It’s A Suggestion Not A Review: Burnin’ Down the House – Part II

Dave Sikula, getting carried away again.

In our last thrilling chapter, I began to discuss how I nearly burned down Grauman’s Chinese Theatre in Hollywood.

I was going to pick up by talking about waiting in line for movies. In these days of camping out days in advance to get into Hall H at the San Diego Comic-Con or to buy something useless on Black Friday, waiting for a few hours at a movie theatre may not seem novel, but in the ‘70s, it was. As I say, I was going to start with that, but I’m finding my memory isn’t what I think it is.

The first time I remember really waiting for a movie was either 1973 or 1974 for The Exorcist. My girlfriend at the time had read the book and really wanted to see it. In those pre-Jaws days, most big movies would open in limited release (like two or three theatres in the entire country) before moving on to smaller theatres. There were really only two places where every movie would play: Broadway and Times Square in New York and Westwood in Los Angeles. Now, of course, there are no movie theatres on Broadway or in Times Square (the multiplexes on 42nd Street don’t count … ) and Westwood, which once had more than a dozen theatres, now has only a couple.

The Exorcist was playing at Mann’s National, so we drove to Westwood on what I remember as a nice spring Sunday, and discovered that, not only was the movie sold out (in an 1100-seat theatre!), the show after that was sold out (and the show after that might have been sold out). We bought tickets for the first available show and got in line for the next five hours, which entailed going down one block, around the corner, down another, around another corner, and going way down a third block (there may even have been another corner and another block). We had no books, no newspapers, and no smart phones to distract us, no nothin’ except standing in line, talking to people about how we couldn’t believe we were going to wait this long for some stupid movie and how the McDonald’s across the street had jacked up its prices to take advantage of its captive audience. It was a change they denied, but was verifiably true.

Scene of the crime

(Now, I remember it as a warm late spring/early summer evening (as does my then-girlfriend) – and the same night that the LAPD and the FBI shot it out with the Symbionese Liberation Army to rescue Patty Hearst, but I don’t see how that could be, since that night was five months after the movie opened. The line was long, but not that long … )

As people came out of the theatre, they were either grossed out (these were more innocent times) or laughing (obviously high). The thing was, we had built a sort of temporary community in that line, with relationships, running jokes, and commentary, but that was broken up as soon as we hit the doors of the theatre. Ultimately, I thought (and think) the movie was pretty “meh.” It was okay, but more of a cultural phenomenon than a cinematic experience. My girlfriend, though, was so freaked out by it that she demanded that I take her copy of the book and get it out of her house (I still have it), and she got the willies when hearing “Tubular Bells,” the movie’s theme. Her mother got mad at me for taking her daughter to the movie, but then she was generally mad at me anyway.

Careful!

My next experience with waiting for a movie was with Star Wars in 1977. Now, I had known about the movie well in advance, having gotten a poster for it the previous year at some comic convention. (I sold that poster sometime in the ‘80s for something like $100; now it goes for more than $2,000.) The first show wasn’t sold out, but after that, you couldn’t get near theatres that were showing it. It opened wide; really wide. It was beyond huge.

When the second movie opened in 1980, it was with a midnight show at the Egyptian on Hollywood Blvd. I got there at 11:00 am and waited in line all day with a bunch of other misfits. People would walk by and ask what we were waiting for. We told them “the new Star Wars movie,” and they would look at us with either pity, confusion, or terror (or some combination thereof). Can’t say as I blame them. (When the third movie opened in 1983, I gamed the system. This time, there was a benefit screening the evening before the official midnight opening. I paid $50 [!] for a ticket [it was a worthy cause; pediatric cancer or something] and, after the movie, went around the theatre and gathered up a stack of the souvenir programs that had been distributed, then drove to the Egyptian and sold them to the suckers in line for a dollar a pop, more than making up the price of my own ticket.)

I can’t believe I found an image of the program

As is my wont, though, I’ve spent words to get us to the point where I’m just on the verge of my attempted arson, so I shall leave you, gentle reader, on proverbial tenterhooks until the next time, when I promise you, I will include breaking and entering among my crimes.

Confession is good for the soul, after all…

Cowan Palace: Sex Pledges, Discounted Books, And One Woman’s Passion

Ashley’s got fire! Sometimes with heartburn and passion for women in theatre on the side.

As we wind down our month dedicated to passion, I recently found myself literally bumping into the subject in the book section of a thrift store in Fort Bragg.

