09:37,920 Speaker 1: had grown obsessed with death as a child. Benet, who 157 00:09:38,000 --> 00:09:41,880 Speaker 1: was the Lord's doctor as well, found the patient frustratingly 158 00:09:42,040 --> 00:09:45,720 Speaker 1: unwilling to do real self examination, and he probably cut 159 00:09:45,720 --> 00:09:48,920 Speaker 1: sessions short because he had ideas for plays while two 160 00:09:48,960 --> 00:09:51,959 Speaker 1: of them were talking. De Lord had worked in other 161 00:09:52,000 --> 00:09:54,200 Speaker 1: theater at the time, so when that was my note 162 00:09:54,200 --> 00:09:56,280 Speaker 1: that he was sort of a discovery of Marie's but 163 00:09:56,600 --> 00:09:58,920 Speaker 1: discovery might be a weird word to use there and 164 00:09:58,920 --> 00:10:01,440 Speaker 1: not entirely accurate. But he really once he hooked up 165 00:10:01,440 --> 00:10:05,840 Speaker 1: with the the Glonguigno, his career really blossomed, and it 166 00:10:05,920 --> 00:10:09,920 Speaker 1: was because he was always consulting doctors and experts so 167 00:10:09,960 --> 00:10:12,280 Speaker 1: that he could really get all of the all of 168 00:10:12,320 --> 00:10:15,120 Speaker 1: the gory stuff as accurate as possible. And it seems 169 00:10:15,160 --> 00:10:18,360 Speaker 1: odd to me that your psychologist would also be your 170 00:10:18,400 --> 00:10:22,880 Speaker 1: creative collaborator, but it seemed to work for them well 171 00:10:23,040 --> 00:10:28,800 Speaker 1: and maybe not even maybe definitely also medically not ethical, right, 172 00:10:29,240 --> 00:10:31,240 Speaker 1: you wouldn't be able to pull that off today, I 173 00:10:31,240 --> 00:10:36,360 Speaker 1: don't think, But at the time. Uh. Despite Benet's apparent 174 00:10:36,440 --> 00:10:40,680 Speaker 1: willingness to talk about how the Lord wasn't doing his 175 00:10:40,679 --> 00:10:45,120 Speaker 1: his work on self openly, which again would not be ethical. Uh, 176 00:10:45,200 --> 00:10:47,240 Speaker 1: they seem to do really well in terms of putting 177 00:10:47,240 --> 00:10:50,400 Speaker 1: plays together, and the Lord would eventually earn the nickname 178 00:10:50,440 --> 00:10:53,120 Speaker 1: the Prince of Terror for his dozens and dozens of 179 00:10:53,160 --> 00:10:57,800 Speaker 1: plays that combine this fascination with psychology and death with 180 00:10:57,920 --> 00:11:02,120 Speaker 1: stories that had been sort of from newspapers and police reports, 181 00:11:02,320 --> 00:11:06,080 Speaker 1: and that combination really examined the depths of humankind savagery. 182 00:11:07,040 --> 00:11:10,520 Speaker 1: The Lord favored insane asylums and surgeries for settings of 183 00:11:10,600 --> 00:11:13,280 Speaker 1: his dramas, and his goal was to write a play 184 00:11:13,320 --> 00:11:15,920 Speaker 1: that was so filled with terror that it would clear 185 00:11:15,960 --> 00:11:20,000 Speaker 1: the entire audience within minutes of beginning. It's a weird goal. 186 00:11:22,600 --> 00:11:24,680 Speaker 1: When I was about twenty four years old, I had 187 00:11:24,760 --> 00:11:27,959 Speaker 1: dated somebody whose goal was to write a book so 188 00:11:28,040 --> 00:11:32,800 Speaker 1: scary nobody could get to the end of it anyway. 189 00:11:35,559 --> 00:11:39,520 Speaker 1: All of this ultimately led to incredible success, so much 190 00:11:40,040 --> 00:11:43,480 Speaker 1: that it is often Max Murray and not Oscar Matinier 191 00:11:43,600 --> 00:11:47,079 Speaker 1: who was credited with starting the Grand Nile. There was 192 00:11:47,120 --> 00:11:50,200 Speaker 1: an average of two faintings per night, which just seemed 193 00:11:50,200 --> 00:11:52,920 Speaker 1: to entice new audience members to come in. And those 194 00:11:52,920 --> 00:11:55,679 Speaker 1: two people, by the way, we're normally men. The Grand 195 00:11:55,679 --> 00:12:00,760 Speaker 1: Gniole became celebrated as part of Parivisian culture. Yeah, explanation 196 00:12:00,840 --> 00:12:03,240 Speaker 1: that's often given as to why it was always men 197 00:12:03,320 --> 00:12:06,720 Speaker 1: that fainted was because the ladies would cover their eyes 198 00:12:06,800 --> 00:12:09,120 Speaker 1: when the scarier parts happened, whereas the men would not. 199 00:12:09,320 --> 00:12:12,360 Speaker 1: But that I think that matter could potentially be up 200 00:12:12,400 --> 00:12:16,760 Speaker 1: to debate. The Congos next director took the gory realism 201 00:12:16,880 --> 00:12:19,760 Speaker 1: portrayed on stage to all new levels. But before we 202 00:12:19,800 --> 00:12:21,640 Speaker 1: get into that, we're going to take a little break 203 00:12:21,679 --> 00:12:35,840 Speaker 1: and have a word from one of our sponsors. In 204 00:12:36,000 --> 00:12:40,120 Speaker 1: nineteen fifteen, the theater's directorship passed to Camille Schwazi when 205 00:12:40,160 --> 00:12:44,640 Speaker 1: Max Maury retired. Charles Zabel was also a financial partner, 206 00:12:44,760 --> 00:12:47,680 Speaker 1: but it was Camille Schwazi who was running things, and 207 00:12:47,760 --> 00:12:50,280 Speaker 1: Chwazi took the stagings of the theater to all new 208 00:12:50,360 --> 00:12:53,320 Speaker 1: heights by way of special effects. So, in addition to 209 00:12:53,400 --> 00:12:56,160 Speaker 1: make up in physical effects which were already being done 210 00:12:56,200 --> 00:12:59,720 Speaker 1: at the Congagno and which he elevated, he also used 211 00:12:59,800 --> 00:13:02,920 Speaker 1: light and sound to carry the audience members, along with 212 00:13:03,000 --> 00:13:05,920 Speaker 1: the actors on stage, into a world of insanity and 213 00:13:05,960 --> 00:13:09,360 Speaker 1: gore and terror. As the First World War played out, 214 00:13:09,400 --> 00:13:12,640 Speaker 1: there was some concern that audiences would become so jaded 215 00:13:12,679 --> 00:13:15,160 Speaker 1: by the events that were unfolding in Europe and abroad 216 00:13:15,280 --> 00:13:17,840 Speaker 1: that the French theater of Blood would stop being appealing, 217 00:13:18,720 --> 00:13:22,160 Speaker 1: but Chwazi opted to use the public's new knowledge to 218 00:13:22,280 --> 00:13:26,040 Speaker 1: innovate in these plays. In addition to the knives and pistols, 219 00:13:26,040 --> 00:13:30,000 Speaker 1: he started incorporating stories with grenades and poisonous gas. So 220 00:13:30,200 --> 00:13:34,800 Speaker 1: themes obviously taken from the war, and he was ever 221 00:13:34,920 --> 00:13:37,640 Speaker 1: looking for ways to push the boundaries of realism to 222 00:13:37,760 --> 00:13:41,000 Speaker 1: keep potentially board audiences on the edge of their seats. 223 00:13:41,360 --> 00:13:44,920 Speaker 1: So Chwazi even purchased a full surgical setup for use 224 00:13:44,960 --> 00:13:48,400 Speaker 1: as a set. Plays were also staged on sets that 225 00:13:48,440 --> 00:13:51,720 Speaker 1: looked like the interiors of dirigibles and railroad cars and 226 00:13:51,880 --> 00:13:54,600 Speaker 1: mines and factories, so the types of things that were 227 00:13:54,640 --> 00:13:56,840 Speaker 1: on people's minds at this time. This is where I 228 00:13:56,840 --> 00:13:58,880 Speaker 1: want to pause and remind you that that stage was 229 00:13:58,920 --> 00:14:01,560 Speaker 1: only twenty so building out these sets had to have 230 00:14:01,640 --> 00:14:06,000 Speaker 1: been an incredible work of like engineering and creativity. It 231 00:14:06,080 --> 00:14:09,280 Speaker 1: was also Chwazi who hired actress Paula Maxa, who would 232 00:14:09,320 --> 00:14:13,719 Speaker 1: become the celebrated star of the Grand Genial compared to 233 00:14:13,760 --> 00:14:18,520 Speaker 1: the famous Sarah Bernhardness, her