Wednesday, November 15, 2017

Small Mouth Sounds: Six Characters in Search of...

Small Mouth Sounds

Written by Bess Wohl
Directed by Rachel Chavkin

A.C.T's Strand Theater
1127 Market St, San Francisco
www.act-sf.org
October 11- December 10 2017

Reviewed by Christine Okon

Small Mouth Sounds at A.C.T Strand Theater begins with a serene, stark room with six chairs in a row, a simple setting not unlike Spirit Rock or Green Gulch. Soon, the chairs are filled with people who awkwardly try to communicate without speaking as they gesture, smile, shrug, giggle. We soon learn that they have come to a silent retreat, with the only voice being that of the guru, the unseen Teacher as he explains the rules of schedule and expectations in a lilting, soothing, unplaced accent.

Retreat Attendees: Ned (Ben Beckley); Alicia (Brenna Plughi); Jan (Connor Barrett); Rodney (Edward Chin-Lyn); Judy (Cherene Snow); Joan (Socorro Santiago)

The retreat is silent, but the characters soon reveal their own internal noise, the noise of disappointment, failed relationships, grief, confusion, regret, curiosity. Like a memorable silent film, the real punch is packed without words.

The silence is a wonderfully engaging and effective device by playwright Bess Wohl in that it sparks the curiosity, anticipation, and ultimately catharsis of the audience. It’s fun getting to know the characters, all superbly cast. There’s Ned, the intellectual worrier on edge with his own vulnerability, captured so earnestly by Ben Beckley.
Ned (Ben Beckley)
Joan (Socorro Santiago) and Judy (Cherene Snow) are partners who learn to at last listen to each other during the silent retreat. Edward Chin-Lyn endows his character Rodney, a minor celebrity in yoga circles, with a bodily presence as lithe and strong as a big cat and an ego to match. (The small mouth sound that Joan utters upon seeing him is pretty funny.)
Ned (Ben Beckley) and Rodney (Edward Chin-Lyn)
Then there’s Alicia, a complex bundle of nerves, tears and raw emotion so convincingly played by Brenna Plughi that you just want to comfort her.
Alicia (Brenna Plughi) and Ned (Ben Beckley)
To me, the most intriguing character is Jan, a sad enigma so in need of a voice for his pain, compassionately rendered by Connor Barrett.
Jan (Connor Barrett)
All of these characters are confined within the rules of the retreat, guided by the voice of the Teacher (Orville Mendoza) who, even after leading countless retreats, is still grappling with his personal challenges. Imagine Sartre’s No Exit with deep belly breathing and mindful intentions.

Gradually, we get glimpses of each character’s history of pain, loss, stress, confusion. Each has his or her own wants; each hopes for answers to unrealized questions.

Director Rachel Chavkin brings Wohl’s simple but potent script to life, making this production work well on so many levels. The seeming spontaneity of the characters’ interactions is the result of many rehearsals and practiced choreography, with every gesture chosen deliberately. And orchestrating small mouth sounds of the characters to create meaning, humor, emotions, and story is quite an accomplishment.

If you go see Small Mouth Sounds, don’t be surprised if you find yourself a bit changed, or at least wondering.


CAST
Connor Barrett - Jan
Ben Beckley - Ned
Edward Chin-Lyn - Rodney
Orville Mendoza - Teacher
Brenna Palughi - Alicia
Socorro Santiago - Joan
Cherene Snow - Judy

CREATIVE TEAM
Scenic Designer: Laura Jellinek
Costume Designer Tilly Grimes
Lighting Designer: Mike Inwood
Sound Designer: Stowe Nelson
Props Designer: Noah Mease
Video Designer: Andrew Schneider
Associate Director: Lauren Z. Adleman
Production Stage Manager: James Steele
Assistant Stage Manager: Megan McClintock

PHOTOGRAPHY:  T Charles Erickson

Thursday, October 26, 2017

History through a Distorted Lens


Thomas and Sally
Written by Thomas Bradshaw
Directed by Jasson Minadakis
Marin Theatre Company

Extended to October 29, 2017

Reviewed by Christine Okon

If you question the narrator of MTC's production of Thomas Bradshaw'sThomas and Sally,  the controversies about "revisionist history" stirred up by this play can be put into perspective, sort of.

Roomies Ella Dershowitz and Rosie Hallett
Martha (Ella Dershowitz) and Karen (Rosie Hallett) are college roommates in a typical modern dorm room, with two twin beds, desks, closet door, etc. that soon have different uses as the play unfolds. Martha is raving about the gorgeous, shirtless athletes she watched earlier in the day as she hunts for her vibrator which was casually "borrowed" by Karen who is now struggling with a paper she needs to write about Thomas Jefferson.  It turns out that Martha's last name is Hemings and that she is a descendant of Sally Hemings, the slave who bore several children by Thomas Jefferson. And boy, does Martha have stories to tell, since she knows "everything" about that topic, but in an Entertainment Tonight - meets American History 101 gossipy sort of way.

