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The best thing about a photo I found tonight of John Vickery in 1981 is not that it headcanoned itself instantly as an image of the younger Neroon, it's that I had just been watching him in an American Theatre Wing seminar from that same year and been struck by how little of his older self in or out of character was immediately traceable in his thin collegiate face and especially his light Californian voice and so when looking out of mildly feverish curiosity for his notices that summer as Prince Hal I was really not expecting to find through nothing but chiaroscuro and expression his future Minbari bones.
Offstage, he had reminded me more of Kyle MacLachlan and barely looked old enough to have the bachelor's in mathematics which was part of his origin story. He tells it again in another seminar in 1998 and still has a nervous gesture of touching one of his eyes as if tired or distracted slightly; he's a great fidgeter in front of an off-the-cuff audience. I had gone looking originally for his voice, which turns out not even to be that mid-Atlantic when he's using it for himself. Three decades plus I had to notice this actor with my brain on perpetual standby for B5 and now it has an opinion.
To keep on the theme of theater, I had no idea until her obituary that Tina Packer started her career in the three-quarters burninated 1966 BBC David Copperfield with Ian McKellen and then the much more successfully recovered 1968 Doctor Who: The Web of Fear before she discovered she cared much less for acting than directing or producing, whence Shakespeare & Company. The last time I saw Hugh Whitemore's Breaking the Code was in 2011 at Central Square Theater and they are reviving it this spring with the actor I last saw as Gaveston in the ASP's Edward II in 2017, whom I expect to be a superb Turing and me to leave the theater muttering about Joan Clarke as usual. In lieu of a teleporter, I have to hope for a transfer of this High Noon.
Offstage, he had reminded me more of Kyle MacLachlan and barely looked old enough to have the bachelor's in mathematics which was part of his origin story. He tells it again in another seminar in 1998 and still has a nervous gesture of touching one of his eyes as if tired or distracted slightly; he's a great fidgeter in front of an off-the-cuff audience. I had gone looking originally for his voice, which turns out not even to be that mid-Atlantic when he's using it for himself. Three decades plus I had to notice this actor with my brain on perpetual standby for B5 and now it has an opinion.
To keep on the theme of theater, I had no idea until her obituary that Tina Packer started her career in the three-quarters burninated 1966 BBC David Copperfield with Ian McKellen and then the much more successfully recovered 1968 Doctor Who: The Web of Fear before she discovered she cared much less for acting than directing or producing, whence Shakespeare & Company. The last time I saw Hugh Whitemore's Breaking the Code was in 2011 at Central Square Theater and they are reviving it this spring with the actor I last saw as Gaveston in the ASP's Edward II in 2017, whom I expect to be a superb Turing and me to leave the theater muttering about Joan Clarke as usual. In lieu of a teleporter, I have to hope for a transfer of this High Noon.
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