Will and I were finishing our quiet weekend away by picking over a decent collection of theatre books and plays when I came across Lysistrata by Aristophanes. I clutched the tiny script close to my heart before exploring the pages. “Oh, I wish I could do this play again!” I loudly exclaimed, “I loved doing it in college but I feel like I’d bring more passion to it NOW!”

Ashley Cowan: demanding sex pledges from her homegirls since college

For those who are unfamiliar with the work, it’s a story about a woman who convinces her fellow lady pals to withhold sex from their sweeties so the fellas will stop waging war and consider a more peaceful path to resolving issues. Lysistrata is strong and passionate and just a true force. I was 20 when I was cast to play her in our Roger Williams University production and I adored the experience. But I was a kid who grew up in a small town and went to a small liberal arts college in New England; I wasn’t really that “fired up” about injustices going on in the world or between women and men. Mainly because I was just so focused on getting good grades and running our school’s theatre club. Maybe it’s just me getting older or being exposed to more of the realities outside of school, but I find myself getting much more fired up about issues that may have little to do with grades or theatre these days. And while I reread some of my old lines, I found they meant something different to me now.

Before heading to the register, Will handed me another book he thought I’d be interested in, entitled, Women In Theatre (edited by Karen Malpede). Like many great things, it’s from the 80’s (which you may be able to gather from the colorful cover) and it’s full of experiences from ladies all over the theatre industry sharing their stories and struggles. Sing it sisters!

I was high off my Lysistrata memories and I was sold after reading the quote on the cover which states, “How often these great women did their work with little response, audience, or resonance… This collection, long-awaited, gives them to us alive. So now let them speak to us. And let us listen.” – Meridel Le Sueur. Plus, did I mention the sassy collection of bright colors? I added it to my already large pile and headed down to meet the cashier.

As he was ringing the items in he looked at the book and laughed. “This one’s been marked down to 75 cents from a dollar. I guess people don’t want women in theatre, huh?”

Then my eyes widened and flames erupted from them, lighting the entire thrift store in a destructive fire. My hair blew back like Beyonce’s would do and I stood strong, embracing my feminine powers, as the world around me burned. (C’mon, don’t you guys want to see me play Lysistrata now?)

I mean, sort of. I’m kind of hormonal so that’s what it felt like.

A book dedicated to women in the theatre was marked down from a dollar to 75 cents (before tax); last I heard, women still make something like 78 cents to every dollar a dude does in the workforce. C’mon tiny thrift store, why you gotta set yourself up for my scrutiny?

I mumbled a bit about how women have always been fighting for equal rights and as someone involved in theatre, I sure as heck wanted them around. But I left feeling irked wondering if I had offered to pay the extra quarter for the book if I’d feel better. This was one tiny store in the world who discounted a used book about women in theatre; was this even worth the emotions I was giving it? And what can I do about it? I mean, thanks to the Sony scandal, we’ve learned what we already knew: even Hollywood ladies are still often making a lot less than their male counterparts. So what hope does this New England gal living in San Francisco have these days and what can I do to feel better?

I don’t totally know. Someone help me here.

So far this is what I’ve got: maybe maintaining and growing my passion can help. If I keep reading about women in theatre, if I keep going to see women in theatre, if I keep strengthening my relationships with women in theatre, and if I keep fighting to be a woman involved in theatre, maybe that’s a start. So here’s to you, passion! Plus, maybe if I keep your fire going, my rally cries to play Lysistrata again will be heard!

Cowan Palace: The Golden Girls Take Over San Francisco And Other Chats With Matthew Martin

On this day before Thanksgiving, Ashley thanks you for being a friend while chatting about the Golden Girls with Matthew Martin.

The Holidays are really here! And nothing says seasonal spirit like gorgeous San Francisco drag queens getting all dressed up as the legendary Golden Girls, am I right?

Yes, it’s true. For the past nine years, it’s become a local, celebrated way to enjoy the Christmas festivities. The Golden Girls: The Christmas Episodes are back and they’re more fabulous than ever.

Need to see more? Understandable. You can take a sneak peek thanks to YouTube! Still not enough? Lucky for you, I had the chance to interview Matthew Martin who has been with the production since 2007. Matthew is not only the director of the show but is also starring as everyone’s favorite Southern belle, Blanche Devereaux!

AC: Tell us about how you first got involved with this unique project. How has it developed over the years?