Robert Hemings (Cameron Matthews), James Hemings William Hodgson), Martha Jefferson (Ella Dershowitz), Thomas Jefferson (Mark Anderson Phillips), Betty Hemings (Charlette Speigner), and Karen (Rosie Hallett).

Martha's storytelling is not linear and moves quickly between the present and 18th century America, with actors doing double or triple duty to portray multiple characters entering, exiting, and interacting, and set pieces being rearranged in a crisp and rapid choreography of stage design (kudos to Sean Fanning). The slavelife saga of Sally's mother Betty involved multiple sales and many children with different men; in one birth scene, "babies" (plastic dolls) are "delivered" one after the other in quick sequence, an amusing and effective trick to compress the passage of time. This same trick is later used to depict the many children of Thomas Jefferson with his wife Martha. A lot happens, and some of it may be historically accurate (Bradshaw did extensive research for the play), but remember, it's story told by someone from the future looking at events through her subjective lens.

The conflicted (he owns slaves, but thinks they should be free?) and contemplative Thomas Jefferson is earnestly and passionately played by Mark Anderson Phillips who engages in anachronistic banter with John Adams and Ben Franklin as if they were college buddies who "get to do all the fun stuff" when it comes to shaping the emerging new government.


Benjamin Franklin (Robert Sicular) and Thomas Jefferson (Mark Anderson Phillips)

The meeting of Thomas and Sally, so wonderfully played by Tara Pachecho, buzzes with an attraction that becomes pretty juicy and intense, depicting the two as passionate and creative lovers more than master and slave. Whether this is true or not is not at issue: Martha doesn't hold back on the vivid descriptions of what may have happened, although it is probably more of what she wishes for in her own romantic life.

Thomas Jefferson (Mark Anderson Phillips) and Sally Hemings (Tara Pacheco).

Thomas and Sally
  tries to titillate with explicit details and a sprinkling of some facts to show how some parts of collective memory are shaped by the zeitgeist.  Martha and Karen never leave the dorm room, nor do they really learn anything new, from what went on with Thomas Jefferson and Sally Hemings.


Thomas and Sally

Photographer: Kevin Berne

CAST
L. Peter Callender*
Jupiter Evans/French Servant

Scott ​K. Coopwood*
John Adams/Lafayette/Captain Hemings/Overseer/Jacques

Ella Dershowitz
Simone/Martha/Polly

Rosie Hallett*
Abigail Adams/Patsy/Karen

William Hodgson*
James Hemings

Cameron Matthews
Robert Hemings/Hugo

Tara Pacheco*
Sally Hemings

Mark Anderson Phillips*
Thomas Jefferson

Robert Sicular*
Benjamin Franklin/John Wayles/French Cook/French Tailor/Man

​Charlette Speigner*
Elizabeth (Betty) Hemings/Renee

CREATIVE TEAM
​Thomas Bradshaw
Playwright

Jason Minadakis
Director

Betsy Norton*
Stage Manager

Laura Brueckner
Production Dramaturg

Sean Fanning+
Scenic Designer

Ashley Holvick
Costume Designer

Mike Post
Lighting Designer

​Theodore J.H. Hulsker
Sound Designer

Jessica Berman
Dialect Coach

Jemier B. Jenkins
Assistant Director

* Denotes member of Actors Equity Association
+ Member, United Scenic Artists
^ Member, Society of Stage Directors and Choreographers











Marin Theatre Company
397 Miller Avenue 
Mill Valley, California 94941
Phone: 415.388.5200 Fax: 415.388.0768
Email: info@marintheatre.org

Wednesday, October 18, 2017

Expectations Flipped with Barbecue at SF Playhouse



Written by Robert O’Hara
Directed by Margo Hall
September 26 to November 11, 2017


Reviewed by Christine Okon

Bright lights glare down on a rundown urban patch of flattened grass, a bent and rusty safety fence, a beat up grill and the parks-and-rec-issue brutalist concrete washroom that sets the stage for Robert O’Hara’s Barbecue, directed by Margo Hall, to launch SF Playhouse’s 15th season.

