So Ronnie and Sandy relinquished use of the desirable cottage and the Mime Troupe went on tour. Darryl Henriques the next season portrayed Borracho in "Olive Pits", a play which opened the tour in Delano and eventually won the troupe an Obie that year.
Although history remembers and often mentions Peter Cohon's (he wasn't Peter Coyote just yet) role as writer and actor, as I recall, Darryl was the only performer whose image was pictured on the poster, his face beamed out from the middle of a large blue star. That poster is missing from the San Francisco Mime Troupe official site, and to my knowledge the only place on earth you can view it is the lobby of Dell Arte International, 615 H Street, in Blue Lake, California.
While in residence at Williams College, Darryl Henriques stayed busy with the Mime Troupe throughout the year and especially during performance seasons. As a Mime Trouper, Darryl handled the crankies and made paper movies of his own. He was also an actor in the early plays about the parking meters and the telephone credit cards which the Mime Troupe performed at Provo Park in Berkeley among a number of other locations.
Darryl founded the East Bay Sharks, a Musical Theater Group, which also performed in parks throughout the Bay Area, including the park in San Francisco's China Town. The East Bay Sharks also performed onstage at the Freight and Salvage Coffee House and Mandrake's, both popular Berkeley venues of the time.
Sometime during this period, Darryl traveled to Mono Lake to be in a movie called "Shoot the Whale", which is still offered for viewing at places like Pacific Film Archives.
The cinematographer for "Shoot the Whale" was Philip Makanna, who'd recently aired a short cinematic piece on local PBS television station KQED (see San Francisco Cinematheque below).
Darryl moved from the estate sometime before close of 1969. Before he did, one of his visitors was an old college friend, Barry Leichtling who had run a rock palace in San Diego called the Hippodrome briefly in 1968 and who'd gone on to co-write a script and appear in a film, which had been released briefly to popular acclaim before being withdrawn for decades, now regarded as a cult classic, called "Captain Milkshake."
Darryl moved from the estate in 1969, but many of the scripts and ideas he'd been working on there found realization within the next short period of time.
In early March of 1971, the East Bay Sharks shared a bill with Commander Cody at Mandrake's where Darryl likely ran into film student Bill Farley when Bill was tending bar at the club. Eventually Farley made a documentary (2006) about Darryl, called: "Darryl Henriques Is In Show Business" and Peter (Cohon) Coyote found his way into that film.
And to conclude, Darryl Henriques is in show business.
http://www.cfiwest.org/sos/archives/newsletter/about.htm
Retrieved: 7.18.11
From Darryl's resume:
About Darryl Henriques
Member of the San Francisco Mime Troupe. 1967 Park Season and National Tour of Obie winning L'Amam Militaire.
Founder of East Bay Sharks Musical Theater Group in San Francisco Bay area. Appearing in parks, schools, and nightclubs. 1972-76.
Writer and performer on Scoop's Last News Show on KSAN FM in San Francisco Bay area '76-'86. Voice of The Swami from Miami, Joe Carcinogenni, Jacques Kissmatoe, Rev. Clyde Fingerdip.
As a stand-up comedian has performed at benefits for such groups as the Rainforest Action Network, the Sea Shepherd Society, the Alliance for Survival, the Abalone Alliance, Greenpeace, Friends of the Earth, Various Waldorf Schools, Fair, Media Alliance, etc.
Author of 50 Simple Things You Can Do To Pave The Earth, Ulysses Press.
Darryl played Nanglus, the Romulan Ambassador to the Federation in Star Trek VI, the Undiscovered Country.
Darryl Henriques, partial filmography
http://www.blockbuster.com/browse/catalog/personDetails/28066
Retrieved: 7.28.11
Darryl Henriques, partial filmography
http://www.moviezen.com/celebrity/darryl-henriques/filmography
Retrieved: 7.28.11
Darryl Henriques, partial filmography
http://memory-alpha.org/wiki/Darryl_Henriques
Retrieved: 7.28.11
"Olive Pits is an adaptation of Lope de Ruede's sixteenth-century farce, El paso de las olivas. The original is a short skit about a husband and wife who begin counting the profits from their olives the day they plant the olive tree. Olive Pits was banned at California State College at Fullerton. The Jack London Society had invited the troupe to perform it on their campus in February 1968. However, after learning from administrators about the troupe's use of obscene language in A Minstrel Show, the Faculty Council voted to forbid the performance. Four hundred students and faculty attended an anti-censorship rally on campus, then walked off to an orange grove where the show was performed."
The San Francisco Mime Troupe Reader
by Susan Vaneta Mason
(University of Michigan Press, 2005)
pp 57-58
San Francisco Cinematheque
"Originally aired on KQED TV (PBS) in San Francisco in 1969, the Dilexi Series represents a pioneering effort to present works created by artists specifically for broadcast. The 12-part weekly series was conceived and commissioned by the Dilexi Foundation, an off-shoot of the influential San Francisco art gallery founded by James Newman. Newman, who operated the Dilexi Gallery from 1958 until 1970, saw this innovative series as an opportunity to extend the influence of the contemporary arts far beyond the closeted environment of the commercial gallery.
"Formal agreement was reached with KQED in 1968 with the station's own John Coney designated as series producer. No restrictions regarding length, form or content were imposed upon the works, except for Newman's stipulation that they be aired weekly within the same time slot in order to gather an audience.
"Of the 12 artists invited to participate in the Dilexi series (Julian Beck, Walter De Maria. Kenneth Dewey, Robert Frank, Ann Halprin, Philip Makanna, Robert Nelson, Yvonne Rainier, Terry Riley, Edwin Schlossberg, Andy Warhol and Frank Zappa), ten of them completed new works, and two, Andy Warhol and Frank Zappa, submitted extant works. The tapes and films are far-reaching in their approaches to the medium and the circumstance of the broadcast series.
"'If the 60s meant anything as a unifying principle or idea, it meant a lack of caution that I don't see around much anymore. Certainly, there is nothing like the KQED of the 60s. You could barely get past the reception lobby today at Channel 9 with a proposal for a Dilexi type series. It was wide open: all the facilities, color quad studio cameras, location film equipment, whatever, were available at what was calculated to be their cost, an amount not to exceed $1,000 per production. The artists were commissioned for $500 each. It seemed daring at the time, perhaps it was. Anyway, we just went ahead and did it and, to a degree, it worked.'"
Makanna's piece was "The Empire of Things", an experimental narrative, using a text by H.L. Mountzoures which describes a post-apocalyptic culture.
San Francisco Cinematheque
1991 Program Notes
THE DILEXI SERIES
Curated and presented by Steve Seid
http://www.archive.org/stream/sanfranciscocine91sanfrich/sanfranciscocine91sanfrich_djvu.txt
Retrieved: 7.18.11