horror Horror equivalent. Maxa gained 234 00:14:18,559 --> 00:14:21,240 Speaker 1: her fame through play after play in which her character 235 00:14:21,360 --> 00:14:24,280 Speaker 1: was tortured or mauld and in one place, she even 236 00:14:24,400 --> 00:14:28,200 Speaker 1: decomposed on stage over the course of several minutes. Over 237 00:14:28,240 --> 00:14:30,240 Speaker 1: the course of her time at the Grand Genial, she 238 00:14:30,320 --> 00:14:34,400 Speaker 1: yelled help on stage more than nine times, but that 239 00:14:34,440 --> 00:14:37,120 Speaker 1: didn't really help her out because she was murdered in 240 00:14:37,160 --> 00:14:42,080 Speaker 1: the theater more than ten thousand times. Yeah she uh. 241 00:14:42,120 --> 00:14:44,120 Speaker 1: You know, when you're doing four to seven plays at night, 242 00:14:45,600 --> 00:14:47,520 Speaker 1: you can get killed over and over in the course 243 00:14:47,520 --> 00:14:50,600 Speaker 1: of one evening. As an actor, and by this time, 244 00:14:50,640 --> 00:14:53,520 Speaker 1: with the range of special effects in each show continuing 245 00:14:53,520 --> 00:14:57,440 Speaker 1: to grow, these actors became masters not only of portraying 246 00:14:57,520 --> 00:15:01,280 Speaker 1: human emotion at the extremes of ex orians, but they 247 00:15:01,320 --> 00:15:05,280 Speaker 1: also had to become incredibly skilled at simultaneously deploying the 248 00:15:05,320 --> 00:15:08,440 Speaker 1: tricks of their trade that went far beyond like using 249 00:15:08,440 --> 00:15:10,960 Speaker 1: blood packs and like having to explode. One of those 250 00:15:11,320 --> 00:15:13,960 Speaker 1: actors would have to trigger effects that made their faces 251 00:15:14,000 --> 00:15:16,320 Speaker 1: appear to melt, or their skin burst into flame, or 252 00:15:16,360 --> 00:15:18,960 Speaker 1: any number of other horrors while they were still doing 253 00:15:18,960 --> 00:15:22,880 Speaker 1: the job of trying to act realistically. As the spectacle grew, 254 00:15:22,920 --> 00:15:26,960 Speaker 1: the Grandnil drew a wide ranging audience. People who lived 255 00:15:27,000 --> 00:15:29,880 Speaker 1: nearby would attend to enjoy some local theater, and the 256 00:15:29,960 --> 00:15:32,720 Speaker 1: highbrow art set bought tickets to indulge in the darker 257 00:15:32,760 --> 00:15:35,960 Speaker 1: themes of the stage. There, audiences would show up to 258 00:15:36,040 --> 00:15:40,360 Speaker 1: openings in formal attire with B y O. B. Champagne. Allegedly, 259 00:15:40,400 --> 00:15:42,400 Speaker 1: the boxes in the back of the theater, which were 260 00:15:42,480 --> 00:15:46,720 Speaker 1: quite private, were often the sites of romantic trists, and 261 00:15:46,760 --> 00:15:49,920 Speaker 1: it was during Schwazi's time at the Helm that records 262 00:15:49,960 --> 00:15:52,960 Speaker 1: were set at the gang Na for faintings, as well 263 00:15:53,000 --> 00:15:55,280 Speaker 1: as an increase in the number of audience members who 264 00:15:55,280 --> 00:15:57,160 Speaker 1: would run out into the alley over the course of 265 00:15:57,160 --> 00:16:00,440 Speaker 1: the evening to be sick. The effects had become so 266 00:16:00,440 --> 00:16:03,440 Speaker 1: sophisticated that during one play, when an actress had her 267 00:16:03,480 --> 00:16:06,760 Speaker 1: eye gouged out on stage and then revealed the gaping 268 00:16:06,760 --> 00:16:11,320 Speaker 1: hole in her skull, six members of the audience lost consciousness. 