American Playhouse: Season 1, Episode 4

Who Am I This Time? (2 Feb. 1982)

TV Episode  -   -  Comedy | Drama
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Ratings: 7.7/10 from 567 users  
Reviews: 9 user | 2 critic

From a short story by Kurt Vonnegut. Christopher Walken is a shy hardware store employee. But whenever he takes a part in a local amateur theater production, he becomes the part completely-... See full summary »



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Title: Who Am I This Time? (02 Feb 1982)

Who Am I This Time? (02 Feb 1982) on IMDb 7.7/10

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Episode cast overview:
Helene Shaw
Harry Nash
Robert Ridgely ...
George Johnson
Dorothy Patterson ...
Caitlin Hart ...
Les Podewell ...
Aaron Freeman ...
Jerry Vile ...
Paula Frances ...
Stage Manager
Ron Parady ...
Debbi Hopkins ...
Maria Todd ...
Sandy McLeod ...
Flirt #1
Edie Vonnegut ...
Flirt #2


From a short story by Kurt Vonnegut. Christopher Walken is a shy hardware store employee. But whenever he takes a part in a local amateur theater production, he becomes the part completely--while on stage. Susan Sarandon is new in town, a lonely itinerant telephone company employee. On a whim, she auditions for and gets the part of Stella to Walken's Stanley when the theater group does A Streetcar Named Desire. Before anyone realizes the growing affection between Helene and Stanley, she falls deeply in love with the sexy brute, not knowing what the real man is like. Written by Reid Gagle (with corrections by Fiona!)

Plot Summary | Add Synopsis


Comedy | Drama


TV-PG | See all certifications »




Release Date:

2 February 1982 (USA)  »

Filming Locations:

Company Credits

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Technical Specs


Sound Mix:


Aspect Ratio:

1.33 : 1
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Did You Know?


The quotations recited by the actors in the various plays, from "Cyrano" to "A Streetcar named Desire" to "The Importance of Being Earnest", are often paraphrased. In the opening act, we watch Harry Nash deliver the final lines of "Cyrano," which were taken not from the well-known translations of the standard texts, but from the film adaptation Cyrano de Bergerac (1950) with translation by Brian Hooker. Edmond Rostand's final two words in the original French were "My panache!" which is usually used in translations. Hooker's version changes it to "My white plume!" Another slight variation occurs in the final lines, when Helene accepts Harry's proposal of marriage and says, "I hope that after we marry, you'll always look at me just like this... especially in front of other people!" In the original play by Oscar Wilde, the line is "I hope you will always look at me just like that, especially when there are other people present." See more »


[last lines]
[Harry is proposing to Helene, and they quote - or paraphrase - "The Importance of Being Earnest."]
Harry Nash: I've never loved anyone in the world but you.
Helene Shaw: I hope that after we marry, you'll always look at me just like this...
[They kiss passionately. Then Helene realizes that they have drawn a crowd: George, Doris, and their other friends. She laughs in embarrassment]
Helene Shaw: ...especially in front of other people!
[the others gather around, clapping and laughing]
Helene Shaw: How are you all?
George Johnson: Obviously, not as ...
See more »

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User Reviews

The roles of a lifetime
26 June 2011 | by (United States) – See all my reviews

Films about actors playing actors can easily fall into cliché. But Who Am I This Time gives the concept a truly original and profound twist, while giving the two stars the roles of a lifetime.

I vaguely remember seeing this many years ago, probably when it was on public television in the 1980s, but I don't think it made the impression on me it did this time.

Back then I had barely heard of Kurt Vonnegut, and Christopher Walken and Susan Sarandon were just actors. But now I'm a huge fan of Vonnegut, and have seen and admired Walken and Sarandon in countless roles, so I was better able to appreciate the marvelous acting here. And while the story is not 45 degrees off plumb from reality, as with other Vonnegut works like Slaughterhouse Five or Breakfast of Champions, it has the true originality and charm of a great writer.

Many famous actors and actresses fall into well-worn grooves as they get older, playing their personas almost more than their roles. This is not quite true of this pair, but there is a wonderfully fresh creativity to their performances here that you might not see in more seasoned actors. This is vital to their roles because they must transform themselves, both when they switch between their street selves and their community playhouse selves, and as they are transformed over the course of the story.

So the story, itself, demands great acting, but so does the play they perform, A Streetcar Named Desire, surely one of the most demanding of all, which the viewer can appreciate from the great performances of Walken and Sarandon. In Who Am I This Time you see the two leads constantly transforming themselves in a tour de force of acting.

I can't act for beans, but I have heard actors say repeatedly that the key is to truly watch the other actor, and react honestly. You see that exemplified in Sarandon's tryout when she falls flat reading her lines, but soars as soon as she reacts to Walken.

This is set in a small town, much like a thousand other small towns across America, and the key here is to act like real people, to feel like people who could be your neighbors. And that's what the rest of the cast does, avoiding any temptation to ham it up.

But above all, this is a great story with a delightful ending. The chemistry between the two seems so genuine you half expect Sarandon and Walken to get married in real life. I appreciate Who Am I This Time more now, in part because I have seen the later work of these great actors. I hope some interviewer, such as Terry Gross, asks Walken and Sarandon how they feel about this film, little seen in recent years. My guess is they consider it one of their finest works. I also suspect their magnificent performances here helped move their careers into high gear.

But it also benefits from being able to see it on a recording you can control, so you can better compare the performances at different points in the film. For example, in the opening with Cyrano, it is not immediately clear whether you are looking at a great actor or an over- acting ham. You soon realize this guy can really act! You also wonder how many actors are really as shy as Harry Nash, deep down inside.

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