Thursday, December 5, 2019

St. Joan through a Modern Lens

Mother of the Maid

Rosie Hallett, Sherman Fracher, and Scott Coopwood  Photo: Kevin Berne

By Jane Anderson
Directed by Jasson Minadakis
Marin Theatre Company, Mill Valley


Until December 15, 2019

Reviewed by Christine Okon

If Joan of Arc were alive today, she might be a media “influencer” with a huge following. Although set in 14th Century France, Jane Anderson’s “Mother of the Maid” has a modern feel that allows us to relate to the whole Joan: Joan the stubborn and outspoken teen, passionate leader, inspired saint, and ordinary girl who calls for her mother in times of suffering.

Mother of the Maid” widens the scope to include how Joan’s rise and demise affects her family, especially her mother Isabelle Arc (Sherman Fracher), a simple peasant woman occupied with the day-to-day tasks of  maintaining a home while trying to handle a daughter she doesn’t quite understand. Fracher takes her character from everyday exasperation to awed reverence and finally to heartbreaking grief when she tries to save her daughter. Isabelle walks 300 miles to visit her famous daughter in the palace, and Fracher deftly moves between the pride and awkwardness of a peasant who has never imagined such kind treatment of the exquisite court lady, played with regal stature and warm curiosity by an elegant Liz Sklar.

Sherman Fracher  Photo: Kevin Berne

Rosie Hallett gives us a strong, passionate, and stubborn Joan who is driven by her connection to St. Catherine, St. Margaret, and the warrior Archangel Michael to carry out a holy mission to restore the Dauphin to his rightful place as king of France. Hallett shines as the young peasant girl who doesn’t hold back with expletives and becomes the magnificent spiritual warrior who transcends her mortal surroundings. The powers that be seize upon the opportunity to use Joan as a symbol of what is good and noble about France. In a sense, she is put forth to improve the “brand” of the Dauphin and to rally the populace in support.  Why, even her style of mannish dress becomes fashionable for other young girls of the kingdom. Joan is given the royal treatment, literally, securing a spot in the luxurious castle while public acclaim swells. She is joined by her brother Pierre, played with a cocksure demeanor by Brennan Pikmin-Thoon, who enjoys the palace benefits as his sister ascends in grace and notoriety, until the rules of the game are changed to demonize her for the very thing she was revered for. She becomes a pawn in  the nefarious machinations of the political religious dynamic of the times, only to be discarded and destroyed.

Rosie Hallett  Photo: Kevin Berne

The chasm of class difference is clear, and Fracher exudes the spirit of a proud but simple woman trying to navigate deep, dark, political, and religious-- waters. Despite the whirlwind of her daughter's life and being awed by Joan’s ascendant transformation, Isabelle’s love for Joan is the true constant. As Joan’s father Jacques Arc, Scott Coopwood gives a fine performance of a man who at first seems preoccupied with everyday concerns until he becomes he steadfastly witnesses his daughter’s cruel execution. Johnson’s device of characters narrating their own stories before moving into action is very effective, creating a story within a story.

Every character experiences profound and complex transformations that are expertly directed by Jasson Minadakis.

Rosie Hallett and Sherman Fracher  Photo: Kevin Berne

Special attention must be paid to Sean Fanning’s versatile and resplendent set design that suggests a peasant’s home as well as a castle. Sarah Smith’s expert costume design is wonderfully detailed and crafted, from the whipstitching on the hems of ragged peasant garb to the sparkling embroidery of the court. You could almost smell the dung balls on the sheep and the perfume of the palace.

"Mother of the Maid" is a powerful production with a superb cast that expands the familiar story of the Maid of Orleans to reveal how families share in the volatile and unpredictable forces of fame.


"Mother of the Maid" by Jane Anderson, directed by Jasson Minadakis, Marin Theatre Company, Mill Valley, through December 15, 2019. Info: marintheatre.org


CAST
*Sherman Fracher: ISABELLE ARC
*Rosie Hallett: JOAN ARC
*Scott Coopwood: JACQUES ARC
*Brennan Pickman-Thoon: PIERRE ARC
*Robert Sicular: FATHER GILBERT
*Liz Sklar: LADY OF THE COURT

* Denotes member of Actors’ Equity Association


Tuesday, November 5, 2019

Sweet Treat in "The Cake"

The Cake

J. J. Van Name Photo:Lois Tema

By Bekah Brunstetter

Directed by Tracy Ward
New Conservatory Theatre Center, San Francisco

Until December 1, 2019

Reviewed by Christine Okon

To make a perfect cake, “what you have to do is really, truly, follow the directions,” says Della, the proprietor of Della’s Sweets bakery in North Carolina in Bekah Brunstetter’s light but satisfying comedy “The Cake.”

Della is good enough to be a contestant on “The Great American Baking Show” where an unseen announcer booms out instructions in a Godlike British voice to which Della responds in flustered attempts to obey. The “revelations” of the voice, made more dramatic by light from above, get funnier and more absurd throughout the play. Bay area newcomer J. J. Van Name makes Della warm and likable, a good woman who follows the Good Book as closely as a recipe.

Jensen Power and J. J. Van Name Photo:Lois Tema

When Jennie (Jensen Power), the lighthearted daughter of Della’s best friend who died five years earlier, comes back to town to announce that she’s getting married and asks Della to make the cake, Della is overjoyed until she learns that the “lucky man” is actually a woman, Macy, a no-nonsense, truth-speaking, Brooklyn-bred black journalist. As much as she loves Jen, Della cannot bring herself to agree to fulfill Jen’s wish. “It just doesn’t sit right,” she finally admits sadly.

Conflicting beliefs, old traditions, fear, and love make for a lumpy batter. A Southern girl at heart, Jen longs for a lovely hometown wedding complete with a white dress, fairy lights, and cake, yet she realizes how much wider her world has become with Macy and their life in Brooklyn. Jensen Power portrays a soul divided in a tug of war of love. An exact opposite of Jen in temperament, Asia Jackson plays a cooly present Macy who cannot abide what the Southern lifestyle offers, from gluten and sugar loaded treats to conservative politics. When Della tries to politely converse with Macy, it’s like watching a dialog between two visitors from different planets.

