“The worst thing about paranoia is that you’re only proven well when the worst things you’ve imagined come true,” says Eleanor, when accused of being paranoid in Reverse Psychology, an exposé of modern mores.

Equal parts Dr. Quackinabush, Dr. Leary, and Dr. Ruth, Reverse Psychology is a classic American farce written by the late, lamented playwright Charles Ludlam. Set in New York City (where else?) about a husband and wife, both psychiatrists, who are having affairs with each other’s patients who are also husband and wife. Husband Freddie is a hapless artist, and wife Eleanor is a compulsive shopper. Oh, and there’s an experimental love-altering drug involved.

Of the critically acclaimed original production in 1980, The New York Times wrote, “well crafted and sharply written, an intricate madcap farce…” It was to this production that HAI groups were invited those many years ago. Ludlam’s Ridiculous Theatrical Company frequently donated tickets to HAI in the days when the Community Events program had to rely on the generosity of individual theaters.

In the first New York revival of Reverse Psychology, HAI’s own production took place at Urban Stages from May 22 to June 1. Max Daniels directed the cast: Max Chalawsky, Darla Hill, Erica Shroeder and Al Espinosa. They were costumed by Cathy Small and lit by Doug Cox. Shawn Lewis designed a set as a funhouse with surprises. And Brian Hallas did the sound design, using the score from the original production.

Charles Ludlam was one of the founding members of the Ridiculous Theatrical Company. The Company received an Obie, and Ludlam was awarded a Guggenheim fellowship and an NEA grant for playwriting. In his brief 44 years (he died of complications due to AIDS in 1987), he wrote 29 plays, many still being produced today. He synthesized wit, parody, vaudeville, farce, melodrama and satire to create a modern American comic theater that gave reckless immediacy to classical stagecraft. He devised dialogue and action by collaging the dramatic and literary classics with Hollywood movies of the 20’s and 30’s, the lingo of advertising, late night TV, Classic Comics and almost anything else he felt would fit his comic vision.