Slings and Arrows

Season 3 Episode 3

That Way Madness Lies

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Aired Unknown Aug 07, 2006 on The Movie Network

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  • Trivia

  • Quotes

    • (Barbara is telling the staff that Charles might be suffering from Alzheimer's disease.)
      Barbara: This is the theater, not a mental home.
      Cyril: This theater?

    • Geoffrey Tennant: I shot him up.
      Andrew McTeague: Shot him up?
      Geoffrey Tennant: With heroin, I stuck a needle in his arm.
      Andrew McTeague: How did you feel when you shot him up?
      Geoffrey Tennant: I felt like I was contributing to the delinquency of a senior.
      Andrew McTeague: But it was an act of mercy.
      Geoffrey Tennant: Of course it was ...

    • (Charles is preparing to shoot drugs.)
      Charles Kingman: The problem is the cancer, I know, but, you see, I manage by day and by night to help me sleep, all I need is my medication.
      Geoffrey Tennant: And your medication is?
      Charles Kingman: Heroin.
      Geoffrey Tennant: Heroin? Okay ...
      Charles Kingman: (trying unsuccessfully to put the needle in his arm) God! That's why there are so few ancient junkies, all this fiddling work. Would you?
      Oliver Wells: Oh, for god's sake, Geoffrey, where's your humanity, help him!
      Geoffrey Tennant: Help with the Heroin?
      Charles Kingman: Please! Do you mind? (...)
      Geoffrey Tennant: (after hesitantly shooting up Charles) I think I just said yes.

    • (Geoffrey and Oliver are looking at the allegedly sleeping Charles.)
      Oliver Wells: What do you see when you look at him?
      Geoffrey Tennant: A lawsuit.
      Oliver Wells: C'mon, really.
      Geoffrey Tennant: I don't know, a childhood hero, an actor, an old actor.
      Oliver Wells: Your father.
      Geoffrey Tennant: Did you get that off Dr. Phil? You're a lousy therapist, Oliver.
      Charles Kingman: This would be talking to your invisible friend, right?
      Geoffrey Tennant: I warned you.

    • (Geoffrey is trying to put Charles off wanting to play Lear.)
      Geoffrey Tennant: Let me ask you this question, is this really how you wanna die?
      Charles Kingman: Wouldn't you?

    • Charles Kingman: Like the theater I'm boldly fighting a slow, undignified death.

    • Charles Kingman: Geoffrey, the illness is not a pleasant thing to witness. I don't sleep well, I've problems keeping down my food and my body makes vulgar sounds that I can't control.
      Geoffrey Tennant: Well, I have lengthy conversations with an invisible companion.
      Charles Kingman: Shall I set three places for dinner?

    • (Charles is offering Geoffrey shelter.
      Charles Kingman.: I have a couch in my apartment, you can sleep there.
      Geoffrey Tennant: No, Charles, I'd be in your way.
      Charles Kingman.: Look, I know you're hesitant to go through with this, my death wish I mean. Spend a little time with me, maybe you won't care so much whether I live or die.

    • Geoffrey Tennant: This is about theater ethics.
      Oliver Wells: Theater ethics? That's like saying "whorehouse moral".

    • (Oliver is begging of Geoffrey to let Charles play Lear.)
      Oliver Wells: Do you understand how important this is to me?
      Geoffrey Tennant: No, explain to me again how this is your ticket out of here.
      Oliver Wells: Oh, it's Karma. You're alive, you wouldn't understand.
      Geoffrey Tennant: So, Charles plays Lear, you go to gay heaven?

    • (Geoffrey and Ellen are discussing on whether or not throwing Barbara out of the house.)
      Ellen Fanshaw: Geoffrey, she's my best friend, I can't just kick her out.
      Geoffrey Tennant: What am I?
      Ellen Fanshaw: You're my ... guy.
      Geoffrey Tennant: You were going to say lover.
      Ellen Fanshaw: I was going to say guy lover, lover guy. Well, we haven't made love in weeks.
      Geoffrey Tennant: I must sleep on the couch.
      Ellen Fanshaw: Oh, don't do that, this isn't a sitcom.
      Geoffrey Tennant: Oh well, it actually is. I have a broken wing and there is a lizard queen living downstairs.
      Ellen Fanshaw: Come back to bed, we can work this out. You can leave in the morning.
      Geoffrey Tennant: This is working it out?
      Ellen Fanshaw: Where are you going?
      Geoffrey Tennant: You're kicking me out of the house.
      Ellen Fanshaw: No, I'm not ... okay, I am. But what's the big deal? Last year you lived under the theater.
      Geoffrey Tennant: Wait a minute. Are we breaking up?
      Ellen Fanshaw: No, we're not. I love you, I'll miss you terribly, this is only temporary.
      Geoffrey Tennant: What the hell? (leaves)

    • (Cyril and Frank are discussing the atmosphere within the Hamlet troupe.)
      Frank: The company has unified very nicely.
      Cyril: Yes, just like the Balkans.