Marie (Teri Whipple), James T (Clive Worsley), and Adlean (Jennie Brick) express reservations about the planned intervention

Blackout and lights up. A tableau of good-old-folks Americana: Adlean, a plump middle-aged woman smoking a cigarette in a portable chair, nonchalantly played by Jennie Brick ; James T, the backward-baseball-cap-wearing and slightly goofy brother played by Clive Worsley; Marie, the self-absorbed and sexy millennial played with detached snarkiness by Teri Whipple; and Lillie Anne (Anne Darragh), the frustrated sister who is trying to organize her family “team” to stage the intervention disguised as a barbeque for their wayward family member Barbara (a self-possessed Susi Damilano) whom they think is wrecking her life with drugs. These people can barely save themselves as they squabble with each other and argue about how they’re supposed to act when Barbara arrives. But despite their good intentions, Barbara follows her own story which unfolds later in the play.

Lillie Anne (Halili Knox*, right) explains to Adlean (Edris Cooper-Anifowoshe), James T (Adrian Roberts*), and Marie (Kehinde Koyejo*) how an intervention works

Blackout again and lights up, but this time the characters are black. Whaa? Why? We’re intrigued. The same action continues but with a different pace and energy, and we are drawn into this extended story of a family trying to support one of their own. The juxtaposition of white and black families in the same situation has echoes of all those family sitcoms with familiar “types” like the sarcastic aunt, the snarky teenager, the doofus brother, and the do-gooder sister. The mirror-flip family forms a hilarious and vibrant unit,with Adrian Roberts as James T; Halili Knox as Lillie Anne; Edris Cooper-Aniforwoshe as Adlean; and Kehinde Koyejo as Marie trying to get ready for Barbara, played with powerful distinction by Margo Hall.

Marie (Kehinde Koyejo*), Adlean (Edris Cooper-Anifowoshe), and James T (Adrian Roberts*) express skepticism
To describe what happens next would spoil the surprise, as this play has more twists than a mall pretzel shop, so enjoy the ride. Let it be said that this play is an innovative exploration of what happens when someone’s real-life story meets the primal forces of pride, ambition, greed and whatever it takes to turn that story into Oscar-worthy gold.

The most powerful dynamic--indeed the fulcrum of the play--is between the two Barbaras, Susi Damilano and Margo Hall, partners in crime who match wits as they strike a deal that seems like, but is not really, a win-win.

Margo Hall as Barbara
Susi Damilano as Barbara

Barbecue skewers the forces of fabrication and deception in our society, leaving the audience perhaps a bit confused and uneasily entertained.

Photos by Jessica Palopoli


Barbecue


CAST
ADLEAN
Edris Cooper-Anifowoshe
Jennie Brick

BARBARA
Margo Hall
Susi Damilano

JAMES T
Clive Worsley
Adrian Roberts

LILLIE ANNE
Anne Darragh
Halili Knox

MARIE
Kehinde Koyejo
Teri Whipple

CREATIVE TEAM
Margo Hall
DIRECTOR

Bill English
SCENIC DESIGNER

Brooke Jennings
COSTUME DESIGNER

Cliff Caruthers
SOUND DESIGNER

Wen-Ling Liao
LIGHTING DESIGNER

Jacquelyn Scott
PROPERTIES DESIGNER







SF Playhouse
450 Post Street
San Francisco, CA 94102
415.677.9596

www.sfplayhouse.org

Tuesday, June 20, 2017

The Legend of Georgia McBride and the Craft of Drag

The Legend of Georgia McBride
By Matthew Lopez
Directed by Kent Gash
JUNE 8 – JULY 9 
Marin Theatre Company

