A Conversation with Director George Bamber, "Tasty Little Rabbit," Moving Arts, by James Scarborough

"Tasty Little Rabbit" explores how art, morality and political persecution intersect in a story that feels eerily relevant. Tom Jacobson's new play, directed by George Bamber, examines the 1936 Fascist Italian investigation of Wilhelm von Gloeden's photographs, revealing deeper secrets from the 1890s involving von Gloeden, poet Sebastian Melmoth, and a young Sicilian model.

The production refuses easy categorizations. It doesn't just rehash debates about art versus pornography but shows how moral panics serve political ends. Bamber's direction highlights Jacobson's gift for making complex issues accessible without simplifying them.

The cast brings together veterans Robert Mammana and Rob Nagle with trilingual Massi Pregoni, suggesting a production that honors both the historical European setting and contemporary American theater. Mark Mendelson's sets and Garry Lennon's costumes navigate multiple time periods while conveying both the sensuality of von Gloeden's Taormina and the oppressive atmosphere of Fascist Italy.

Jacobson typically finds the personal within the political, and this exploration of Pancrazio Buciuni's perspective – the model whose images were labeled obscene – offers a fresh entry point into questions that remain unresolved in our era of digital imagery and contested boundaries of representation.

Below follows an email conversation with George Bamber.

JS: How did you first encounter Tom Jacobson's script? What specifically made you decide this was a project you needed to direct?

GB: I’ve been a fan of Tom’s work for over two decades. So, when I stalked…I mean inquired about the possibility of collaborating, he gave me five of his recent plays to read. Tom is impressively prolific. I was immediately drawn to TASTY LITTLE RABBIT because its milieu exists in a sensual sexual freedom that I had not witnessed since my youth in New York City. I came out at 15 before AIDS appeared. History repeats itself over and over. Here was a photographer from 1890 discovering exactly what I had discovered as a young adolescent in the 1970s. I immediately wanted to share that experience with others. That is why I had to direct this play.

JS: The play deals with multiple time periods - 1936 Fascist Italy and 1890s Sicily. How have you worked with scenic designer Mark Mendelson and costume designer Garry Lennon to distinguish these eras visually while maintaining a cohesive aesthetic?

GB: Let us also add Lighting Designer Dan Weingarten and Projection Designer Nicholas Santiago. Tom writes his plays at the tempo of a film, cutting back and forth as the story dictates. Working against us is the confines of a black box theatre. There is no fly or wing space to quickly change scenery. As the stage is only 19’ X 19’ it is impossible for lighting to illuminate only one actor without spilling onto the other actors. I joke that one apple watch from an audience member could light the entire room. All transitions must be done under the watchful eye of the audience. So, our design mandate is magic, sleight of hand. An actor makes a costume change as he merely turns 360 degrees. Another actor moves a curtain and we are 40 years in the future. Mark, Garry, Dan, Nicholas and the whole design team are bravely using every trick in the book. For 1890s Sicily, we emphasize the light and vistas inspired by von Gloden’s actual photography. Everything is outdoors with beautiful warm light. For 1936, we reflect the modernization that was the goal of fascism, to Make Italy Great Again, by enclosing what had been exterior space into interior space. Thus, the light is directional from windows and the colors are cooler.

JS: Robert Mammana, Rob Nagle, and Massi Pregoni form a rather impressive cast. What qualities did you seek in actors portraying these complex historical figures, and how has their chemistry developed during rehearsals?

GB: The play’s heart is a love triangle. Tom and I sought actors that you could fall in love with. It became clear at the first table read that the actors were in love with each other's skill and intelligence. We are also very lucky that Massi is a native Italian. This brings incredible authenticity to the role. Rob Nagle has extensive experience playing characters from this time period. Robert Mammana was in another of Tom’s plays and brings forth an incredible understanding of the mechanics of Tom’s work. I joke that he has a PHD in Tom Jacobson’s writing. Together they make my job as a director easy.

JS: Wilhelm von Gloeden's photographs occupy a contested space between art and exploitation. How have you approached this tension in your direction? What conversations have you had with the cast about portraying this material sensitively?

