Remember the telephone credit card number script, and  the puppet who put beer tabs in parking meter coin slots to jam the mechanism and get free parking and so jam the system?

During the first anti-war shows about the draft cards (below), a cardboard hand came up holding the draft card and then a little puppet came with scisscors cut it.  Still performed at smaller venues like Provo Park.  Those were the early days when I was closer to some in the group and did have a little input along the line.
 Even as I watched the things I had been early on involved with and had a contribution in creating, I watched them change as they evolved through time and performance.

Later the shows into bigger pieces and the groups split apart to perform throughout the state.
There was a turning point with another of the shows .... the hair hang high hair hang low show, though very well done, had changed in spirit.  There were now things with my ideas (the soldier with the blown off arm pointing the direction with a simple bloody stub, and that moved into a puppet prop that had wires inside the costume, so the actor could lift what remained of his arm and point.  Sophistication and production is all right, but .... now there was a subtle shift /// instead of empowering people, all the people in the audience, the entire viewing public, to engender a good feeling to work towards social change, and as new players came in and others dropped off or fell away, there was the beginning of a subtle near imperceptible sometimes shift in perception and how things were played to the audience, now was the audience was in on it straight from the beginning and "knowing" the government was the bad guy, kind of mentality.


Darryl broke with the Mime Troupe when it was "playing bourgeoisie" and went over to perform in parks in Chinatown.