269 00:16:11,360 --> 00:16:14,160 Speaker 1: On another evening, what looked for all the world like 270 00:16:14,240 --> 00:16:17,800 Speaker 1: a real blood transfusion taking place on stage resulted in 271 00:16:17,840 --> 00:16:22,600 Speaker 1: the record of fifteen fainting attendees. Chwazi ran the theater 272 00:16:22,720 --> 00:16:25,440 Speaker 1: for more than a decade before Jack Juvan became the 273 00:16:25,480 --> 00:16:31,960 Speaker 1: director in Chuvanne, who bought out Charles Zibel, really seemed 274 00:16:31,960 --> 00:16:33,800 Speaker 1: to want to depart from what had gone on before 275 00:16:33,920 --> 00:16:38,280 Speaker 1: and in fact had made the Grand Genial famous. Chwazi 276 00:16:38,360 --> 00:16:40,560 Speaker 1: stayed on for a while as a collaborator, but he 277 00:16:40,680 --> 00:16:44,600 Speaker 1: left after three years to start a competing theater, and 278 00:16:44,720 --> 00:16:48,600 Speaker 1: juven also fired crowd favorite Paula Maxa, who also left 279 00:16:48,640 --> 00:16:52,280 Speaker 1: and started her own theater. Unfortunately, neither Max's venture nor 280 00:16:52,400 --> 00:16:56,120 Speaker 1: Chwazis took flight. However, the new director began to stage 281 00:16:56,120 --> 00:16:59,120 Speaker 1: shows that were less creative and exploratory and set up 282 00:16:59,200 --> 00:17:02,600 Speaker 1: one gag after another. He sets slates that were thematic 283 00:17:02,640 --> 00:17:05,560 Speaker 1: for a whole evening, sometimes all penned by the same writer. 284 00:17:06,320 --> 00:17:09,080 Speaker 1: Sometimes there were multiple writers listed on the playbill, but 285 00:17:09,160 --> 00:17:15,080 Speaker 1: they were all just his pseudonyms. Yeah. He usually is 286 00:17:15,080 --> 00:17:19,000 Speaker 1: is characterized as kind of not understanding what the true 287 00:17:19,040 --> 00:17:22,840 Speaker 1: magic of the Colonguignol was, and without the artistry of 288 00:17:22,880 --> 00:17:25,800 Speaker 1: storytelling that had teased out the tension and fear of 289 00:17:25,800 --> 00:17:29,919 Speaker 1: a story. The audience lost interest, and additionally, the theater 290 00:17:30,000 --> 00:17:33,680 Speaker 1: productions started to have to compete with the early universal 291 00:17:33,760 --> 00:17:38,600 Speaker 1: horror films. Dracula starring Bella Legocie, debuted in ninety one. 292 00:17:39,000 --> 00:17:42,479 Speaker 1: James Wales Frankenstein also came out that same year, and 293 00:17:42,520 --> 00:17:45,600 Speaker 1: while their roots were in many ways in the horror 294 00:17:45,720 --> 00:17:48,439 Speaker 1: and the identity of horror and storytelling that had started 295 00:17:48,440 --> 00:17:51,480 Speaker 1: at the Glongigno, they were now a very real threat 296 00:17:51,520 --> 00:17:56,560 Speaker 1: to that theater, and attendance dwindled rapidly. In seven, a 297 00:17:56,600 --> 00:18:00,280 Speaker 1: British actress named Eva Berkson took over this limb being 298 00:18:00,359 --> 00:18:03,360 Speaker 1: theater from Juvam. For a while, it seemed like there 299 00:18:03,400 --> 00:18:05,720 Speaker 1: was some hope for a return to the golden days 300 00:18:05,760 --> 00:18:09,159 Speaker 1: of the Grand Nile. Berkson relaunched the theater with a 301 00:18:09,200 --> 00:18:12,040 Speaker 1: mix of old audience favorites and new plays, and she 302 00:18:12,200 --> 00:18:15,880 Speaker 1: hired back Paula Maxa. But due to years of screaming, 303 00:18:15,920 --> 00:18:18,760 Speaker 1: the former Queen of the Theater of Blood had damaged 304 00:18:18,760 --> 00:18:21,639 Speaker 1: her vocal instrument and she could no longer scream like 305 00:18:21,720 --> 00:18:27,080 Speaker 1: she once did. Yeah, she really wasn't able to um project, 306 00:18:27,920 --> 00:18:31,840 Speaker 1: according to most accounts, or even speak much over like 307 00:18:31,920 --> 00:18:36,720 Speaker 1: your standard speaking voice. Berkson was able, however, to bring 308 00:18:36,760 --> 00:18:40,240 Speaker 1: audiences back, and for several years the small former chapel 309 00:18:40,640 --> 00:18:43,800 Speaker 1: once again was home to devoted crowds and spurting blood. 