by Christine Okon

Marin Theatre Company is ending its 2016-2017 season with the glitzy and fun The Legend of Georgia McBride, written by Matthew Lopez, about a struggling Elvis impersonator who, through a twist of circumstance, finds success, fulfillment and most of all himself when he joins a drag performance act.
Adam Magill as Casey (in rehearsal)
Casey is an earnest musician trying to make a living as an Elvis impersonator in a dive bar in Panama City, FL, 40 miles from the tiny apartment he shares with his practical yet loving wife Jo (a warm and funny Tatiana Wechsler). Adam Magill brings a sweet (but perhaps not tough enough) vulnerability to Casey, a dreamer who is nudged to reality when he learns that Jo is pregnant, he’s out of money, and that the bar’s owner/emcee Eddie, desperate to stay afloat, has booked a new act to replace his. 
Kraig Swartz as Tracy with Adam Magill as Casey
Enter Tracy (a sharp and sassy Kraig Swartz) and Rexy (a recklessly selfish but wise Jason Kapoor), two seasoned, road-weary, hard-working yet glamorous drag performers who know the dive circuit all too well. (I expected to hear Tracy exclaim, “What a dump!” ala Bette Davis when she sees where she’s landed.) They’re pros who know how to wow a crowd, and wowed you will be with such numbers as I Will Survive or Amy Winehouse’s Rehab. But they’re also two people just trying to survive while being themselves.
Jason Kapoor channeling Amy Winehouse
When Casey is unexpectedly thrust into the drag light as an unwitting Edith Piaf who stumbles and staggers on stage like Bambi on ice, we’re right with him as he eases into having fun in the role. (I was reminded of the sweet and vulnerable young Tom Hanks in the 80's sitcom Bosom Buddies, about two ordinary guys disguised as women as a means of survival in the big city. Maybe it’s the hair.)
Kraig Swartz as Tracy, Jason Kapoor as  Rexy, John R Lewis as Eddie
The passage of time and the progress towards success is cleverly marked by a rapid succession of costume changes (thanks, Kara Harmon) as the emcee welcomes Valentine’s Day, St. Patrick’s Day, and so on, with the costumes and set getting glitzier and glitzier. Kudos to Jason Sherwood, Kurt Landisman and Chris Houston for creating different experiences, including a huge disco ball. Before we know it months have passed, and Casey is getting really good at drag. But he has not told his wife. He doesn’t know why—was he ashamed? It is Casey’s search for the answer that grounds him to the reality of his life. Rexy philosophizes about the importance of persona, of voice, of knowing who you are. Drag is about naming and claiming who you really are, proudly. “Two raised fists in sequined gloves.”
The Legend of Georgia McBride is about resilience, love, ambition, acceptance and FABULOUS clothes. It’s a simple story about finding your voice/persona without shame, and the important life lesson that no matter how bad things get, “there’s nothing a little makeup can’t fix.”
Kapoor, Magill, Swartz "Raining Men"
In San Francisco, where drag is a high art, MTC’s approach to the topic as presented in the lobby was an anthropological study with useful information about drag lingo and practices and the history of famous drag performers. 
If you like disco music and campy acts, you’ll especially enjoy this show. At curtain, several audience members sprang to ovation and kept on dancing. During San Francisco’s month of Pride, it may be just the show to bring visitors to. 



The Legend of Georgia McBride
By Matthew Lopez
Directed by Kent Gash
JUNE 8 – JULY 9 

All photos by Kevin Berne

CAST
John R. Lewis* (Eddie)
Jason Kapoor* (Rexy/Jason)
Adam Magill* (Casey)
​Kraig Swartz* (Tracy)
Tatiana Wechsler* (Jo)

CREATIVE TEAM
​Matthew Lopez, Playwright
Kent Gash, Director
Dell Howlett, Choreographer
Jason Sherwood, Scenic Designer
Kurt Landisman, Lighting Designer
Kara Harmon, Costume Designer
Chris Houston, Composer and Sound Designer
Devon LaBelle, Props Master


Marin Theatre Company
http://www.marintheatre.org
397 Miller Avenue
Mill Valley, CA 94941-2885
Phone: 415.388.5200

Monday, June 12, 2017

HeLA: Connection, Communication, and the Legacy of Love

HeLa: The PoeticScientific DreamFate of Henrietta Lacks
By Lauren Gunderson and Geetha Reddy
Dramaturgy by Lisa Marie Rollins
Directed by Evren Odcikin

Runs through June 17th. 2017
TheatreFirst
Live Oak Theater
1301 Shattuck Ave, Berkeley

"Tell me a story," a young girl asks her mother in a sunny home kitchen. The girl is Deborah Pullman, now grown, recalling a distant memory before her mother Henrietta Lacks died of cancer in 1950 but whose cells, harvested without consent by Johns Hopkins clinicians, continued to thrive and divide long after Henrietta’s death. These cells became an entity called HeLa, and it was quickly forgotten whether they belonged to Henrietta Lacks, Helen Lane, or anyone for that matter.
JEUNÉE SIMON as Henrietta
There are many ways to approach this story of how the thriving cells of an ordinary African American woman with cervical cancer in the early 1950s in Baltimore made it possible to research phenomena that led to the development of the polio vaccine, in vitro fertilization, cures for several diseases, and the backbone of bioresearch industries like Genentech. The story was chronicled in the book The Immortal Life of Henrietta Lacks by Rebecca Skloot, recently adapted into an HBO movie with Oprah Winfrey. The book and film address the who, what, when, where of the experiences, confusion and struggles of Henrietta’s family, especially her daughter Deborah, as they deal with the reality of Henrietta’s legacy. There is a lot of information to process if facts are the only guide.

DESIREE ROGERS as Deborah
Or you could choose to find the thread of meaning, the story beneath the story, to present the WHY of this story that makes it so compelling, universal, and beautiful. This is what TheatreFirst has done with its current production of HeLa: The PoeticScientific DreamFate of Henrietta Lacks, written by Lauren Gunderson and Geetha Reddy, and the result is a remarkable journey through time and space that shows the legacy of love and connection through generations, with Henrietta as the constant point of reference.
KHARY MOYE and JEUNÉE SIMON

Don't expect a literal retelling of the story. This production of HeLa is more like a dance of character interactions, with the two main characters of Henrietta (played splendidly by Jeunee Simon) and her daughter Deborah (Desiree Rogers), a “motherless child a long way from home,” still seeking connection and answers.

