What About Mime

What is mime? It turns out it depends on who you ask. Broadly speaking, the tradition has its roots in ancient theater in cultures across the globe. Many people envision street pantomimes with white face paint, while practitioners of the theater tradition emphasize the use of the entire body to convey expression and emotion. What does the art of mime have to do with the history of Ann Arbor? In the heyday of mime performance in the 1980s, dozens of event listings featuring mime could be found throughout the calendar year. From Marcel Marceau’s annual visits to the Ann Arbor Summer Festival and his brief stint in Ann Arbor at the Marcel Marceau World Center for Mime to the countless groups and performers--the University of Michigan’s Mimetroupe, Artworlds Center for the Creative Arts, Mimetroupe of America, OPUS Mime, EMU Master Mimes, and more--mime dotted Ann Arbor’s cultural landscape. Mime was sure to be found at Summer Festival, Winter Festival and the Ann Arbor Art Fairs, the Graceful Arch becoming known as a site where one would certainly encounter a mime or pantomime. Even the 1973 Blues & Jazz Fest featured pantomime by the British troupe "Friends Roadshow," who would in the following years build a base in Ann Arbor and participate in the city’s Sesquicentennial celebration. The group often performed at local venues such as Chances Are/Second Chance and The Blind Pig with their outrageously-named Michael Spaghetti’s ½ Ring Circus. 

When the word “mime” is mentioned, do you imagine white face paint? If so, it is because of Marcel Marceau’s widely known character “Bip the clown”, based on Jean-Gaspard Deburau’s 19th-century silent, white-faced character Pierrot in the tradition of commedia dell'arte. Because Marceau was so popular, and the art of mime so tied to his success in the American mind, the white face paint that Marceau adopted for his character became synonymous with mime. However, it was not a tradition associated with the art historically. In a 1984 interview for the Ann Arbor News, Marceau emphasized that the makeup was “not traditional or even typical,” but that in his workshops here in town he sees “mostly white faces. But to create ‘little Bips,’ or ‘little Marceaus’ – that is not what I want.” Despite this plea, much of the mime seen around town in the 1970s-1990s was a direct homage to Marceau's iconic character. 

Beginnings: Local Interest Arises

Before the 1950s in Ann Arbor, the word “Mime” would likely bring to mind the all-male performing group at the University of Michigan known as the Mimes Union Opera, active from 1908-1930 with a few revivals in the following decades. That would all change by the mid-1950s when world-famous mime Marcel Marceau toured the United States for the first time and soon became a household name. Marceau made his first appearance in Ann Arbor at Hill Auditorium on December 5, 1960 as part of the final season of the University of Michigan’s Oratorical Association Platform Attractions series, which traced its origins back to 1854. 

When Marceau performed for the University Musical Society (UMS) in 1971, he became the first performer to ever grace the stage of the newly completed Power Center. The 1960s would see a slow rise in programming related to mime, with the Ann Arbor Civic Ballet offering courses in mime, bringing in international mime troupes, and inviting the San Francisco Mime Troupe to town.

In 1972, ArtWorlds, a nonprofit school of art, was founded at 213 ½ S Main Street by engineer Cecil Taylor and his wife Barbara Taylor. Though the couple left for California in 1980, the arts organization continued for another three years, routinely offering courses in mime taught by Michael Filisky, Perry Perrault, Mark Novotny, and Mark Strong, to name just a few.  At its height, the organization offered over 75 classes, employed 40 instructors, and enrolled over 800 students in courses that ranged from “fire eating” to magic, masks, and the classic but now nearly forgotten “Rhythm-meter-hand jive”. 

In May 1975, the second annual Invitational Festival of Experimental Theater, described by the Ann Arbor Sun as a “temporary aggregation of approximately 20 theatre, mime, and dance troupes.” Among them was the local "Friends Road Show" (a troupe living on a communal farm in Milan) and the Living Theatre at a number of venues: Michigan Union, Waterman Gym, and Trueblood Auditorium. That same year, the sixth annual Medieval Festival featured Michael Filisky’s recently-formed Mimetroupe’s interpretation of Boccaccio’s work, which was performed exclusively in mime, alongside “authentic” medieval performances and dances. Filisky became the well-known local figure in mime of the 1970s, and would remain a vibrant part of the community until he moved to New York in in the early 1980s.