310 00:18:44,480 --> 00:18:48,040 Speaker 1: But the German occupation of Paris in ninety brought Berkson's 311 00:18:48,040 --> 00:18:52,199 Speaker 1: involvement to a screeching halt. She fled. As a British national, 312 00:18:52,280 --> 00:18:54,280 Speaker 1: it would have been incredibly dangerous for her to try 313 00:18:54,280 --> 00:18:57,679 Speaker 1: to stay, although the theater did continue to mount productions 314 00:18:57,720 --> 00:19:01,440 Speaker 1: in her absence. Occupation slates are by and large repeats 315 00:19:01,480 --> 00:19:04,199 Speaker 1: of the ones that had played under Schwazi's leadership. The 316 00:19:04,240 --> 00:19:07,280 Speaker 1: old director had returned Berkson's absence to try to keep 317 00:19:07,359 --> 00:19:10,800 Speaker 1: things going, and some of the occupying troops did attend, 318 00:19:10,880 --> 00:19:15,119 Speaker 1: although the theater was deemed degenerate art, even though Hermann 319 00:19:15,200 --> 00:19:19,080 Speaker 1: Gering quite liked it. Yeah, there were apparently plans when 320 00:19:19,119 --> 00:19:22,760 Speaker 1: Germany was finally victorious to basically like destroy the Glongoagnole 321 00:19:23,000 --> 00:19:25,639 Speaker 1: and pretend it had never existed, just wipe it from 322 00:19:25,640 --> 00:19:29,639 Speaker 1: the history books. But uh as we know, that's not 323 00:19:29,640 --> 00:19:32,680 Speaker 1: how the war played out, and Berkson once again resumed 324 00:19:32,680 --> 00:19:36,159 Speaker 1: her leadership role at the Glogognole in ninety four, and 325 00:19:36,240 --> 00:19:38,800 Speaker 1: this time when she returned from England, she had a 326 00:19:38,880 --> 00:19:42,840 Speaker 1: husband who was Alexander Dundas, and World War Two really 327 00:19:43,119 --> 00:19:46,439 Speaker 1: delta severe blow to the theater. For one, there was 328 00:19:46,480 --> 00:19:49,359 Speaker 1: some ill will in Paris that the Glongognol had stayed 329 00:19:49,400 --> 00:19:53,440 Speaker 1: open to entertain the enemy troops. Berkson's return seemed to 330 00:19:53,480 --> 00:19:56,280 Speaker 1: help smooth that over a little bit, and a visit 331 00:19:56,320 --> 00:19:59,840 Speaker 1: from General Patton to the theater actually caused an uptick 332 00:20:00,040 --> 00:20:04,359 Speaker 1: in ticket sales temporarily, But the global conflict also gave 333 00:20:04,400 --> 00:20:07,600 Speaker 1: audiences far too much real horror for a theater that 334 00:20:07,680 --> 00:20:10,080 Speaker 1: was built around Gore to hold any sort of appeal. 335 00:20:10,640 --> 00:20:13,280 Speaker 1: To be truly shocked in the Guinial tradition would have 336 00:20:13,320 --> 00:20:17,119 Speaker 1: required something far more sensational than the little stage could manage. 337 00:20:17,400 --> 00:20:21,760 Speaker 1: In in in ninety seven interview with Time magazine, Eva Berkson said, really, 338 00:20:22,000 --> 00:20:24,560 Speaker 1: I've almost come to the conclusion that the only way 339 00:20:24,560 --> 00:20:26,840 Speaker 1: to frighten a French audience since the war is to 340 00:20:26,840 --> 00:20:29,800 Speaker 1: cut up a woman on stage, a live woman, of course, 341 00:20:30,040 --> 00:20:34,959 Speaker 1: and throw them the pieces. During the ninety seven season, 342 00:20:35,119 --> 00:20:38,000 Speaker 1: in an effort to elicit some sort of excitement or 343 00:20:38,040 --> 00:20:42,440 Speaker 1: thrilled response from audiences, the Grangegno mounted productions that included 344 00:20:42,760 --> 00:20:48,119 Speaker 1: Laboratoire Days, Hallucinacion, which featured a surgeon operating on the 345 00:20:48,160 --> 00:20:52,720 Speaker 1: brain of his wife's lover on stage, and Clean Defu, 346 00:20:52,920 --> 00:20:55,760 Speaker 1: which was crime in a crazy house where a pair 347 00:20:55,840 --> 00:20:59,920 Speaker 1: of elderly inmates, all women, tortured a young, beautiful pay 