GB: We have approached it VERY carefully. First, there is no evidence that Von Gloeden photographed pornography, i.e. intercourse or other acts of sexual congress. He photographed nudes of the local Sicilian population in classical poses. His photographs are filled with desire and incite desire within the viewer. And of course, that is where the danger occurs. In my film work, I’ve been more often censored by scenes that were less graphic, didn’t show much skin, but triggered desire in the viewer, than scenes that were more graphic, showing more skin, but did not trigger desire in the viewer. Desire can be threatening when it awakens feelings for things that we don’t actually want or we don’t think we should want. The human reaction is to then try to control those feelings. Historically, that impetus can lead to censorship. Second, in Von Gloeden’s time the age of consent was much different than today. Mores on nudity were regionally very different. These two factors desire and mores create the tension of the play. Tom portrays them without judgement. The actors and I stage the action with compassion. This allows the audience to perceive the complexity of the situation and make a judgement for themselves, that hopefully is considered and not a knee jerk reaction. As I said before, history repeats itself. The photographic revolution in the 19th Century is exactly analogous to the digital revolution in the 21st Century. To know if those subjects were exploited, we have to decide if we are exploited on our social media platforms like Instagram, Facebook and Tik Tok. And yes, this is a continuous conversation that the company has every day. We approach it with a sensitivity to personal boundaries and a respect for differing opinions.

JS: You've directed across multiple mediums - film, television, and stage. What unique challenges does this particular historical material present that might differ from your work on projects like "Ethan Green" or your Broadway production of "A Christmas Carol"?

GB: As you know, this production is being performed as part of the cultural event Reflections of Art and Democracy. Our play, along with the other plays, is responding to the current political environment which makes this narrative a call to action. Ethan Green was a rumination on dating and love. A Christmas Carol is a call to action for generosity. The challenge on this show is the same challenge we are all having. What is the action? What can we do?

JS: In your director's statement, you mention Mussolini's use of "moral cleansing" as a political control tactic. How do you see the play's exploration of censorship and moral panic resonating with contemporary audiences?

GB: Mussolini’s moral cleansing is no different to what is going on today. And the message is that we have to stop being distracted from the real issues. I used to be a Board President of a Charter School. You throw the issue of School Uniforms to parents and there will be a blood battle to the death. However, there is no evidence of School Uniforms contributing or diminishing academic performance. What parents should be fighting for is funding? But that is a tough issue that isn’t easy to solve and thus not satisfying. The body politic needs to stay focused on what really matters like national health care, campaign reform. etc. 

JS: The character of Pancrazio Buciuni offers a unique perspective as both subject and eventual owner of von Gloeden's photographs. How important was it to center his experience in this narrative?

GB: Pancrazio, our lead character, is a pawn being used by the Fascist Right and the Regional Left to manipulate Italy. Fox News and MSNBC incite us to either stand to the left or to the right on issues. Pancrazio is an exemplar. Like him, we must stand firm in the middle, advocate for what we believe is right and not let our attention be diverted for someone else’s gain.  

JS: The play's title - "Tasty Little Rabbit" - has an unsettling quality. Can you discuss its significance and how it relates to the themes of the work?

GB: The title highlights the delicate nature of sexuality. It is easy to be exploited. But fear of exploitation should not inhibit sexual agency. Currently, we are demanding a safe world. I think that is a great goal, but it’s unrealistic. I have a 22-year-old son. I raised him to navigate in an unsafe world. Communication is the key tool for sexual literacy. I would hate for our youth to move backwards and loose the gains that earlier generations have fought for, including Pancrazio, Von Gloeden and Sebastian. 

JS: Tom Jacobson is known for his intellectual depth and historical research. What was your collaborative process like with him during the development and rehearsal of this world premiere?

GB: First, I needed a month to just get up to his level in history. It was a lot of book reading. Then we talked. And then we talked some more.That is my favorite part of the process.  Listening to what people like Tom have to teach me.

JS: Beyond the historical specifics, what do you hope audiences will take away from this production about the relationship between art, politics, and personal freedom?

GB: That it is all interconnected, sexual agency, political agency. Without empathy and communication, it is impossible to move forward.  

Performances of "Tasty Little Rabbit" begin on April 26th at Moving Arts. The show runs Friday and Saturday at 8pm, Sunday at 4pm, through June 6, 2025, with an added performance Thursday, June 5 at 8pm. Tickets are $33 general admission; $20 for students with ID. The Moving Arts is located at 3191 Casitas Avenue, Los Angeles, California 90039. For more information, click here.