MM: We first did this production in 2007 at a friend’s Victorian here in San Francisco. It was a group of performer friends doing something fun together: 2 episodes verbatim with an intermission. I don’t’ think any of us foresaw the enormous popularity that would ensue. The audiences and shows grew and grew and GREW, going from various small venues to the grand old Victoria Theatre in 2011.

AC: What makes this year’s show different than past productions?

MM: This year’s show is different in that we’ve gone musical! Dorothy and Blanche are vying for attention at the Rusty Anchor, the local piano bar and break into song! We also have new sets. Of course, every year’s show is different, but the audiences are the same faithful crowds that have been growing with every season.

AC: What was the biggest challenge in rehearsing the show and getting it ready for opening night?

MM: Getting there, as with any show! There are always many variables and personalities involved with any theatrical production. Besides actors rehearsing, there are the departments of publicity, technical aspects, lights, sound, costuming, ticket sales. The costumes alone are a show within themselves! It’s a 1980s fashion show and another popular aspect of the production. Love the audience’s “what were they thinking?!” reaction to 1980s fashion sense!

AC: What was the biggest surprise you found when translating a script meant for TV to the stage?

MM: How rabid the fans are quoting chapter and verse of the original scripts and how well the comedy stands up 30 years later. Good writing remains good writing, always. A delightful surprise is the demographic appeal of the Golden Girls. EVERYONE loves them! Old, young, gay, straight, male, female. Love seeing the cross-section of people in every audience. That is the San Francisco I know and love and grew up with here.

AC: I love the idea of bringing in celebrity guests! How have those personalities helped to influence the show?

MM: It’s always fun to have some local celebrities make a cameo appearances with the Golden Girls, but the audiences are coming to see the Fabulous Foursome!

AC: Why do you think this production does so well in San Francisco? Do you think it would have the same impact in other cities?

MM: The power of syndication makes it very appealing to everyone, here in San Francisco, and around the world, literally! It is “Very San Francisco” for sure, having 4 guys in drag playing these iconic roles, and our audiences can’t wait to come. It’s an annual pilgrimage, a true holiday tradition for many people here.

AC: Have you always been a Golden Girls fan? If so, who was your favorite character?

MM: Who doesn’t like the Golden Girls?! They are ALL my favorite, for different reasons, and it’s the interplay between the decidedly different four of them that makes it so funny and relatable! Like family members! Every Girl gets a rousing round of applause just by walking on the stage. It’s the audience’s way of saying hello and we love each and every one of you!

AC: Bang, Kill, Marry, Share A Cocktail: Sophia, Rose, Blanche, Dorothy

MM: Oh Lord. It had to…..I’d bang Blanche (myself! Haha!), I’d kill Sophia (out of seniority! She’s had a good long life), marry Dorothy (a woman with sense and experience) and share a cocktail with Rose (or 3 and get her bombed!).

AC: What kind of research goes into directing this show and did it vary from the type of research that went into getting into character?

MM: The research is in the years of watching them on television! The Golden Girls are very familiar friends, that’s part of their enduring appeal. It’s very nostalgic and like a comfort food for our audiences. People have a true attachment to the series, so we, the performers, know them as well as the audience. After playing these parts for so many years now, the actors get into their respective characters very easily now.

AC: What do you think it is about the show that still resonates the most with modern audiences?

MM: The truth of the comedy resonates with everyone! Modern audiences relate to the comedy and drama, as times change, but people don’t! The issues that they would explore on the series are the same as today. Love, friendship, old age, health, mothers/daughters, divorce, ex-husbands, companionship, annoying roommates, and people just having to live together to learn from and tolerate one another. The writers didn’t shy away from serious subject matter either. Some of the episodes were groundbreaking for their time in addressing such social issues as abortion and drug addiction.

AC: What’s the one Golden Girlsfashion statement you hope makes a comeback in 2015?

MM: God, not sure anyone wants ANY of those fashion statements to make a comeback, or maybe in the Smithsonian, behind glass! I do love the flash and dash of some of the getups, and Blanche gets to wear some hilarious outfits, but again most of the wardrobe is in the category of “What were they thinking?!” in the 1980s.

AC: Where can we catch your next show? Any big plans for the new year?

MM: We just finished filming Hush Up, Sweet Charlotte which should be released next year. We are doing another run of D’Arcy Drollinger’s hit show “Shit and Champagne” at The Oasis, the new club D’Arcy and Heklina are opening South of Market! I will also be doing a version of my solo show All Singing, All Dancing, All Dead at the new club later in January.