Observing the genuine love between Jen and Macy, Della begins to realize the limitations of her own life, especially her marriage to her good ole’ boy husband Tim (a charming if not clueless Dixon Phillips). In a scene where Della, aching for physical touch, tries to tempt Tim with buttercream frosting, his confused response reveals the deep and sad dissatisfaction both of these characters have learned to hide over the years. In a powerful monolog, Della laments that her sexual urges bring the shame Eve must have felt when she ate the forbidden fruit, a shame that is passed down like a legacy from generation to generation. In a comedic counterbalance of one of the funniest scenes, Tim later tries to copy Della’s ploy in his own homey way.

Jensen Power, Asia Jackson, and J. J. Van Name Photo:Lois Tema

The optimism of “The Cake” shows that however unlikely, it is possible for change to occur albeit slowly. Given our current volatile political climate, the clash of worldviews could be incendiary if it weren’t for Brunstetter’s gentle touch and compassion for her characters.

A special nod to Carlos Aceves for his ingeniously simple and versatile set that makes Della’s bakery a contained world of delectable sweetness with turntables rotating to reveal alternate scenes.

Like a lovingly prepared buttercream confection, “The Cake” sparkles with a well-crafted script that allows the actors, directed by Tracy Ward, to enhance each other in scenes with surprising humor and revelations that give the audience a tasty treat.


"The Cake" by Bekah Brunstetter, directed by Tracy Ward, New Conservatory Theatre Center, San Francisco, through December 1, 2019. Info: NCTSF.org


CAST
Della  J. J. Van Name
Macy Asia Jackson 
Tim Dixon Phillips
Jen Jensen Power

CREATIVE
Written by Bekah Brunstetter
Directed by Tracy Ward 
Scenic design by Carlos Aceves 
Intimacy direction by Arturo Catricala
Costume design by Joanne Martin
Props design by Tom O’Brien
Lighting design by Molly Stewart-Cohn
Sound design by Kalon Thibodeaux

Sunday, October 27, 2019

A Wild and an Untamed Thing

The Rocky Horror Show


D'Arcy Drollinger and Joey Feldman Photo: Nick Otto

Book and Music by Richard O’Brien
Directed by Alex Rodriguez
Ray of Light Theatre
Victoria Theater, San Francisco

Until November 2, 2019

Reviewed by Christine Okon

What “A Christmas Carol” is to Christmas, "The Rocky Horror Show" is to Halloween. It’s time to do the “Time Warp” again.

For the fifth and final year, Ray of Light Theatre turns the venerable old Victoria Theatre into the freaky funhouse of Dr. Frank-N-Furter, who’s “just a sweet transvestite from Transexual, Transylvania.” First produced in 1973, "The Rocky Horror Show" was far ahead of its time in celebrating sexual freedom and gender fluidity in the framework of a silly plot full of old scifi and horror movie tropes, like aliens, a mad scientist, and a creepy house on a dark and stormy night. Most people learned the back-and-forth “liturgy” from the ubiquitous midnight showings of the “The Rocky Horror Picture Show” which were full of fun cosplay and talking back to the screen.

Caleb Haven Draper and Courtney Merrell Photo: Nick Otto

Ray of Light Theatre always seems to get the best local talent in everything from acting to costume design, and this production of "The Rocky Horror Show" is no different. As the newly engaged and vacuously “normal” Brad and Janet, Caleb Haven Draper and Courtney Merrell work well off each other’s straight and naive demeanor in “There’s a Light,” and it is fun to watch each of these characters fall into the wild swirl of the night where much is learned. Unfortunately, the inadequate miking made it hard to discern a lot of the lyrics, but hopefully that problem has been fixed.

As Frank-N-Furter’s assistants Riff Raff and Magenta, Randy O’Hara and Jocelyn Pickett are delightfully sleazy and funny in their quirky physicality, as when Magenta’s butt cheek serves as the doorbell. As the outrageous plot devolves even more, John Flaw shines big as both the rock and roll rebel-without-a-brain Eddie and the wheelchair-bound Dr. Scott who later reveals a frilly secret underneath his lap blanket. J. Conrad Frank brings a controlled but hilarious Dame Edna aura to the Narrator who can return audience volleys as fast as they are dealt in a time-honored interactive tradition of the play.

But the absolute star is D’Arcy Drollinger as Dr. Frank-N-Furter, towering above all in a burst of glitter, swagger, seductiveness and humor as he welcomes Brad and Janet into his home and later reveals what he’s been working on in his lab. Not only is Drollinger a sublime drag diva with a deep voice and exquisite moves, he’s a master of comedic timing and acting.

D'Arcy Drollinger and Ensemble Photo: Nick Otto

Speaking of glitter, the costumes designed by Maggie Whitaker are a fantasia of gold lame, leather, sparkles, and chiffon. In shiny, clingy boy shorts, Joseph Feldman as Rocky scampers like a simian trickster let loose in sexual frolic, adding to the delightful chaos.

Scenic design by Peet Cooke makes good use of the small space, such as incorporating a turntable stage to maximize action or using the actors themselves as props. John Bernard’s lighting design intensifies the moods that range from confusion to ecstasy. The live music coordinated by musical director Steven Bolinger is never less than expert. Alex Rodriguez pulls it all together with keen directing and choreography.

Admittedly, people who have never seen or heard "The Rocky Horror Show" may have trouble following the details or lyrics of the plot. For those who know all the words to the outrageous liturgy of Rocky Horror Show, it's not too late to become a "creature of the night."


"The Rocky Horror Show" by Richard O’Brien, directed by Alex Rodriguez, Ray of Light Theatre, Victoria Theater, San Francisco through November 2, 2019.  Info: RayofLightTheatre.com




Charles Atlas Ad
CAST
Kevin Achas (Phantom)Sara Altier (Phantom)
Melinda Campero (Columbia)
Caleb Haven Draper (Brad Majors)
D’Arcy Drollinger (Frank-N-Furter)
Emily Dwyer (Usherette)
Joseph Feldmann (Rocky)
John Flaw (Dr. Scott/Eddie)
J. Conrad Frank (Narrator)
Carlos Guerrero (Phantom)
Melissa Martinez (Phantom)
James Mayagoitia (Phantom)
Courtney Merrell (Janet Weiss)
Spenser Morris (Phantom)
Randy O’Hara (Riff Raff)
Jocelyn Pickett (Magenta)
Caroline Shen (Phantom)

"God Bless Lili St.Cyr"


PRODUCTION TEAM

John Bernard (Lighting Designer)
Steven Bolinger (Music Director)
Connie Caranza (Assistant Stage Manager)
Peet Cocke (Set Designer)
Jerry Girard (Sound Designer)
Madeline Lambie (Assistant Director/Assistant Choreographer)
Anton Hedman (Sound Engineer)
Maggie Whitaker (Costume Designer)







Friday, October 18, 2019

The Loneliness of a Long Day's Journey

Long Day's Journey into Night 


Cathleen Riddley, Victor Talmadge, Kevin Rebultan

By Eugene O'Neill
Directed by Michael Socrates Moran
Ubuntu Theater Project
FLAX Building, Oakland

Until Sunday, November 3, 2019

Reviewed by Christine Okon

Long Day's Journey into Night” is a pressure cooker of a play that locks us in with the Tyrone family who dwell in a dreary house by the sea but move past each other like lonely and lost ships in the fog. Eugene O’Neill draws from his own Irish-American roots to portray people gripped by past, present, and future ghosts.

