Bad Heart, Plenty of Guts
Ron Sossi founded the Odyssey Theater 34 years ago at a leased storefront on Ohio and Bundy, in West Los Angeles. In that time, he has suffered two heart attacks, 24 and 19 years ago, yet he continues to refuse bypass surgery, preferring instead "alternative therapy" a phrase some people might use to describe his kind of theater. And despite the existence of several other small theaters in Los Angeles County that have had similar longevity, Sossis Odyssey Theater, now a three-theater complex on Sepulveda Boulevard, is widely regarded as the granddaddy of L.A.s scrappier stage scene. Serving what Sossi has described as his subscriber base of aging hippies, the Odyssey provides an answer, in style and content, to the comparatively moneyed programming coming out of Gordon Davidsons Taper and Ahmanson theaters downtown.
"And Im still here," he points out, underscoring a life lived on the edge: When he moves too sharply, sometimes he feels it in his chest "like a meter," and he pops a nitroglycerine tablet to relieve the stress.
His theater earned a reputation for being politically charged because of early hits like The Adolf Hitler Show and The Chicago Conspiracy Trial, but politics was never Sossis primary concern. Hes far more interested in metaphysical plays developed through an extended rehearsal process with an ensemble like Buddhas Big Nite, currently playing at the Odyssey the kinds of works that went out of fashion in Europe and England in the early 60s, and never really found a niche here. "Do a play about politics, and everyone says thats important," says Sossi. "Do a play about the nature of existence, and thats escapist."
Sossi grew up outside Detroit in a Catholic household, where his father was an auto executive and where he says there was no art in the family. A rich fantasy life provided some relief. With no interest in sports, Sossi was more inclined toward comic books, friends, mock wars and hypnosis. He says he once hypnotized a girl and gave her post-hypnotic suggestions without having a clue as to what he was doing, or why, other than a generalized attraction to mysticism that has never diminished.
Premium Seating: Los Angeles Angels v Cincinnati Reds
TicketsMon., Aug. 29, 7:05pm
Los Angeles Angels vs. Cincinnati Reds
TicketsMon., Aug. 29, 7:05pm
UCLA Bruins Double Header: M Soccer vs Duke & W Soccer vs Penn St.
TicketsFri., Sep. 2, 5:00pm
UCLA Bruins Men's Soccer vs. University of Akron Zips Men's Soccer
TicketsMon., Sep. 5, 5:00pm
In the eighth grade, he resolved to join the seminary and become a priest. As a counter-move, his parents bought him a puppy, strategizing that the boy-dog bond would keep young Ron at home. It worked.
After graduating from the University of Michigan and receiving a graduate degree in film from UCLA, Sossi became a television executive at ABC, in charge of The Flying Nun and Bewitched a particularly comical notion for a man who almost became a priest.
"A lot of my friends were trying to get into the industry. I started a theater to get out of the industry. I hated it," Sossi explained to the Weekly at a booth at the venerable greasy spoon Dolores, having just gotten off a 63-day juice and broth fast.
L.A. WEEKLY: How are you different from Gordon Davidson, and how might you be similar?
SOSSI: I think that, creatively, Gordon is more Western pragmatic; hes got his social, political feet on the ground. Im more dreamy. I have a pramatic side, but Im more unreasonable, always questioning the nature of existence, whereas I think Gordon functions very well within the accepted verities. I think hes done a lot, considering the position hes in. Hes got a lot of constituents he cant offend. Hes pushed the envelope about as far as he can push.
Our problem at the Odyssey has always been money. We can do anything we damn well please, we just cant afford to. We needed bright video projectors for Buddhas Big Nite. Theyre just too expensive, so were doing it with one video projector thats kind of dim. The other difference, I dont think he understands the possibilities of a long process. We chatted when the NEA was trying to fund ensembles, we were on a panel together. And I remember Gordon saying, "Id like another week or two, but I dont know what Id do with more than that." Also, I think L.A. resented for many years that he never capitalized on the local talent, but that seems to be changing a bit.
Were you ever invited to work there?
Would you have wanted to?
Yeah, it would have been nice.
What would you have done?
Threepenny Opera would be fun to do there. Ive done it twice. I have one more in me. Or something else by Brecht.
If you had run the Taper, what would you have done
I think I would have tried to create an experimental wing not to play off-nights but as part of the main season, so once a year they would see something totally off the wall. I would also have tried to put in a resident group there the Taper has the money to pay a resident company. I know Gordon tried it, and his claim has been that even if you pay them, they would bail if they got a movie. Yeah, they probably would, but not all, maybe two or three. Id have brought together disparate elements, like Peter Sellars and Arthur Miller, put them together for six months and see what they come up with Dario Fo and Edward Albee. It might flop, but it would never be a boring flop.
What is the risk of failure at both theaters?
Just one of scale. One big flop isnt going to destroy either of us. Two or three in a row, it becomes serious for both of us. Seventy-five percent of the time, Im in a panic over the flops once a quarter, we dont know how were going to make payroll.
How has the scene changed since you arrived?
When we started out, there were three streams in L.A. The first stream was represented by the Taper a feisty, populist but still mainstream regional theater. The second stream was showcasing, which remains much as it was. The third stream I consider us a part of, since weve never been about showcasing. We wanted to be an alternative to the mainstream questioning the whole nature of theater. I think the mainstream has gotten less daring, certainly in terms of political material. The stream of which I was a representative died out in large ways. We came in with Scorpio Rising, the Company Theater, founded by Steve Kent out of USC, which split into the Provisional Theater. So both streams mellowed a bit, if thats the word, I think because the society changed. But I now see a new breed of theaters that are picking up where we left off, theyre doing some interesting stuff Circle X, Zoo District, Sacred Fools, The Road Theater in the Valley. Theyre gutsy. Theyre feisty.
Get the This Week's Top Stories Newsletter
Every week we collect the latest news, music and arts stories — along with film and food reviews and the best things to do this week — so that you'll never miss LA Weekly's biggest stories.