AC: What’s your favorite part of the holiday season?

MM: Being together with family and friends and reminded that the holiday season is a state of mind, not just a few weeks for love and laughter on the calendar. The holidays are a very tough time of year for many people, so performing in a show making people laugh and smile is a beautiful gift to give and receive!

AC: What food are you looking forward to indulging in this Thanksgiving?

MM: All of it! Of course my brother-in-law’s fabulous barbequed turkey, some sweet potato pie, and all the sides! Pecan pie, pumpkin pie…then I won’t eat for a week so I can fit into my costumes for opening night, December 4th!

AC: In ten words or less, why should we come see Golden Girls: The Christmas Episodes?

MM: You will be HAPPY that you came to the show!

So with that my Theater Pub pals, I leave you with this: Thank you for being a friend.Travel down the road and back again. Your heart is true, you’re a pal and a confidant.

Be sure to check out what’s sure to be a fun and festive way to enjoy the holidays with The Golden Girls: The Christmas Episodes 2014 and have a wonderful Thanksgiving!

Come see Matthew and The Golden Girls: The Christmas Episodes 2014, Dec. 4 – 21, 2014 – Thurs. Fri. & Sat. – 8:00 pm / Sun. – 7:00 pm at the Victoria Theatre in San Francisco! Tickets are $25 and are available at http://goldengirlssf.eventbrite.com/

Victor Carrion Talks About His Return To Theater Pub

This week we catch up with Victor Carrion and find out more about his return to Theater Pub after a year-long hiatus, plus all the details on HIT TRIP FALL RUN DREAM STICK SLEEP, a new performance piece about the early days of AIDS research that Victor will be premiering at Theater Pub on Tuesday, June 12.

What was your past involvement with Theater Pub?

As a co-founder and producer, I helped get the Pub project started. I wrote for Pint Sized Plays, I contributed some writing to The Odes of March, and directed Short Attention Span Shorts: Theater for the Inattentive.

You’ve been gone for more than a year. What were you up to during your hiatus?

I got appointed to the Mental Health Oversight and Accountability Commission for the State of California by the State Attorney General. This Commission oversees the monies derived from Proposition 63, the Mental Health Services Act. This Act stipulates that those individuals that have an income greater than $1 million pay 1% taxes towards this fund. This legislation has helped the development of many programs geared towards improving health access, providing housing for homeless individuals and reducing mental health stigma.

Well… that sounds… amazingly impressive. So how does it feel to be back at the Cafe Royale with a bunch of theater kids?

Great! I have always felt that theater makes my life and work better. Theater helps me explore human behavior using a different lens.

Tell us more about this coming project- what’s it like?

Different. For one, the subject, AIDS in the 80s, is very somber for a pub, but therein lies the beauty of Theater Pub. It’s a place to experiment. During this evening we will be examining how messages are conveyed to the audience during a typical play in comparison to, say, the reading of a story. Both story and play tell the same narrative in different style, and from the perspectives of different characters.

What personally drew you to this subject material?

I trained as a doctor during this time. I was also coming out during this time. The experience of learning to express your sexuality in an environment charged with fear of death and fear of self-expression linked specifically to sexuality, along with the pressure of needing to perform professionally, is something I’m still processing today. The writer of the story and the play, James D. Lock, trained during the same time and faced the same issues. He does a wonderful job in describing the conflicts of being a young gay doctor in the 80s. In addition, we see how AIDS had an impact on all trainees regardless of sexual orientation. Themes of homophobia, both internalized and externalized, are present throughout. The audience is invited to assess how far have we come.

What do you hope the audience will get out of it?

The desire to learn more. For example, to learn how societal pressures can have an impact on sexual expression, or how a particular time in history can influence a whole generation.

What are you up to next?

I am enjoying directing, but I also like writing and acting. I want to explore all of these with the time they deserve. I want to continue working with Theater Pub, helping to produce the upcoming shows and perhaps performing and writing for some of them. Soon, I will also be helping to plan for the 2013 season of Theatre in the Woods.

What are you looking forward to in the SF theater scene?

More venues, more pushing of the imaginary limits of theater and more audience!!

Don’t miss HIT TRIP FALL RUN DREAM STICK SLEEP, this Tuesday, June 12th, starting at 8 PM, for one night only. Admission is FREE, with a suggested $5.00 donation at the door!