The 1980’s Mime Boom in Ann Arbor

By the 1980s, Ann Arbor’s love of the art of mime was in full swing. Experimental mime, (or "new mime") featured abstraction, with troupes like Mummenschanz and Paul Gaulin’s Mime Company performing in extreme contrast to Marceau, and bringing a range of approaches to town. Mime became so popular that University of Michigan Mimetroupe’s event posters disappeared an alarming rate; the group attempted to cut them in half to dissuade theft, because, as one member said: “they are real collectors items.” Even with new styles and approaches on the horizon, Marceau became the face of the inaugural Ann Arbor Summer Festival in July 1984. He would return semi-annually to teach intensive workshops and make appearances at the festival in the following years. 

In anticipation of the first Ann Arbor Summer Festival, the Ann Arbor News proclaimed “Marcel Marceau’s love affair with Ann Arbor” and documented responses from local mimes; O.J. Anderson, sometimes referred to as the “good time mime”, noted “His [Marceau’s] is the art, mine is the act. My art is the entertainment,” which often consisted of bringing audience participants on stage and even speaking a line or two, earning him another title: “the World’s Only Talking Mime.” Perry Perrault, founder of the University of Michigan Mime Troupe in 1981 and Ann Arbor Mimeworks in 1988, noted that his approach contrasted to both Anderson and Marceau’s styles as he preferred to focus his energy on collaborative, group performances. 

With the help of Eugene Power, Lou Belcher, and Thomas Monaghan (of Domino’s Pizza), Marceau became the central figure for the Ann Arbor Summer Festival, and dreamed of opening an official school here. Though it never materialized, the space was originally conceptualized as a “350-seat theater, mime museum, and office space with rehearsal rooms.” The Marcel Marceau World Center for Mime taught seminars associated with the school for two years in town before the center faced bankruptcy. In a 2013 interview, Susan Pollay, former director of the Summer Festival, remembered that the center “was here in Ann Arbor in an instant and then it disappeared.” The following summer, Marceau was notably absent from both the Summer Festival itself and the annual Summer Mime Seminar.

Changing Attitudes Toward Mime: New Approaches Arrive

A Michigan Daily calendar listing on July 15, 1988, advertised the upcoming  series “Influences in Mime” at the Marcel Marceau World Center for Mime with the note: "'Everyone loves a clown. Everyone hates a mime,' said Sam Malone on an episode of Cheers. Decide for yourself…” As in the previous decades, Ann Arborites would have many opportunities to make that decision. In the late 1980s, Stefan Niedziałkowski, a renowned Polish mime artist, taught at Marcel Marceau’s Paris School and frequented Ann Arbor; he later became a resident at Marceau’s short-lived school and taught courses around town. From 1988-1993, Niedziałkowski had a base here for his mime company, Theatre Milchenye, and brought with him new forms of mime that would inspire future generations of artists. 

One such artist inspired by Niedziałkowski is Michael Lee, a local dramatist who specializes in mime. Lee first trained under Perry Perrault after he moved to Ann Arbor in 1984. Three years later he studied at the ephemeral Marcel Marceau School of Mime in Ann Arbor, then under Niedziałkowski, and quickly joined the local scene as a professional mime. Lee established his own OPUS Mime Troupe in 1994 at the former Washtenaw Council for the Arts loft at 122 S Main St. In their debut calendar event listing in the Michigan Daily, changing attitudes toward mime are employed as a marketing tactic, with OPUS mime cheekily stating: “This mime troupe blends the body of a gymnast, the mind of an actor and the heart of a poet into their shows. Who cares, nobody likes mimes anyway.” 

Performances in mime continued around town without the fervor of the past decades, but with a presence nonetheless. In 2001 the 78-year-old Marceau became the recipient of the University of Michigan Musical Society’s Distinguished Artist Award. As part of the residency, Marceau taught students of dance and drama for two weeks, followed by a performance that would add to his resume of over 30 Ann Arbor stage appearances. 