Henrietta’s cells persisted after death, and in this play Henrietta is a person, a consciousness, and a presence who experiences, and reacts to, the situations the HeLa cells went through. Jeunee Simon conveys a range of emotion as Henrietta, there at Jonas Salk’s discovery of the polio vaccine; on the trip to space with the patriotic Russian canine cosmonaut; in the doctor's office sharing the joy of a couple who has just learned that they at last could have a child in vitro; witnessing the pharma exec’s thrill at the profit made by selling HeLa cells.

JEUNÉE SIMON as Henrietta and SARAH MITCHELL as the Soviet Dog
The strong ensemble cast greatly expanded the scope of time and place. Sarah Mitchell nailed the cordial but emotionless technician as well as the wildly patriotic Soviet dog that went into space, a hilarious part of the show, with the dog conversing and barking its purpose to Henrietta. Richard Pallaziol was versatile as the detached doctor, the excited Jonas Salk, the profit-conscious pharma exec, and even the gee-whiz young father amazed at having a baby in a test tube. Khary Moye had great heart as Henrietta’s loving husband as well as a stubborn teenager and a scientist. And Akemia Okamura balanced concern with practicality as the scientist who tells Deborah about the reality of her mother’s cells.

RICHARD PALLAZIOL as Jonas Salk
But it is the dynamic interaction between Desiree Rogers as Deborah and Jeunee Simon as Henrietta that fills heart and soul of the play as the two move toward each other. "I don't know how, but I can see you!" is a recurring line spoken by Henrietta and Deborah that compresses time, space and circumstance into powerful emotions, as when Deborah first sees the living, moving cells of her mother, projected on the white lab coats of the scientists, and realizes that they were her mother's. But there is confusion. Is it my mother? Are the cells my mother? It is about recognition of where one belongs in the grand scheme of things.
AKEMI OKAMURA and DESIREE ROGERS

The lighting (Stephanie Anne Johnson), costumes (Maggie Whitaker), sound and projection (Kevin Myrick), and set design (Bailey Hikawa and Devon Labelle) created a simple but compact and effective use of space to convey different settings and moods.

The story of Henrietta Lacks is about more than one person. She was the black marginalized patient in the 1950s who represents other marginalized patients today: the elderly, the mentally ill, the poor, the sick, and even the dying, too often dismissed by the euphemistic efficiency of medicine, business and politics that too easily sidesteps humanity. As Henrietta realizes, it is ok to "take" but not "care" and too easy to say “take care.”

Like the cells themselves, the play HeLa is a living work in progress, with every show followed by a discussion. You still have time to see this show before June 17--don't miss this opportunity.
……………………
HeLa: The PoeticScientific DreamFate of Henrietta Lacks
By Lauren Gunderson and Geetha Reddy
Dramaturgy by Lisa Marie Rollins
Directed by Evren Odcikin

CAST
JEUNÉE SIMON, Henrietta
DESIREE ROGERS, Deborah
KHARY MOYE, Ensemble
SARAH MITCHELL, Ensemble
AKEMI OKAMURA, Ensemble
RICHARD PALLAZIOL, Ensemble

DESIGN TEAM
BAILEY HIKAWA, Scenic
STEPHANIE ANNE JOHNSON, Light
KEVIN MYRICK, Sound
DEVON LABELLE, Property
MAGGIE WHITAKER, Costume

PRODUCTION TEAM
SALIM RAZAWI, Rehearsal Stage Manager
ELLEN BOENER, Performance Stage Manager
KATE LOGAN, Sound Technician
DIEGO PEÑA, Production Assistant

TIM PHAM, Production Assistant

All photos by Cheshire Isaacs








theatrefirst.com
TheatreFirst
Live Oak Theater
1301 Shattuck Ave, Berkeley

Saturday, June 3, 2017

A Stranger Comes to Town...


The Roommate
by Jen Silverman
Directed by Becca Wolff
May 23 - July 1, 2017
SF Playhouse

by Christine Okon

A​ ​mysterious​ ​stranger​ ​enters​ ​someone's​ ​life​ ​and​ ​changes​ ​it​ ​forever:​ ​this​ ​is​ ​a familiar, exciting story premise; think of William Inge's Picnic ​or almost any Western. The thrill is in the allure of the unknown, the seductive break from boredom, the last-ditch chance to live the life you were meant to live. It's​ ​the instant​ ​dynamic​ ​of​ ​object​ ​and​ ​force,​ ​of​ ​catalyst​ ​and​ ​inert​ ​substance,​ ​to​ ​effect​ ​change. 