    • (Anna is on the phone, trying to find out if the folk band can safely return to Bolivia.)
      Anna Conroy: Yes, I know what a coup is but what is the new general like? How does he feel about musicians? Is he likely to kill the musicians if I send them back? Yes, why don't you check on that?

    • (Darren is insulting Richard who has suggested that cutting off three scenes of the play isn't a good idea.)
      Darren Nichols: One of the many pitfalls of being a common man is that you have a limited understanding of your own reality. You are amused by something but you are incapable of understanding the mechanism of that amusement. I pity you. Talking to you about musical theater is like chatting with a dog about why it likes to lick its ass.

    • (Darren at the rehearsal of the musical)
      Darren Nichols: Last night's preview was very revealing. The show failed and I'll tell you why. We have become too concerned with logic. The true power of the musical comedy is its absurdity. People sing and dance, apparently spontaneously but in unison. It's ridiculous and the common man finds this absurdity calming. Why? Because his own pathetic existence is unrelentingly logical and ordered. I know this for a fact because I've spent many years observing the common man at shopping malls and country fairs. We need more focus on the absurdity of the genre. That is why I have decided to cut three scenes that are purely expositional and replace them with inappropriate dance numbers.

    • (Geoffrey is talking about Oliver in his psychotherapy session, the ghost of Oliver is attending as well.)
      Geoffrey Tennant: I don't know what to tell you, he was my director.
      Oliver Wells: Oh, I was so much more than that!
      Geoffrey Tennant: He was, you know, kind of like a mentor for a little while, he was sort of like a best friend for a bit there and then he stabbed me in the back.
      Andrew McTeague: And the last time you spoke to him was ...
      Geoffrey Tennant: The night that he happily died.
      Oliver Wells: That's right, I tried to tell you ...
      Geoffrey Tennant: Did I ever mention before, that he was a drunk?
      Andrew McTeague: I've been reading about this theory. Now, this theory says that every artist has one person who is their private audience, someone that they desire to please or someone they're angry with, they wanna communicate with in some way. Is Oliver your audience?
      Oliver Wells: Oh, I love that.

    • Andrew McTeague: Oliver Wells, ...
      Oliver Wells: Yes?
      Andrew McTeague: Was he a passionate man?
      Oliver Wells: Famously!
      Geoffrey Tennant: Why are we talking about Oliver Wells?
      Andrew McTeague: Oh, his name has come up quite a few times.
      Geoffrey Tennant: Oliver Wells?
      Andrew McTeague: Yes, you've mentioned him on several occasions.
      Geoffrey Tennant: No, I haven't.
      Andrew McTeague: Yes, you have.
      Geoffrey Tennant: No I haven't.
      Andrew McTeague: Yeah, you have.
      Geoffrey Tennant: No.
      Andrew McTeague: (reads from his notes) Oliver Wells has directed you in several plays at the festival, Oliver Wells betrayed you, Oliver Wells destroyed the soul of the festival ...
      Geoffrey Tennant: All right, all right, all right! Well he is, he was part of my life for a number of years whether I liked it or not, so obviously his name gonna come up. I mean, I had a pet dog when I was a kid, his name was Ruffles, he was part of my life for eleven years.
      Andrew McTeague: You never mentioned Ruffles.
      Oliver Wells: Do you consider him a mentor?
      Andrew McTeague: Sounds like he's haunting you, Oliver, not Ruffles ...
      Geoffrey Tennant: Haunting me? You know, you should listen to yourself!
      Andrew McTeague: Oh no, I don't mean literally of course, you know, the people who have made an impact on us, our parents, friends, loved ones often linger in our minds long after they've lived their lives, they become part of the mechanism of our psyche. I think it would be helpful if we focused on Oliver for a while.
      Oliver Wells: Finally!

    • (Geoffrey at the psychotherapy, Oliver's ghost invisible to the therapist Andrew McTeague)
      Geoffrey Tennant: Charles Kingman ist dying, he's got the cancer and he wants to play Lear before he dies.
      Oliver Wells: I cried, tell him.
      Geoffrey Tennant: It's not about money, it's not about fame, it's not about the festival, he just needs the needs to play Lear and the problem is that this killer part ... I mean physically and emotionally ... this will literally kill him. It's terrifying.
      Oliver Wells: Tell him about me, about this affects me! I know, ask him about my higher purpose.

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