As James Tyrone, the miserly head of the family, Victor Talmadge is a self-righteous, obstinate man who prides himself on providing for his family while withholding needed money for decent medical care for his wife Mary Tyrone, given a delicate vulnerability by Cathleen Riddley who moves like a compass needle looking for true North. Mary revels dreamily in past, happier memories but cowers from reality like a cornered animal desperate to escape. And escape she does, into the temporary peace of morphine prescribed by the low-rate physician hired by James. It would be very easy to lapse into the cliched exaggeration of a crazy “dope fiend,” but Riddley carries her character with dignity and guardedness. It is heartbreaking when Mary’s actions are seen as weakness of character and not cries of pain, but that was not the attitude of early 1900's.

Cellist Andrew Kort and Cathleen Riddley

Jose Rodriguez conveys the deep anger and stubbornness of Jamie, the son who drinks to dull the awareness that he will never be accepted by his father. Kevin Rebultan infuses the character of the consumptive brother Edmund with rage, confusion, and the passion for the most beautiful lines in the play, as when he recounts his time at sea when it was “as if I was a ghost belonging to the fog, and the fog was the ghost of the sea….” As with his mother Mary, Edmund is a victim of his father’s closefistedness.

Victor Talmadge, Kevin Rebultan, Jose Rodriguez

This play references addiction, but what wrenches my heart is how each character suffers in utter loneliness. Director Michael Socrates Moran elicits a deep and disturbing energy from his actors, beginning with an opening tableau, silent save for the plaintive cello playing of Alexander Kort, where each character flinches, writhes, and convulses before moving on. The actors tune in to an inner vibrancy that transcends physical types.

As the characters interact with the hallmark rituals of addiction--blame, anger, denial, secrecy, fantasy, self-centeredness--they helplessly watch each other drown, alone.

Trailer: https://youtu.be/deXyaQJ8u4Y

"Long Day's Journey Into Night" by Eugene O'Neill, directed by Michael Socrates Moran, Ubuntu Theater Project, FLAX Building, Oakland, Th-Sunday through October 20, 2019. Info: ubuntutheaterproject.com

Photos by Carson French

CAST
Victor Talmadge* (James Tyrone)
Cathleen Riddley* (Mary Tyrone)
Jose Rodriguez (Jamie Tyrone)
Kevin Rebultan (Edmund Tyrone)
Alexander Kort (Cellist/Ensemble)
*Actors Equity

CREATIVE TEAM
Director  Michael Socrates Moran
Stage Manager Vanessa Hill
Production Manager Dominick Palamenti
Set Designer Karla Hargrave
Sound Designer Uriah Findlay
Costume Designer Ralph Hoy
Lighting Designer  Stephanie Anne Johnson
Composer Andrew Vargas

Sunday, October 13, 2019

The Enduring Fight for Identity

Sovereignty


Sarah Ridge Polson (Elizabeth Frances)

by Mary Kathryn Nagle
Directed by Jasson Minadakis
Marin Theatre Company

Until Sunday, October 20, 2019

By Christine Okon

Sovereignty,” termed a “documentary play,” is about how great wrongs done to a people--in this case, the Cherokee Nation--cause suffering that continues to be endured by many subsequent generations. Without doubt, it presents an important lesson about Native American history that is diminished in traditional American history books, and those who see it will be enlightened indeed. As a dramatic play, though, “Sovereignty” lags between drama and lesson, caught in the back-and-forth “A-B roll” staging that makes it hard to sustain empathetic continuity with the characters. Still, the very nature of the topic is compelling.

Major Ridge (Andrew Roa) meets with President Andrew Jackson (Craig Marker)

Present-day lawyer Sarah Ridge Polson (a dynamic and passionate Elizabeth Frances) tasks herself with understanding the role her forefathers played in the numerous treaties between Native tribes and the United States in the 1830s. The Cherokee Nation, in several attempts to negotiate with a new American nation headed by Andrew Jackson, hell-bent on westward expansion, ultimately lost their sovereignty, land, and rights that led to the “Trail of Tears.” The long-term result is the fragmentation of Native American tribal cultures, life, and identity that has persisted in devastating repercussions over generations.

The signing of the Treaty of New Echota (L-R: Elizabeth Frances, Adam Magill, Kholan Studi, Scott Coopwood, Andrew Roa, Robert I. Mesa).

Sarah renews the fight to preserve jurisdiction over people committing crimes on Cherokee land, specifically rape, echoing the struggles of her great-great-great-great grandfather Major Ridge (Andrew Roa) who was murdered for signing the 1835 Treaty of Echota in a failed attempt to bargain with the US government to preserve Cherokee sovereignty. When Sarah is violated by her jealous fiance Ben (Craig Marker, who also plays Andrew Jackson), the reality of inadequate legal protection hits home. A fine, diverse cast of actors, aptly directed by Jasson Minadakis, assumes double roles representing characters from the parallel lines of present and past, and it would have been interesting to have Sarah directly engage with individual ancestors as members of the Cherokee diaspora. A moving scene where Sarah’s grandfather (Andrew Roa) speaks to her infant is an example of powerful cross-generational interaction.

As always, MTC provides extensive, well-researched background information in the lobby and in numerous live-panel discussions about the wider scope and impact of the play. If you would like to learn about the current and past dilemmas of Native American tribes, “Sovereignty” will be well worth your time.