348 00:21:00,040 --> 00:21:06,320 Speaker 1: Shint by driving a pair of scissors into her eye. Yikes. Yeah, yeah, 349 00:21:06,359 --> 00:21:08,960 Speaker 1: well that's that was the tradition of the theater. I mean, 350 00:21:09,000 --> 00:21:12,680 Speaker 1: I've had had that response at several moments in this episode, 351 00:21:12,720 --> 00:21:17,320 Speaker 1: but that one in particular. Even after testing out a 352 00:21:17,359 --> 00:21:20,640 Speaker 1: variety of different formats and styles of theater, Burkson could 353 00:21:20,720 --> 00:21:24,360 Speaker 1: just not regain a foothold and entertainment. In ninety one, 354 00:21:24,400 --> 00:21:28,080 Speaker 1: she retired from the Grandiole. And next up, we're going 355 00:21:28,119 --> 00:21:31,800 Speaker 1: to talk about the final years of the Tea, But 356 00:21:31,960 --> 00:21:35,199 Speaker 1: before we do, we're gonna pause one more time for 357 00:21:35,240 --> 00:21:50,359 Speaker 1: another sponsor break. The last decade of the Coligno was 358 00:21:50,440 --> 00:21:55,240 Speaker 1: marked by struggle, artistic uncertainty, and rapid turnover. When Berkson 359 00:21:55,280 --> 00:21:58,439 Speaker 1: stepped away from the theater, Max Murray's sons bought it 360 00:21:58,680 --> 00:22:02,719 Speaker 1: and the company manager, Charles Nonon, became the interim director. 361 00:22:02,960 --> 00:22:05,439 Speaker 1: The plays that were staged from nineteen fifty one to 362 00:22:05,560 --> 00:22:08,120 Speaker 1: nineteen fifty four and an effort to try new things 363 00:22:08,200 --> 00:22:11,360 Speaker 1: since the old horror just wasn't working. We're so far 364 00:22:11,480 --> 00:22:13,960 Speaker 1: outside of the identity of the Grand Guile that they 365 00:22:14,000 --> 00:22:18,080 Speaker 1: just couldn't draw audiences. No one associated the theater and 366 00:22:18,240 --> 00:22:22,119 Speaker 1: impassed Chaptile with the musical reviews or long form satire 367 00:22:22,240 --> 00:22:26,400 Speaker 1: that we're being tried during this time. In nineteen fifty four, 368 00:22:26,440 --> 00:22:28,919 Speaker 1: there was a ray of hope. It arrived in the 369 00:22:28,920 --> 00:22:34,360 Speaker 1: form of journalist and feminist LeMond Macha when she restarted 370 00:22:34,359 --> 00:22:37,080 Speaker 1: the theater in its old tradition, but she hired new 371 00:22:37,160 --> 00:22:40,160 Speaker 1: young writers to craft the short tales of farce and shock, 372 00:22:40,200 --> 00:22:42,520 Speaker 1: which seemed to give it like an injection of life 373 00:22:42,600 --> 00:22:45,080 Speaker 1: for a bit. While it seemed like a turnaround, this 374 00:22:45,160 --> 00:22:49,160 Speaker 1: optimism was really short lived. Productions were plagued by very 375 00:22:49,200 --> 00:22:53,159 Speaker 1: real problems and dangerous situations, which are difficult to distinguish 376 00:22:53,200 --> 00:22:56,199 Speaker 1: from the publicity stunts that Maschard was trying to do 377 00:22:56,320 --> 00:23:00,920 Speaker 1: to reignite interest. Yeah, there were a lot of stories 378 00:23:00,960 --> 00:23:02,960 Speaker 1: coming out at this time, and people were not always 379 00:23:02,960 --> 00:23:05,280 Speaker 1: sure what was real and what was just part of 380 00:23:05,280 --> 00:23:08,280 Speaker 1: a stunt. So there was a kidnapping of one of 381 00:23:08,280 --> 00:23:11,920 Speaker 1: the lead actresses, which was definitely fake. Uh, and even 382 00:23:12,080 --> 00:23:14,880 Speaker 1: some of the more upsetting stories really remain a little 383 00:23:14,880 --> 00:23:19,080 Speaker 1: bit murky. So apparently, a leather harness is said to 384 00:23:19,160 --> 00:23:21,199 Speaker 1: have nearly claimed the life of an actress when she 385 00:23:21,240 --> 00:23:23,960 Speaker 1: tried to get into it backstage, and she nearly hung herself. 