San​ ​Francisco​ ​Playhouse is ending its 2016-2017 season with the one-act play The​ ​Roommate​ ​by​ ​Jen​ ​Silverman​; it's a good choice because it's not about endings but beginnings, about the thrill of "what's next?"

The​ ​Roommate​ ​takes place in a seemingly peaceful and tidy kitchen in a charming house in the middle of "corn cobs and open sky": Somewhere in Iowa. It's Sharon's house, and she seems somewhat lost in the space that has grown too big. Sharon's in her​ ​50's​ ​and​ ​in​ ​a​ ​precarious​ ​transition​ ​from​ ​the​ ​certainty​ ​of​ ​wife​ ​and​ ​mother​ ​to..what? Her​ ​son​ ​has​ ​grown​ ​and​ ​left​ ​home,​ ​but​ ​she​ ​still​ ​clings​ ​to​ ​the​ ​mother-son lifeline through "I just want to see how you're doing" phone calls. 

Sharon (Susi Damilano) and Robyn (Julia Brothers) with the wide Iowa sky as backdrop.
​Susi​ ​Damilano's​ ​Sharon​ ​is​ ​a grown-up good girl who's​ a bit ​​insecure, gabby ​but​ ​not​ ​especially​ ​thoughtful,​ ​as she goes through the motions of daily routine. Sharon is anxiously waiting​ ​for​ ​the person who has answered her ad for a roommate. 
Wide-eyed Sharon (Susi Damilano) makes a phone call to her son.
The renter ​turns​ ​out​ ​to​ ​be​ ​a​ ​woman​ ​of a similar age named​ ​Robyn (Julia Brothers)--​slender,​ ​self-assured, worldly,​ ​and​ ​capable​ ​​quite unlike the ​usual​ ​timid​ ​flock​ ​of​ ​book club friends​ that ​Sharon alludes​ ​to.​ ​Robyn is an intriguing mystery: why did move from the Bronx to Iowa? Is she running from or to something? Julia Brothers ​brings​ ​a​ ​self-contained​ ​strength​ ​and​ ​beauty​ ​to​ ​the​ ​vagabond​ ​soul who is seeking a sense of place while barely containing a constant restlessness. 
Robyn (Julia Brothers) and Sharon (Susi Damilano) discuss their plans for their futures.
You​ ​wouldn't​ ​call​ ​Robyn​ ​"nice"​ ​-​ ​but​ ​she​ ​sure​ ​knows​ and has done ​a​ ​lot of things​ ​that​ surprise, shock and thrill Sharon. The best thing about this production is Damilano's and Brothers' electric approach-avoidance dance between the doubt and trust, distance and intimacy, of Sharon and Robyn, unsettling the audience with suspense. This is real acting craft in action.

Emboldened by​ ​the​ ​possibilities​ ​of​ ​danger​ ​​that​ ​Robyn​ describes, Sharon changes before our eyes, perhaps too quickly to be believable.​ Still, it's fun to see her gain confidence, moving from a cautious "Do​ ​you​ ​think​ ​I​ ​could?"​ ​to a delighted ​"I’d​ ​be​ ​good​ ​at​ ​that."  
Sharon on the brink of change
Although​ ​Sharon​ ​seems​ ​to​ ​want​ ​a​ ​stronger​ ​connection​ ​with​ ​Robyn,​ ​perhaps​ ​friendship​ ​and​ ​even love, she learns one's personal journey is about movement, not stasis.

Silverman's script is adequate but contains some expositional cliched devices such as a long voice message left "on the machine" by Sharon's son, who is never seen, plus some setups with no payoff such as Amanda, Robyn's estranged daughter. The set was functional although the side porch full of boxes was a distracting imbalance. The innovative lighting of the white cloud-bright blue Iowa sky that later reveals a night of stars is innovative and very effective. Costumes were a lot of fun, especially as Sharon explores the different looks she discovers while snooping in Robyn's things.

But again, it is the wonderful interplay of Damilano and Brothers that brings the parallel journeys of the two vastly different characters to life.

The talented creative staff and cast.