"Sovereignty" by Mary Kathryn Nagle, directed by Jasson Minadakis, Marin Theatre Company, Mill Valley, through October 20, 2019. Info: marintheatre.org

Photos by Kevin Berne

CAST
Scott Coopwood* White Chorus Man
Ella Dershowitz*  Sarah Bird Northrup / Flora Ridge
Elizabeth Frances* Sarah Polson
Adam Magill* Samuel Worcester / Mitch
Craig Marker* Andrew Jackson / Ben
Robert I Mesa* John Ridge
Andrew Roa* Major Ridge / Roger Ridge Polson           
Kholan Studi* Elias Boudinot / Watie
Jake Waid* John Ross / Jim Ross
* Member of Actor's Equity Association

CREATIVE TEAM
Mary Kathryn Nagle Playwright
Jasson Minadakis Director
Brenda Pipestem  Cultural Consultant
Annie Smart+ Scenic Designer
E.B. Brooks+ Costume Designer
Danny Osburn  Lighting Designer
Sara Huddleston Sound Designer
Mike Post  Projection Designer
​Laura A. Brueckner Literary Manager & Resident Dramaturg

Wednesday, October 9, 2019

A Poe-pourri of Puppets and Puns

Puppets & Poe: Devised Defiance


Steven Flores and Ella Cooley

Directed by Shannon R. Davis
Theatre of Yugen, NOH Space, San Francisco

October 3 - November 2, 2019
Thursday, Friday, Saturday at 8 PM

By Christine Okon

Who knew that Edgar Allan Poe could be the life of the party?

In "Puppets and Poe: Devised Defiance," the collaborative, creative spirits that comprise Theatre of Yugen riff on the greatest hits of the master of macabre in ways that are exotic, erotic, creepy, unnerving, and really fun.

Steven Flores and Ella Cooley

You’ll have a good time if you abandon expectations of traditional structure and plot and pretend that you’ve been brought to a strange and delightful party that’s brimming with unusual and engaging characters who are inviting you to play with them. The performers (Ariella Cooley, Alan Coyne, Shannon R. Davis, Steven Flores, Nick Ishimaru, and Jamin Jollo) use voice, improv, Noh and Kyogen movement, dance, and puppetry in short skits that all have some relevance to Poe.

Steven Flores

Trying to identify the unexpected allusions to “The Bells,” “Premature Burial,”  “The Fall of the House of Usher” and “Annabelle Lee” is part of the fun. “The Raven” with the refrain of “Nevermore” is prominent with the added presence of a huge, hilarious raven skeleton puppet working the audience like a snarky and raunchy Sesame Street character.

Ella Cooley and Steven Flores

Overflowing with ideas, "Puppets and Poe" could use some editing, especially the “Murders in the Rue Morgue” segment. Still, it’s a fun and unexpected way to step into the spooky season.

"Puppets and Poe: Devised Defiance” directed by Shannon R. Davis, Theatre of Yugen, NOH Space, San Francisco, through Saturday, November 2, 2019. Info: theatreofyugen.org

All photos by Theatre of Yugen

Watch the trailer: https://youtu.be/Oh57Du3CbbU


Wednesday, October 2, 2019

Success at All Costs

Top Girls

Rosie Hallett, Summer Brown, Michelle Beck, Monica Lin, Julia McNeal

By Caryl Churchill
Directed by Tamilla Woodard
A.C.T. Geary Theater, San Francisco

Until October 13, 2019

“Top Girls” by Caryl Churchill is a paradoxically anachronistic and timeless examination of the quandaries faced by women who try to make their mark on the world. Set in 1982 in Thatcher’s England, the fast-paced crosstalk among the characters creates an annoying noise that’s hard to follow until one realizes that the characters are trying to find their own “signal” in the noise.

Marlene (Michelle Beck), voluptuous and powerful in a striking red dress, is celebrating her promotion at the Top Girls Employment Agency with a dinner party at a posh restaurant with her besties who happen to be unique women from different historical and fictional times. It is interesting to compare this scenario with Judy Chicago’s art installation “The Dinner Party”
which was making the rounds around the same time as the play.

With their stories of struggle and resilience in a man’s world, Marlene’s female mentors are enhanced by the wonderfully inventive costume designs of Sarita Fellows. Pope Joan (Rosie Hallett) regales the group with stories of how she fooled everyone into thinking she was a man. Dull Gret (Summer Brown) carries the fierceness captured by Pieter Bruegel the Elder in his apocalyptic painting of 1563. Isabella Bird (Julia McNeal), indeed a tough British bird, matter-of-factly describes how intense physical pain did not keep her from intrepid world travels. Soft-spoken Lady Nijo (Monica Lin) describes her path from royalty to exile to enlightened compassion.  Had there been room at the table, Lady Macbeth with her plea to “unsex me here” would have fit right in. 

Summer Brown and Rosie Hallett

Marlene relishes her role as a woman in power, but the very name of “Top Girls” diminishes the impact. Because “girls” could go just so far in a man’s world, their only recourse is to find ways to win. I am reminded of that 80’s guide Games Mother Never Taught You: Corporate Gamesmanship for Women .

In the office, Marlene reigns supreme in impeccable, shoulder-padded dress-for-success garb, and the other women fear and respect her. Her disdain of weakness becomes an unspoken measure of candidate selection as she ferrets out those who will “never make it.”

Michelle Beck and Gabriella Momah

Marlene’s tightly ordered universe is challenged when Angie (a desperately confused and vulnerable Gabriella Momah), the daughter of Marlene’s sister Joyce (Nafeesa Monroe), visits her favorite aunt Marlene unexpectedly at the office. Marlene at first feigns delight but realizes she can’t let Angie live with her as the teenager wants. As the reality of the relationship of Marlene, Joyce, and Angie is disclosed, we realize the sad effects of Marlene’s decision to choose power over maternal love. She is a victim of her own cross-talk between being a player in a man’s world vs. that of a mother to a child who just might not “make it.”

Michelle Beck and Nafeesa Monroe
I can’t say that I liked this play, but I thought about it a lot days after. Following it takes patience, and a few audience members left at intermission. Not a comfortably linear play with a discernible plot, “Top Girls” is as if Churchill were exploring an iceberg where the visible part is a mere fragment of the huge mystery underneath.