386 00:23:24,640 --> 00:23:27,360 Speaker 1: Another actress had a nervous breakdown on stage, and yet 387 00:23:27,400 --> 00:23:31,159 Speaker 1: another was burned by a flame effect. There were a 388 00:23:31,200 --> 00:23:35,000 Speaker 1: lot of problems. So while my start had managed to 389 00:23:35,000 --> 00:23:37,720 Speaker 1: elicit a swell and ticket sales, the tone of things 390 00:23:37,760 --> 00:23:40,320 Speaker 1: was a lot less realistic and a lot more campy, 391 00:23:40,400 --> 00:23:43,480 Speaker 1: and the theater became more of a tourist attraction than 392 00:23:43,480 --> 00:23:46,879 Speaker 1: a cultural icon. Yeah. I think we've all seen this 393 00:23:46,920 --> 00:23:50,479 Speaker 1: happen to places in various cities. Like the sort of 394 00:23:50,520 --> 00:23:54,440 Speaker 1: cool underground thing that develops and becomes iconic pretty soon 395 00:23:54,520 --> 00:23:59,520 Speaker 1: becomes more like an amusement park and less like itself. Um. 396 00:23:59,720 --> 00:24:02,719 Speaker 1: From nineteen fifty nine to nineteen sixty one, a man 397 00:24:02,800 --> 00:24:05,679 Speaker 1: named Fred Pascal ran the theater, and some of the 398 00:24:05,720 --> 00:24:09,160 Speaker 1: plays at this point veered back towards more realistic horror, 399 00:24:09,640 --> 00:24:12,000 Speaker 1: but it was really too late to regain the glory 400 00:24:12,080 --> 00:24:17,120 Speaker 1: days of Marie's and Chwizz Times. Charles Nonel once again 401 00:24:17,200 --> 00:24:20,320 Speaker 1: became the director of the Grand Nile in nineteen sixty one, 402 00:24:20,760 --> 00:24:23,280 Speaker 1: and he would be its last director, and an interview 403 00:24:23,359 --> 00:24:26,560 Speaker 1: with Time magazine, he said, before the war, everyone felt 404 00:24:26,560 --> 00:24:29,320 Speaker 1: what was happening on stage was impossible. Now we know 405 00:24:29,440 --> 00:24:34,040 Speaker 1: these things and worse are possible in reality. So after 406 00:24:34,160 --> 00:24:37,159 Speaker 1: sixty five years of frights and chills, the glong Gigna 407 00:24:37,359 --> 00:24:40,680 Speaker 1: closed its doors for good in November of nineteen sixty two. 408 00:24:41,240 --> 00:24:45,080 Speaker 1: The Chapel turn Theater reopened briefly as a new theatrical enterprise, 409 00:24:45,160 --> 00:24:49,159 Speaker 1: not as the Gloggnole, but that also quickly failed, and 410 00:24:49,200 --> 00:24:52,240 Speaker 1: in March nineteen sixty three the entrance and portico of 411 00:24:52,280 --> 00:24:56,360 Speaker 1: the space were demolished. There were two spinoff theater companies 412 00:24:56,440 --> 00:24:59,880 Speaker 1: launched in London that carried the name Grand Gunil, one 413 00:24:59,880 --> 00:25:02,280 Speaker 1: of the nineteen twenties and one of the nineteen forties, 414 00:25:02,320 --> 00:25:05,040 Speaker 1: but neither of them ran for very long. The theater 415 00:25:05,119 --> 00:25:08,280 Speaker 1: has been referenced in numerous films throughout the years, both 416 00:25:08,320 --> 00:25:12,720 Speaker 1: documentary and fictional, including the first season of Penny Dreadful. Yeah, 417 00:25:12,760 --> 00:25:16,200 Speaker 1: if you watch a show and I do, because it's fantastic, Uh, 418 00:25:16,240 --> 00:25:20,719 Speaker 1: there's a whole whole episode that is titled Gangagno, and 419 00:25:20,760 --> 00:25:23,119 Speaker 1: there is also a similar theater in the book and 420 00:25:23,200 --> 00:25:26,520 Speaker 1: subsequent film interview with a vampire called the Atla de Vompiu, 421 00:25:27,000 --> 00:25:29,640 Speaker 1: But apparently author and Rice has said that she did 422 00:25:29,640 --> 00:25:33,160 Speaker 1: not know about the Golangognol when she wrote of the theater, which, 423 00:25:33,240 --> 00:25:37,000 Speaker 1: if you missed either the book or that film, audiences 424 00:25:37,040 --> 00:25:39,560 Speaker 1: believed they were watching fiction but were in fact observing 425 00:25:39,600 --> 00:25:42,080 Speaker 1: real deaths at the hands of vampire, so it was 426 00:25:42,080 --> 00:25:46,240 Speaker 1: sort of like the snuff film equivalent of theater. Today, 427 00:25:46,359 --> 00:25:49,600 Speaker 1: theater companies around the world still stage modern productions of 428 00:25:49,600 --> 00:25:53,000 Speaker 1: some of the surviving plays. For the Grand Yole. Yeah, 429 00:25:53,040 --> 00:25:56,879 Speaker 1: there are actually text books on how to stage Glanignol plays, 430 00:25:57,000 --> 00:26:00,520 Speaker 1: and there are because you know, for a modern audience, 431 00:26:00,680 --> 00:26:03,480 Speaker 1: if you stage them as written, they would probably seem 432 00:26:03,560 --> 00:26:05,959 Speaker 1: very hokey in some cases, although they were doing some 433 00:26:05,960 --> 00:26:09,200 Speaker 1: pretty amazing stuff with effects at the time. And in fact, 434 00:26:09,280 --> 00:26:12,760 Speaker 1: the word clognole has kind of come to be associated 435 00:26:12,800 --> 00:26:18,359 Speaker 1: with shocking, uh, sort of extreme horror, so it's taken 436 00:26:18,359 --> 00:26:20,960 Speaker 1: on a life of its own. Like I said, it 437 00:26:21,040 --> 00:26:23,520 Speaker 1: shows up sort of everywhere you'll you'll be now that 438 00:26:23,600 --> 00:26:25,560 Speaker 1: you have have heard of it. If you hadn't before, 439 00:26:25,600 --> 00:26:27,280 Speaker 1: you will start to see it everywhere and now you 440 00:26:27,280 --> 00:26:30,760 Speaker 1: know what it's referencing. Uh so that is the clognon. 441 00:26:30,880 --> 00:26:33,439 Speaker 1: That's one of those things that if I could time travel, 442 00:26:33,480 --> 00:26:37,040 Speaker 1: I would probably pick as a place to visit. It 443 00:26:37,040 --> 00:26:41,200 Speaker 1: would be kind of spectacular. Do that not you? I'm 444 00:26:41,200 --> 00:26:45,680 Speaker 1: not into it. I will report back if I remain 445 00:26:45,760 --> 00:26:48,800 Speaker 1: conscious after both my time travel and seeing a terrifying 446 00:26:48,840 --> 00:26:52,240 Speaker 1: play or a terrifying play and a comedy, and a 447 00:26:52,320 --> 00:26:55,240 Speaker 1: terrifying play in a comedy and one more terrifying play. 448 00:26:55,520 --> 00:26:58,639 Speaker 1: Uh yeah, I think it would be spectacular, which is 449 00:26:58,720 --> 00:27:01,119 Speaker 1: why I thought it would be off a Halloween fair 450 00:27:01,240 --> 00:27:09,600 Speaker 1: for the podcast. Thany so much for joining us on 451 00:27:09,640 --> 00:27:12,520 Speaker 1: this Saturday. Since this episode is out of the archive, 452 00:27:12,600 --> 00:27:14,720 Speaker 1: if you heard an email address or Facebook U r 453 00:27:14,840 --> 00:27:16,880 Speaker 1: L or something similar over the course of the show, 454 00:27:17,080 --> 00:27:20,919 Speaker 1: that could be obsolete now. Our current email address is 455 00:27:21,080 --> 00:27:25,560 Speaker 1: History Podcast at I heart radio dot com. Our old 456 00:27:25,560 --> 00:27:28,800 Speaker 1: how stuff works email address no longer works, and you 457 00:27:28,840 --> 00:27:31,399 Speaker 1: can find us all over social media at missed in 458 00:27:31,600 --> 00:27:35,400 Speaker 1: History and you can subscribe to our show on Apple Podcasts, 459 00:27:35,400 --> 00:27:38,600 Speaker 1: Google Podcasts, the I heart Radio app, and wherever else 460 00:27:38,680 --> 00:27:44,679 Speaker 1: you listen to podcasts. Stuff you Missed in History Class 461 00:27:44,680 --> 00:27:47,760 Speaker 1: is a production of I heart Radio. For more podcasts 462 00:27:47,800 --> 00:27:50,200 Speaker 1: from I heart Radio, visit the i heart Radio app, 463 00:27:50,280 --> 00:27:53,479 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.