Continuing into the new millennium, Michael Lee set up a new office on East Washington. There, he ran a business that offered courses in mime to local schools, including Milan Schools and Rudolf Steiner. Lee stressed the difference between mime and pantomime in the Ann Arbor Observer's August 2000 edition, noting that true mime is an “art of the body as dramatic tool … that includes 264 hand positions and body positions that go back to Greco-Roman sculpture.” Leaving behind the Marceau-inspired white face paint, Lee created his own interpretation of the classic art of mime. By 2002, Lee had secured a grant to perform a work in mime, but was ultimately turned down by a local festival and could not locate a theater to perform in. The physical office in Ann Arbor closed, but a year and a half later he returned to mime part-time. Over the next years, he would continue his involvement with the Performance Network and participate in workshops, theater productions, and festivals in Washtenaw County.   In 2011, Lee and Perrault performed for Chelsea High School theater students after Opus Mime completed a two-week residency. Since then, Lee has moved away from Ann Arbor, but continues to teach and perform in Michigan and beyond. 

While mime no longer has the hold on Ann Arbor it once had, the lively tradition had a strong influence on the performing arts community here that still lingers today. 

The Andrea Fulton Concert Collection includes over 500 photos from local concerts featuring rock, soul, R&B, and blues bands performing, recording, and sometimes just posing for promotional shots. Several local and regional bands from the late 1960s and 1970s are here in Andrea's collection -- from Guardian Angel, Carnal Kitchen, and the Mojo Boogie Band to Sixto Rodriguez, Mitch Ryder, and Bob Seger. 

Andrea Lee Fulton grew up with music from all cultures and genres. The first music she heard -- on the day she was born -- was Bach. She recalls an enlightened and exciting childhood: "My dad was hip, my mom was groovy. We all kinda became hippies together.” 

So it was no surprise that when rock-n-roll came to Ann Arbor, Andrea was all ears. And as she grooved to the music, she picked up a camera. Her father, Doug Fulton, an editor at the Ann Arbor News, was an accomplished photographer, so photography was in her blood. Most of the photographs in the collection are Andrea's; a few are Doug's. (Additional concert photos are available in AADL's Doug Fulton Online Exhibit.) 

While Doug is best known for his photographs of outdoor environmental activity and the blues greats who came to the Ann Arbor Blues & Jazz Festivals, Andrea was on the scene in the 1970s to snap photos from the backstages and front rows of over 100 concerts. Andrea (then known as Andye) also worked for concert organizers as a Psychedelic Ranger to assist with crowd control, parking, security, and first aid. At 17, legendary Ann Arbor concert promoter Peter Andrews hired her as the box office manager for Daystar Productions where her job included picking up tickets at the airport, selling seats in the Michigan Union, and manning the box office at Hill Auditorium or Crisler Arena. Andrea recalls some highlights from this period:

"I remember getting cheeseburgers for Yoko Ono, burning one with John Prine behind the P. Bell, and the night Bonnie Raitt stayed in my bedroom after one of dad's famous all-night BBQs following the Sunday Blues Festival. I’ve seen Bob Seger a dozen times. Mitch Ryder. The Rationals. The Lost Planet Airmen with Commander Cody. SRC. Savage Grace. The Up. MC5. I hung out at 1510 Hill Street [home of the Trans-Love Commune, John Sinclair, and the MC5], and was friends with the Mojo Boogie Band, brothers Jim & Terry Tate, and sax genius, Steve Mackay. Venues included the 5th Dimension, Flood’s, Flicks, and the West Park Love In’s at age 15. That was my Ann Arbor life! I was so in the moment and had no idea how incredible my life was. So I’m grateful to have these images now. Revisiting my young self 55 years later, I can tell you -- I’m still that rock and roll hippie at heart.”  

Browse the Andrea Fulton Concert Collection

Some of the subjects of these photos aren't recognized by us and are beyond our ability to identify. If you recognize a performer or venue, please add a comment to the photo to help enrich this collection!