"Top Girls" by Caryl Churchill, directed by Tamilla Woodard, A.C.T. Geary Theater,
San Francisco, through Sunday, October 13, 2019. Info: act-sf.org


All photos by Kevin Berne

CAST
Monique Hafen Adams*
Patient Griselda, Mrs. Kidd
Michelle Beck*
Marlene
Summer Brown**
Dull Gret, Nell
Rosie Hallett*
Pope Joan, Win
Lily Harris**
Kit, Shona
Monica Lin**
Lady Nijo, Jeanine
Julia McNeal*
Isabella Bird, Louise
Gabriella Momah*
Angie
Nafeesa Monroe*
Joyce, Waitress

CREATIVE TEAM
Written by Caryl Churchill
Directed by Tamilla Woodard
Scenic Designer Nina Ball
Costume Designer Sarita Fellows
Lighting Designer Barbara Samuels
Sound Designer Jake Rodriguez
Voice and Dialect Coach Christine Adaire
Dramaturg Allie Moss
Casting Director Janet Foster, CSA
Assistant Director Karina Fox

*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

** Member of the A.C.T. M.F.A. Program class of 2020.







Saturday, September 7, 2019

A Special Bond Between Two Women of Words

HICK: A Love Story
The Romance of Lorena Hickok and Eleanor Roosevelt



Written and performed by Terry Baum
Directed by Carolyn Myers

San Francisco Fringe Festival
Exit Theater, 156 Eddy St., San Francisco

Sept 5, 7, 8, and 12, 2019

“The love that dare not speak its name” finds voice in the letters between journalist Lorena “Hick” Hickok and Eleanor Roosevelt.

Playwright Terry Baum (who first performed this piece in 2014) IS Hick in this show. You’re right there with her in the New York newsroom of the Associated Press in 1932 when star “gal reporter” Lorena Hickok lands the choice assignment of covering the campaign tour of Franklin Delano Roosevelt in his bid for the Presidency.

Terry Baum as Hick Photo: Bill Selby

In a gesture to give advantage to her fellow female reporters, Hick suggests to her editor that it would be a good idea to assign a female reporter to cover Mrs. Roosevelt. Instead, Hick herself is awarded that assignment, thus beginning a relationship with Eleanor that soon grows into passionate love.

Aware of FDR’s indiscretions, Eleanor maintained her position as his wife, and the two gave each other a wide berth when it came to personal matters. Eleanor was key in helping her husband land the Presidency while living as independently as anyone could in the public eye.

Baum dons the floppy hat, baggy clothes, and clunky shoes of Hick, a spitfire of a woman who was gifted with cojones and acerbic wit while realizing that she would always be on the periphery of social acceptance. It is Eleanor who triggers the romance with the reporter, a dream that Hick never imagined could come true.

The development of the love relationship is captured in over 2300 letters that reveal a range of emotion, passion, and tenderness between the two women, from coy fondness to outright “naughtiness.”

Loretta Janca as Eleanor Photo: Bill Selby

Baum bubbles like a giddy schoolgirl who learns that her “crush” is reciprocated. Her joyful exuberance fills the room, and the letter exchange between “E.R.” (Loretta Janca) and Hick suggests a wonderfully intimate inner life of a first lady who was often judged solely on a drab appearance that belied her colorful character. Realizing how deeply human, joyful, and sexual E.R. was is a fresh and delightful revelation.

As if waiting by the fireside for the next chat, the Narrator Tara Ayres colors the sweep of time with snippets of “Happy Days Are Here Again” and “Moonglow” and contextualizes events from the Great Depression to FDR’s inauguration to WWII, all the while highlighting the difficulty of sustaining a discreet bond between E. R. and Hick.

Terry Baum and Tara Ayres Photo: Bill Selby

The span ends in 1968, the year of Hick’s death, with Hick trying to decide what to do with the boxes and boxes of correspondence between her and Eleanor, “some of it good and some of it bad.” She ultimately decides to donate all to the FDR archives.

In an innovative and efficient way to establish the different worlds of the two women, the set is literally a pop-up, with enlarged handwritten letters on White House stationery on the left and various newspaper headlines on the right.

The energy of “HICK: A Love Story” is about a timeless and chaotic love that could barely be contained by the conventions of the time, and holds special relevance today. You will be rewarded with a warm and educational encounter with two women of words who briefly shared their life.

“HICK: A Love Story” by Terry Baum, directed by Carolyn Myers, at SF Fringe Festival, Exit Theater, San Francisco, September 5, 7, 8, and 12, 2019. Info: hick.brownpapertickets.com



Thursday, September 5, 2019

What Happens When You Leave the Movie Theater

The Flick


Chris Ginesi and Ari Rampy

Written by Annie Baker
Directed by Jon Tracy

Shotgun Players
The Ashby Stage, Berkeley

Until October 6, 2019

Playwright Annie Baker slows down the frame rate to follow three employees of a rundown movie theater called “The Flick” where movies are big  and everyday life is ordinary.

The audience sits in the dark as “movie music” fills the space. Our view is from behind the screen where blurry chiaroscuro shapes swirl in Rorschach shadows and light. End credits roll, the flickering projection lamp stops, and house lights come up to reveal a small theater that’s seen better days, with sad sconces tacked to dingy green walls surrounding rows of red seats. Popcorn is scattered all over the floor. Lighting, sound, and set design by Kurt Landisman, Kris Barrera, and Randy Wong Westbrooke, respectively, create a convincing small theater experience.

Justin Howard and Chris Ginesi

The mess must be cleaned before the next show, and longtime Flick employee Sam (Chris Ginesi) is teaching 20-something Avery (Justin Howard) the ropes of sweeping up. Sam proceeds to move the mop through the back row, slowly and carefully, pushing the debris to the end of the row before sweeping it into the pan. Avery, a geeky and bespectacled black kid, scrawny and introverted, watches and does the same on his end of the aisle. These two move at a pace so slow we wonder if they will ever finish. They finally exit, and soon there is another end credit roll, rousing music, house lights up, and mops manned by the two. This Sisyphean routine is repeated again, film after film, day after day, month after month. At age 35 and still living with his parents, Sam (given a subtle sadness by Ginesi) lives in the stasis between wishing for something better and passive resignation.

Justin Howard, Chris Ginesi, Ari Rampy

Sam is drawn to Rose (Ari Rampy), the projectionist who works in the booth above and grabs zzz’s between screenings. The job neither contains nor defines her, and Rampy bursts with dance and joy with this character who moves so fast she’s oblivious to how stuck she is. Rose, Sam, and Avery form a prism of desires, dreams, and disappointments.