The Roommate
by Jen Silverman
SF Playhouse








Cast
Julia Brothers
ROBYN

Susi Damilano
SHARON

Creative Staff
Jen Silverman
PLAYWRIGHT

Becca Wolff
DIRECTOR

Robert Hand
LIGHTING DESIGNER

Theodore J.H. Hulsker
SOUND AND PROJECTIONS DESIGNER

Melissa Trn
COSTUME DESIGNER

Jacquelyn Scott
PROPERTIES DESIGNER

Lauren English
CASTING DIRECTOR

Sarah Selig
STAGE MANAGER

Photos by Jessica Palopoli








SF Playhouse
450 Post Street
San Francisco, CA 94102
415.677.9596 fax 415.677.9597
www.sfplayhouse.org

Tuesday, May 2, 2017

Synergistic Immersion of The Encounter

The Encounter
by Simon McBurney
April 26-May 7, 2017
Curran Theatre

The Encounter, now playing at the Curran Theatre until May 7, 2017, brings an extraordinary synergy of story, sound, memory and message through the performance of one man, Simon McBurney, who also directed. We join him on an immersive journey to follow the physical and metaphysical steps of National Geographic photographer Loren McIntyre who, in 1969, lost his way in the depths of the Amazon rain forest only to emerge with a heightened awareness of one’s humanity and place in the world.

Simon McBurney (photo by Robbie Jack)
Solo performer and director Simon McBurney invites us on a journey that defies the expectation of linear narrative and easy resolution. Each audience member is given a set of high end headphones, and McBurney playfully introduces us to how binaural sound technology (the remarkable sound design of Gareth Fry and Peter Malkin) can make it seem that he is right there. He's in our heads as he chats about everyday experiences and the novelty of the sound system, intertwined with musings on the nature of narrative, memory and time. He's showing us how the mind works, dipping in and out of the well of memory, focusing on impressions of the present, retelling other people’s thoughts. We learn about his life, how his little daughter seemingly interrupts the story until we learn that story is all about interruption, is non linear and boundless, and before long we are collaborating with him to build the set of the theater of the mind and to partake in a visceral experience that gives so much power to, and beyond, the story.

Simon McBurney (photo by Tristram Kenton)
But this is not technology for technology’sake. (I am reminded of George Coates Performances in the early 1990s where technology often eclipsed story.) The Encounter reveals how inextricably intertwined we are from narrative, time, memory and consciousness, made possible by the precise synchronization of sound design, lighting, set design and of course acting.
Simon McBurney (photo by Gianmarco Bresadola)
McBurney brings us along to experience the enlightenment of McIntyre when, after enduring extreme challenges to survival, learns that the native Mayoruna tribe he encountered did not comprehend a separateness between themselves and the world. Stripped of his “stuff"--his camera, shoes, things that anchor him to the world he knows--Lauren shifts into an awareness of another way of knowing, and being. The Mayaruna have seen death at the hands of white man’s greed taking the "blood" of the earth--oil--without respect or regard. We in the audience react not intellectually, but viscerally, to the horrible violation of life and spirit that is not happening just in a remote place in the world, but everywhere.
The Encounter is a call of alarm to the overt destruction our world, and especially the people of the Amazon who have suffered, and are suffering, greatly. What we don't get as Americans is that the Amazon people are us, and we them, and we are the earth. Once we have that realization, the rage bubbles into the need for action, an action one can take by supporting Amazon Watch, a cause promoted by McBurney and the Curran.











The Encounter
by Simon McBurney
Curran Theatre
April 26-May 7. 2017

Creative Staff
Inspired by the book Amazon Beaming by Petru Popescu

SIMON McBURNEY Writer, Performer, Director
KIRSTY HOUSLEY Co-Director
MICHAEL LEVINE Design
GARETH FRY Sound
PETE MALKIN Sound
PAUL ANDERSON Lighting
WILL DUKE Projection
JEMIMA JAMES Associate Director



Tuesday, April 4, 2017

Jitney's Relevant Ride

Jitney


Jitney

Written by August Wilson
April 1–16, 2017
African-American Shakespeare Company
Marines’ Memorial Theatre
609 Sutter Street, 2nd Floor
San Francisco, CA, 94102

Reviewed by Christine Okon



As the audience gets settled, Marvin Gaye’s “What’s Going On” fills the Marine Memorial theater and then picks up on a small tinny radio in the shabby office of Becker’s Car Service, the single setting for August Wilson’s play Jitney. This play, part of Wilson’s Century Cycle of theater works charting the black experience over the decades, takes place in 1977 in a Pittsburgh neighborhood beyond the usual (i.e. white) taxi service range, thus filling a much needed niche.


ShawnJ West (Turnbo), Jonathan Smothers (Doub) and L. Peter Callender (Becker) Photo credit: Lance Huntley

The small office (true to Wilson’s precise stage description, thanks to Kevin August Landesman) holds many layers of stories: of the men who come and go to take turns picking up the ringing payphone to take a ride request, but also of the faceless vortex of “urban renewal” that is shuttering the neighborhood businesses, one by one. Yet Becker’s Car Service still stands.

