Affe #201

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Marlo Baboondo had always believed that there were no limitations for him. In his opinion, normal standards of behavior were just too boring to bother with. Maybe it had something to do with the fact that he grew up on a ranch and the cows didn't usually speak for or against him. That might seem like a disadvantage to some, but Marlo always knew how to use things to his advantage. After all, life on a ranch with a coconut plantation was quite monotonous and there was plenty of time for creativity.

He had always been fascinated by acting, but on the farm, the big city was far away and the influence of the monkey society was rare. However, the company of animals created unusual sources of inspiration that would be very useful to him as his career progressed. The hens and cattle paid little attention to the little apeling, who jumped around in funny clothes and made great speeches every day – but beggars didn't get to choose their bananas, and, in the end, every audience was an audience. Also, imitating these unaffected creatures – like the ruminating cow that always scowled at him when he disturbed her siesta – was the basis of his "cold stare" for which he later became so famous as an actor. In his first self-produced play, titled "On the Coconutfront", directed by and starring Marlo Baboondo, it was a very fortunate coincidence that just at this time a traveling theatrical cast of actors was breaking down at the ranch. Marlo caught the attention of the leader of the group, who took the young apeling under him. During his travels with the "Black Howlers Club", as his companions called themselves, Marlo continued to develop his own way of acting. His trademark was the cold, distant character, mostly perfect for portraying the villain or the anti-hero. He also had the talent to become totally immersed in his role.

When he then separated from the "Black Howlers Club" to go his own way, he could look back on plenty of stage experience. In his first real audition, he and other actors were asked to play a group of thugs who were caught playing poker by the police. The play was largely improvised as the director wanted to put the individual actors to the test. But while the others ran away from the crime scene like frightened chickens, Marlo just sat there, simply because of his principle of not doing things the way everyone else was doing. The subsequent spontaneous dialogue between Marlo and the "police" impresses the director with its boldness. He was cast and given an important role far bigger than was usual for a young monkey actor of no rank or name. However, his convincing performance soon made him famous in the Monkeyverse. In his second play, a drama about the rise and fall of a primate mafia family, he was therefore free to choose his role. To everyone's surprise, Marlo didn't choose to play the main role, the mafia boss – everyone would have done that – but rather the role of the deaf-mute, mentally handicapped errand boy. It was a terrific performance that earned him many positive reviews. But what nobody knew the main reason was that he didn't feel like learning lines. He also took extraordinary measures to hide the fact that he did never actually read the script and consistently refused to learn his lines. Instead, he used hidden cue cards to deliver his speeches, sometimes going so far as to write them on the inside of a banana, which his character would then peel dramatically during scenes to increase the suspense.

In between, he played a few other characters, but all of them were always very taciturn: the grumpy pirate monkey on the high seas, the astronaut monkey alone in space, or the lonely, wrongly convicted primate on the run. All in all, nothing that would entail a major speaking role. But in the end, he returned to his roots and the roles he started with – the mafiosi.

He portrayed Vito Mandolini in "The Monkey Godfather", an aging patriarch of a coconut oil import company who makes irresistible offers by showing his business partners severed bananas. However, Marlo Baboondo and the producers decided not to include the word "mafia" in the final script, apparently aware of the potential for labor strikes, missing equipment, and missing cast members.

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