Justin Howard

Avery lives in a universe where film is all that matters. He reveres the endangered celluloid format because it captures the actual shadows and light of the moment they were filmed and are not manipulated as with digital. Howard presents an Avery who is withdrawn, intelligent, and keeps to himself. Movies are his world and his refuge from real world pain. When Sam coaxes him to play a “six degrees of separation” movie game, Avery grows silent as he scans the movie database in his mind, like a computer, without fun. He comes up with the correct answer every time, showing a heightened sensibility that amazes and intimidates Sam.

Justin Howard and Ari Rampy

Rampy sparks Rose with exuberance and curiosity, and although she’s good at her job she really just wants to have fun. Sam yearns for her and wishes she would teach him the coveted skill of projection, for it may mean advancement for him. But she is instead drawn to Avery who is about as responsive as a movie poster.

Ari Rampy, Chris Ginesi, Justin Howard

Sam, Avery, and Rose move with and against each other with no real movement or direction, yet we sense their yearning for connection. Avery is on a mission to save cinema. Sam is desperate, lonely, and resigned. Rose keeps moving at a pace too fast for self-examination. These three continue until the inevitable change happens: The Flick is sold to a mega theater company, and the employees become walking brand symbols wearing logo-emblazoned, ill-fitting polo shirts. Conformity and efficiency are the new normal, as shown by how quickly the new employee Skylar (Rob Dario) sweeps up the post-screening mess.

"The Flick" is not so much about characters as it is about movement through time and space. Progress happens, change is inevitable, and one’s life can move forward or wind up on the cutting room floor (an anachronistic reference in a world of digital efficiency).

Like a too-long cut of a film that the director could not bear to edit, "The Flick" challenges your patience. I felt ansty, wanting the characters to do something with their lives until I realized that the pace mirrors the humdrum of routine and weary monotony where one waits for the “good parts” to make it all worthwhile.


"The Flick" by Annie Baker, directed by Jon Tracy of Shotgun Players at the Ashby Stage, Berkeley, through Sunday, September, 2019. Info: shotgunplayers.org


"The Flick"

Photography by Ben Krantz Studio | @benkrantzstudio

CAST
Chris Ginesi Sam
Justin Howard Avery
Ari Rampy Rose
Rob Dario Skylar & Sleeping Man

PRODUCTION TEAM
Jon Tracy Director
Nikki Anderson Joy Costume Designer
Kris Barrera Sound & Video Designer
Helen Frances Wardrobe Supervisor
Linda Girón Assistant Director
Liz Johnson Production Assistant
Heather Kelly-Laws Stage Manager
Devon LaBelle Props Designer
Kurt Landisman Lighting Designer
Victoria Mortimer Costume Design Assistant
Adeline Smith Scenic Charge Painter
Caitlin Steinmann Master Electrician
Randy Wong-Westbrooke Set Designer
Elena Wright Intimacy Choreographer


Friday, August 16, 2019

"Somebody's Baby, Somebody's Child"

52 Letters

Regina Evans and Rashida Chase Photo: Scott Tsuchitani

Written and performed by Regina Evans
Vocals by Rashida Chase

Ubuntu Theater Project
The FLAX Building, 1501 MLK Jr. Way, Oakland, CA

Until August 25, 2019

By Christine Okon

"52 Letters" is more than a play.

It is a prayer, a poem, a cry, and an impassioned call to action to acknowledge a terrible wrong that is all too common yet invisible: the sex trafficking of young girls. Ubuntu Theater Project gives space to artist, activist, and poet Regina Evans to proclaim her message in a stage play that also won the Best of San Francisco Fringe Festival in 2013.

Like an angel of truth, a stunning woman (Rashida Chase) in a regal white dress and headdress enters singing “Motherless Child” with a deep and mournful voice that creates a sanctifying effect sustained throughout the play. Evans begins to tell the stories of young victims, each one “somebody’s baby, somebody’s child.”

Regina Evans Photo: Scott Tsuchitani

As a former victim herself, Evan uses her voice, body, and soul to convey her message, writhing and moaning as if reliving her own nightmare. Poetry flows from her like cleansing water from a deep, natural spring, immersing us in vivid and visceral descriptions of the degradation, suffering, and entrapment of young girls who are abducted, “processed,” and transformed into instruments of profit for their “handlers.” A real horror is how organized and collaborative traffickers are, smoothly moving girls like product from city to city, state to state, country to country. The recent exposure of wealthy financier Jeffrey Epstein’s abuse of young girls made the news, revealing that the crime crosses all socioeconomic boundaries. But how many such stories remain invisible and unheard?

Regina Evans and Rashida Chase Photo: Scott Tsuchitani

Like a wise medicine woman who knows the path to healing, Evans traces the journey from the hell of slavery to the hope of renewal. This is her mission in life: to help young girls find their way back to themselves and society. Evans is the founder of Regina’s Door, a non-profit that helps trafficking victims learn new skills in retail and fashion, and she joins in the voices of other organizations dedicated to helping young victims.

Each performance of "52 Letters" is followed by a guest speaker from one such organization. For example, former victim Sarai Mazariegos tells us that “we don’t sit on our trauma,” meaning that the goal of the S.H.A.D.E. movement she founded is to help victims realize their power to “thrive, not just survive.”

Center: Sarai Mazariegostion of S.H.A.D.E Photo by Christine Okon

Many more organizations exist, and "52 Letters" urges us to not only learn about the reality of sex trafficking but to take action to help. In this way, theater can indeed be an instrument of change.


"52 Letters," written and performed by Regina Evans at Ubuntu Theater Project, The FLAX Building, Oakland, CA, through Sunday, August 25, 2019. , Info: ubuntutheaterproject.com/letters

Saturday, August 3, 2019

Come to This Cabaret

Cabaret


John Paul Gonzalez and Dancers Photo: Jessica Palopoli

Book by Joe Masteroff; Based on the play by John Van Druten 
and Stories by Christopher Isherwood; Music by John Kander; Lyrics by Fred Ebb

Directed by Susi Damilano
San Francisco Playhouse

Until September 14, 2019

By Christine Okon

I saw “Cabaret” about 10 years ago at San Francisco Playhouse in a powerful production that showed how joy could be decimated by encroaching, fascistic powers that be. “Good thing we’re not in Nazi Germany,” I thought naively ruminating on the history lesson of how a whole country changed.

How the world has changed, with our democracy threatened from within as never before. In San Francisco Playhouse’s current production of the musical “Cabaret,” a subtle pulse of apprehension about the growing swell of fascism before WWII beats with the fabulous music about the lives of people in “a city called Berlin in a country called Germany and it was the end of the world.”

