Flat N' Tasty!

Dear Mr Bostwick,

I would much appreciate your help with the following 2 questions.

Q1. Is a pikelet really only a small pancake? The Missus (Kendra) reckons that's all it is, but I think there's a bit more to it.
What's the go, Mr B?

Q2. Acting wise do you lean more toward Stanislavski or the teachings of Meisner?

Regards,

Hugh Garfuncle
Booragoon
WESTERN AUSTRALIA



My Dearest Hugh,

You've really tested my culinary powers with this one - you sent me straight to the web to get clarification. What we in the US know as pancakes or flapjacks are mostly known as pancakes by you in the UK and former British Commonwealth countries. Although quite similar, the chief difference appears to be that the American version has a 'raising agent' like yeast involved in its creation - whereas you Brits, Kiwis and Aussies prefer a 'flatter' or 'thinner' pancake.

What is known as a pikelet or drop scone in Britain and former Commonwealth nations is called a silver-dollar pancake over here. Once again we prefer a raising agent. The chief difference between a pikelet and a pancake apart from size, is that a pikelet is usually served cold. I hope this has been of assistance.

Your question re: acting techniques. I was first introduced to Stanislavski by the late great Paul Lynde. It was New England and I was in a summer stock production of The Music Man. Lynde was a consumate Stanislavskian rather than a Method Actor. He felt that Strasberg's own interpretations of Stanislavski had diluted the great man's work. Years later during the whacky television sitcom "Temperatures Rising" I ran into Paul at the ABC Commisary and he directed me towards the work of Sanford Meisner. I actually knew Meisner a little - who didn't back then?! (interrobang). He was always bringing out his bongoes at various parties and playing along with the latest Carpenters' or Rod McKuen record. But if Paul said Meisner was on to something acting-wise, well naturally I took it a little more seriously.

I've been at this acting lark now, man and boy for forty years, so it is in my very bones. I don't worry too much about emotional memory these days. My last great acting teacher was, of all people, David Mamet. I was in a very early version of Glengarry Glen Ross, simply called "It's My Motherf___ing Party and I'll Cry if I Want To". I played Ricky Roma who I thought of as Danny Zuko grown up. Mamet never once corrected my interpretation. Not a single note for me. However he gave Kevin Spacey who was playing the part of Dave Moss, all kinds of notes. He didn't like his gait, he didn't like the way he said, "fandango". One time, Spacey got real mad and said that moving downstage at a certain moment to pick up a file was 'dumb and unmotivated'. Mamet lost it. He said he didn't care what an actor was thinking or feeling when he picked up a prop or gave a speech. We just had to learn the lines and say them in order and make sure our flies were up unless we were in a production of Hair.

He had a point.

Till the Clouds Roll By,

Barry Bostwick