ShawnJ West (Turnbo) and Edward Neville Ewell (Youngblood) Photo credit: Lance Huntley

Wilson’s characters are rich, complex, delightful and engaging in and of themselves, but the magic is in their interaction. We first meet Youngblood, perfectly named for his youth and passion and impatience, and Turnbo, the middle-aged male biddy who insists he “ain’t getting in your business” although that is what he is exactly doing. They are playing checkers, one of those games passed down over generations as a sort of rite of passage. It’s the closest thing an ordinary man comes to being a king. ShawnJ West’s Turnbo taps an inner gossipy and signifying trickster who knows it all and does get in your face. And Edward Neville Ewell fills out Youngblood with the swagger and energetic optimism of a kid trying to navigate the transition between adolescent impulsiveness and adult responsibilities, made even more urgent by the fact that he is a father of two-year-old boy.

Fred Pitts (Shealy) Photo credit: Lance Huntley
Soon we meet the other drivers, each with their distinct personalities. Shealy, the likable and super-fly neighborhood bookie (Fred Pitt, sporting a yellow oversize cap and flashy clothes, thanks to costume designer Nikki-Anderson Joy's grasp of 70’s polyester and plaid fashion fun). There's also really great soul/funk/R&B music throughout the play.

We meet Fielding, a tall, nattily dressed gentleman (played with a sweet vulnerability by Trevor Nigel Lawrence) barely hiding the effects of “just another nip” which fools only himself as he says “You gotta have someone to depend on.” The steady and thoughtful Korean War veteran Doub (played solidly by Jonathan Smothers, but cast a bit too young for the part) speaks little, but when he does, reveals how hard it is to become inured to the horrors of war. Philmore (Gift Harris) contributes his diligent perspective of being someone who’s never missed a day of work, and Rena (Jemier Jenkins) is the solid and loving rock that helps guide her lover Youngblood to become the man she needs for herself and their baby son, if they are to have a future.

But the strong center, the voice of reason, and the icon of respect is Becker, played by L Peter Callendar, who also directed the play. Callendar’s Becker commands the office chaos like Prospero; it is a treat to experience his range of intensity in such scenes as when he schools Youngblood after a fight with Turnbo (“He just young and foolish. I’ll straighten him up. He just young. He don’t know no better.”)

ShawnJ West (Turnbo), L. Peter Callender (Becker), and Edward Neville Ewell (Youngblood) Photo credit: Lance Huntley

Everything is going relatively smoothly until we learn that Becker’s son “Booster” (a capable but somewhat subdued Eric Reid) is being released from a 20-year stint in prison. Booster is a huge disappointment for Becker in that he ends the continuity of the dignified and rule-based life that Becker believes could lead to advancement. Like Lear, Becker armors his grief with stubbornness. Becker and Booster are exploding with a love that can only be expressed as rage and hurt. Scenes between Becker and Booster are heartbreaking to the point of tears, as the audience yearns for them to connect.

Eric Reid (Booster), L. Peter Callender (Becker), Photo credit: Lance Huntley

In the larger scheme of things, the real challenge is choosing to act, or not. With the community being steamrolled by “them” -–the unseen “powers that be” that create, as they have always created, powerlessness—Becker decides to keep the car service going and rallies the team, a band of brothers, to pitch in. They will join other shop owners facing the same fate of closure. Even with Becker gone, the team continues his spirit despite having no guaranteed outcome.

The story of Jitney is relevant now as so many small arts groups are struggling with funding cuts and threats to culture by the “forces that be.” The African American Shakespeare Company, having been based for years on Fulton St., needs a new home and much support. The company is also no longer able to provide free performances to hundreds of Bay Area high school students who must first experience the arts before they can protect them.

What choice do we have but to work with each other to change the tide that will lift all boats?

Jitney

Jitney
Written by August Wilson
African American Shakespeare Company
April 1 to April 16, 2017

Director: L. Peter Callender
Production Manager: Leontyne Mbele-Mbong
Stage Manager: Brian Snow
Set Designer: Kevin August Landesman
Technical Director: Roger Chapman
Lighting Designer: Kevin Myrick
Sound Designer: True Siller
Costume Designer: Nikki Anderson-Joy
Props Designer: Devon LaBelle
Assistant Director, Jemier Jenkins

Cast:
Becker: L. Peter Callender
Turnbo: ShawnJ West
Youngblood: Edward Neville Ewell
Fielding: Trevor Nigel Lawrence
Doub: Jonathan Smothers
Shealy: Fred Pitts
Booster: Eric Reid
Rena: Jemier Jenkins
Philmore: Gift Harris

African-American Shakespeare
African-American Shakespeare
762 Fulton Street, Suite 306
San Francisco, CA 94102
(415) 762-2071
http://www.african-americanshakes.org/