The Electric Shakespeare Company performed two plays that summer, with the same company on the same set — which was Wally's design. Both plays were of a post-apocalyptic sort, about the collapse of society: Troilus and Cressida and Lear: A Rock Musical. Yes, you heard that correctly. I played Thersites in the first, which was set in a sort of pre–Mad Max world of motorcycle gangs — the Greeks — and cobbled together sports and military equipment — the Trojans: Priam looked like Alec Guinness in River Kwai. In Lear, I was one-half of the Fool (look, it's complicated: there was a young Fool and an old Fool). In any case, Wally's set was marvelous, especially in the outdoor setting of the natural amphitheater of Towson's "Glen." It resembled a half destroyed relic of the Globe theater, with many levels suitable for Thersites to clamber about on — which made the famous "spy scene" in T&C especially effective as there were literally three levels of action and commentary going on. The photo herewith is a picture which I didn't have, but which Wally sent me last fall, from that production, which I hope gives a tiny glimpse of his wonderful set. That's me on the left and the late Dennis O'Keefe (as Pandarus) on the right, in the closing scene of this dark comedy.
Wally's career had taken off in new directions recently, including work on Edgar Allan Poe, who used to live right around the corner from where I now abide. Small world. And smaller, in many ways, for Wally leaving it, though he did much to enlarge it with his art. God bless him.
Tobias Stanislas Haller BSG