John Paul Gonzalez and Dancers Photo: Jessica Palopoli

Like a thousand moths beating their wings madly before the light goes out, this “Cabaret” is rich with story, dance, and songs of dark irony and warm poignancy. The scenic design (Jacqueline Scott) transforms the theater into the decadent Kit Kat Klub where the devious-trickster Master of Ceremonies (John Paul Gonzalez) insists that you can “leave your troubles outside” because “in here, life is beautiful...”  The Cabaret Girls, Cabaret Boys, and emcee raise the heart rate with "Willkommen" to show they are “happy to see you..” Fosse-inspired choreography by Nicole Helfer and the live music directed by Dave Dobrusky spark every dance number, and all of the dancers are decadently precise in their movements.

Kit Kat Klub Dancers Photo: Jessica Palopoli

Clifford Bradshaw (a gentle and convincing Atticus Shaindlin) rides the train into Berlin where he hopes to make his mark as a novelist. He is befriended by the uber-suave, powerful German businessman Ernst Ludwig (Will Springhorn Jr.); with a smile on his face and ice in his veins, Springhorn embodies a dispassionate character who later turns dangerous.

Ernst takes Cliff under his wing and finds him a place to stay at the run-down boarding house of Fräulein Schneider (Jennie Brick). In many ways, the real story of "Cabaret" is the story of Fräulein Schneider, an ordinary German woman way past any semblance of youth, who must “learn how to settle” for what she gets, bemoaning that “it will all go on if we’re here or not / So who cares? / So what? / So Who Cares?”

Jennie Blick and Louis Parnell Photo: Jessica Palopoli

If you wonder how a “whole nation” could support Hitler, consider Fräulein Schneider’s choice between resistance and resilience. Jenny Brick brings a fullness to Fräulein Schneider; even the ill-fitting wig is in character to present a woman just trying to keep it together. Fräulein Schneider is courted by the sweet Jewish fruit vendor Herr Schultz who woos her with gifts of sweet Italian oranges and other delights. Louis Parnell is a lovable Schultz, and as the two grow in love for each other we root for them as they begin to choose happiness over loneliness.

One of the tenants is Fräulein Kost (a lithe and strong Mary Kalita). She has many visitors, mostly sailors, who are all somehow “related.” Although Schneider clucks disapproval, she must look the other way or else lose the rent money. Kost shows up later as the dangerous arm candy of Ernst as he sports a swastika armband. She sings the rousing nationalist theme “Tomorrow Belongs to Me” as well as a loving “Heirat”  but also casually informs Ernst of Herr Schulze’s religion. Things turn ugly and the audience is filled with dread as arms are raised in the Nazi salute before intermission.

At the Kit Kat Klub, Cliff meets Sally Bowles, the British expat headliner of the cabaret show. Melissa WolfKlain creates an energetic Sally with a strong, moving voice that brings a lot of heart to the role. It's exciting to watch her lead the Kit Kat Klub dancers in a knockout, acrobatic "Mein Herr" complete with teetering chairs and floor-slapping. When Sally sings the final song "Cabaret," it is not as a joyful invitation to fun, but a sad, ironic reference to just the opposite. Watching WolfKlain in this scene is like watching a wounded creature dying, robbed of hope, and trapped in a stillborn dream.

Ambiguity and contradictions thread through the story. So many things hang in the balance between male-female, neighbor-enemy, trust-suspicion, poverty-wealth, compliance-power. This "Cabaret" taps into a dark desperation that transcends its time to convey the fear and  uncertainty of living on the brink of change.

"Cabaret," Book by Joe Masteroff; based on the play by John Van Druten and Stories by Christopher Isherwood; Music by John Kander; Lyrics by Fred Ebb, directed by Susi Damilano, San Francisco Playhouse, 450 Post St., San Francisco, through September 14, 2019. Info: sfplayhouse.org

CAST
Jennie Brick* as Fräulein Schneider
John Paul Gonzalez as Emcee
Carlos Guerrero as Victor
Mary Kalita as Fräulein Kost
Melissa Wolfklain* as Sally Bowles
Zachary Isen as Bobby
Jean-Paul Jones as Texas
Nicole Helfer* as Frenchie
Louis Parnell* as Herr Schultz
Atticus Shaindlin* as Clifford Bradshaw
Will Springhorn Jr.* as Ernst Ludwig
Zoë Swenson-Graham as Helga
Shaun Leslie Thomas as Max
Joe Ayers as Rosie

*Member, Actor's Equity

CREATIVE TEAM
Susi Damilano  DIRECTOR
Dave Dobrusky MUSIC DIRECTOR
Nicole Helfer  CHOREOGRAPHER
Jacquelyn Scott  SCENIC & PROPERTIES DESIGNER
Abra Berman  COSTUME DESIGNER
Michael Oesch  LIGHTING DESIGNER
Teddy Hulsker SOUND DESIGNER
Laundra Tyme  WIG DESIGNER



Saturday, July 27, 2019

Dreamscapes of Mortality

Escaped Alone and
Here We Go


By Caryl Churchill

Directed by Robert Estes

Anton’s Well Theatre Company 
At Thousand Oaks Baptist Church, 1821 Catalina Ave., Berkeley

Until August 3, 2019. (Thursdays-Saturdays, with additional performance on Wednesday, July 31, all 7:30) 

By Christine Okon

Robert Estes, director of Anton’s Well Theatre Company, has chosen to produce two of Caryl Churchill’s later short plays "Escaped Alone” and “Here We Go" because they “so acutely chart our shared future.”

Victorian Skull Illusion

“Escaped Alone” brings to mind the Victorian image that shows either two women talking or a skull, depending on how it is viewed. Church presents a bifurcated reality of chit-chat among old friends against graphic descriptions of apocalyptic devastation and horror.

The audience waits in a small outdoor garden; there’s a waterless fountain and hummingbirds cruise the red flowers on the bushes.

Three women--Vi (Jenn Lucas), Sally (Jan Carty Marsh), and Lena (Susannah Wood) enter, sit down, and begin to engage in the ordinary, friendly banter of old friends. A fourth woman, Mrs. Jarrett (Marsha Van Broek), joins the group but seems uncomfortable. She faces the audience and describes an appalling and terrifying scenario of death, violence, and destruction; this is what the world has come to.  She then joins the other women in their conversation about daily routines, gossip, and pleasantries. All four sing The Beatles’ "Help," united in giddy familiarity with a tune from their youth until Mrs. Jarrett describes more horror, and the personal, bizarre crises of the women are revealed.

Sally is extraordinarily paranoid about her cat and is heading for a breakdown. Another talks fearfully about gunshots. All are traumatized somehow, yet they shift back into mundane chatter mode. To Churchill, images are visual morphemes to be interpreted as one would try to make sense of a strange dream.

Sound effects (e.g., meowing, explosions, or guns firing) were distracting and should have been used sparingly, if at all. Still, “Escaped Alone” reminds us of how easy it is to become inured to the global horrors we are exposed to every day.

Jenn Lucas & Jan Carty Marsh in ESCAPED ALONE Photo: Jay Yamada

After a brief intermission, the audience moves indoors for the next play,  “Here We Go.” The title alone connotes either enthusiasm or resignation. There are three scenes, each a study of the experience and reality of death and dying.

The first scene presents eight mourners at a post-funeral party chatting about their lives and reminiscing about the dearly departed man, who wanders among the crowd unseen yet wanting to participate. As each mourner steps forward to state how and when they later died, we are put on Churchill’s time-space continuum where past, present, and future are blurred, and existential finality underscores the most ordinary conversations.

Abe Bernstein in HERE WE GO Photo: Anton's Well Theatre Company

In “After,” a dead woman fretfully ruminates on death, dying, the afterlife and the meaning of existence but receives no answer. Words, even if philosophical, are empty in a vacuum.

The last scene, "Getting There," is the most moving and beautiful, with no words at all.  A caretaker in scrubs (Jan Carty Marsh) assists an old, frail,  woman (Alison Sacha Ross) in a hospital gown. The woman has long, flowing, gray hair, and she is tiny, almost melted away. Her body language denotes intense pain. The caretaker combs the woman’s hair and gives a sponge bath in a routine that is repeated a few times during the scene. Although the caretaker is simply doing her job, the patient relishes the act as a delicious, tactile respite from suffering and a moment of connection with another living being. When the caretaker moves across the room, the woman reaches forward in longing as if begging for the moment to last longer. Gradually, the caretaker becomes more involved and exhibits fondness, and the emotional intensity is profound and visceral. The two actors become one entity of empathy, and their interaction is remarkable to observe.

Both "Escaped Alone” and “Here We Go" are contemplations and meditations rich with images, talk, and the simple gift of presence, making for a quiet yet disturbing night of theater.


"Escaped Alone” and “Here We Go" by Caryl Churchill, directed by Robert Estes of Anton’s Well Theatre Company, at Thousand Oaks Baptist Church in Berkeley. Through Saturday, August 3, 2019. Info: antonswell.org



Tuesday, July 23, 2019

Translating the Language of the Heart

The Language Archive



By Julia Cho
Directed by Jeffrey Lo
Lucie Sterm Theatre, Palo Alto

Until August 4, 2019

By Christine Okon

Here’s a sobering fact from UNESCO: of the 7,000 living languages in the world, more than half will be extinct by the end of the century. In urgent response to the dilemma, many people dedicate their lives to the study and preservation of such languages.

In Julia Cho’s “The Language Archive,” George (Jomar Tagatec) is a linguist so immersed in the study of dying languages that he is oblivious to his wife Mary’s (Elena Wright) attempts to communicate. These two are not the kind of people who finish each other’s sentences, and it seems that one's signal is the other’s noise. For example, Mary leaves little desperate notes for George and cries continuously in her unhappiness, while George is befuddled by her actions. How did these two ever get married?

Jomar Tagatac and Elena Wright Photo: Alessandra Mello

When the last two remaining speakers of the dying language Elloway agree to visit from a far-off and unspecified country, George looks forward to fulfilling his research by capturing their conversation in their native language. He is surprised when his guests Resten (Francis Jue) and Alta (Emily Kuroda), an old married couple, bicker about trivial things in English because, as Alta explains, “it is the language of anger.” Jue and Kuroda are as funny and practiced as an old vaudeville team as they shake up George’s, and our, expectations. Costume designer Noah Marin must have had a lot of fun dressing Resten and Alta in the motley and colorful items of clothing from a far-away land.

Francis Jue and Emily Kuroda Photo: Alessandra Mello

George, upset that his study is straying from protocol, tries to steer his subjects toward his ends. The concept of love is brought up, with George fretting in “analysis paralysis” while Resten and Alta define their bond as simply not being able to imagine living without the other person. Cho’s poetric gifts infuse “The Language Archive," illuminating how language gives voice to the heart. 

The give-and-take and sad breakdowns of communication form a delicate cat’s cradle among the characters. George thinks compiling a CD of “I Love You” in dying languages will win Mary back, but she leaves him to nourish an unfulfilled longing for her own life and passion. George’s assistant Emma (Adrienne Katori Walters) is his work-wife of sorts and strives to demonstrate her love by learning Esperanto, his favorite language. Torn by conflicting but unexpressed feelings, Tagatac delivers a heartbreaking portrayal of a man who cannot even communicate with himself.

L-R Elena Wright, Jomar Tagatac, Francis Jue, Emily Kuroda, Adrienne Kaori Walters
Photo: Alessandra Mello

Justifiably exuberant with winning the 2019 Regional Theatre Tony Award, Theatreworks Silicon Valley begins its 50th season with this play. Even though “The Language Archive” has ingredients for a perfect production: superb cast, smooth direction by Jeffrey Lo, an evocative and versatile set (Andrea Bechert), poignant music and sound (Sinan Refik Zefar), it was hard to connect with the characters except for Resten and Alta, who seemed to be the only ones who had self-awareness. The beautiful image of Resten and Alta after death becoming  “two trees whose leaves whisper to each other all day long” lingers long after the play ends, hinting at what real communication is all about.

"The Language Archive" by Julio Cho, directed by Jeffery Lo, Theatreworks Silicon Valley at the Lucie Stern Theater, Palo Alto, through August 4, 2019.
Info: theatreworks.org or call (650) 463-1960

CAST
George  Jomar Tagatac
Mary  Elena Wright
Emma  Adrienne Kaori Walters
Alta and others  Emily Kuroda
Resten and others  Francis Jue

CREATIVE TEAM
Playwright  Julia Cho
Director  Jeffrey Lo
Scenic Designer  Andrea Bechert
Costume Designer  Noah Marin
Sound Designer  Sinan Refik Zafar