Marissa Skudlarek undergoes a rite of passage for any Bay Area theater blogger: writing a “What’s the Matter with ACT” column.
Last Saturday (which also happened to be my birthday), we Theater Pub writers met at Café Flore for our semi-annual Blogger Conclave. We drank mimosas, patted ourselves on the back for having completed another successful half-year of blogging, and expressed gratitude to our readers for being interested in what we have to say.
We also decided that, from now to the end of 2014, the blog will tackle a new theme or subject each month. For July, we were inspired by the Independence Day holiday to think about the organizations and institutions that “govern” the local and national theater scene. Claire‘s and Ashley‘s posts on Theatre Bay Area started us off… you may also see posts about institutions like Actors’ Equity or the Dramatists’ Guild later this month.
American Conservatory Theater (ACT), San Francisco’s wealthy flagship regional theater, may not be a “governing” institution like the aforementioned, but it’s big and it’s powerful and it exerts a disproportionate influence. And like Thomas Jefferson and the rest of the colonists*, I’ve got some grievances about this Big Powerful Thing to get off my chest.
(I should note that ACT began its 2013-14 season with a production of 1776 that proved controversial once people realized that the season contained just one female writer (Marie-Hélène Estienne, co-adaptor of The Suit) and that 1776 is a disproportionately male-heavy musical: ACT’s production featured 24 male and 2 female actors.)
So, at the blogger brunch, as inevitably happens when a bunch of smart and disgruntled indie-theater folks gather over drinks, we got to complaining about ACT. How it feels so inaccessible and cut off from the wider currents of Bay Area theater-making. How it doesn’t seem to acknowledge the depth of acting, writing, and directing talent based here in the Bay. And I realized that I couldn’t even remember the last time ACT produced a play by a local playwright. I posed the question to my friends at brunch, but we were all stumped.
So I went to ACT’s website and reviewed their production history, whereupon I made the astonishing discovery:
The only local playwright that ACT has produced on their mainstage** in the last seven seasons is their artistic director, Carey Perloff, herself.
ACT produced Perloff’s drama, Higher, in 2012. Prior to that, its most recent production by a Bay Area playwright was After the War, by Philip Kan Gotanda, in spring 2007. It has no Bay Area playwrights in its upcoming season; and by my count, only 2 of the 10 artists it has under commission (Gotanda and Sean San José) are Bay Area residents.
To put this in perspective, I have lived in San Francisco for six theater seasons, and, in all this time, my city’s most well-funded theater, the one most known to and attended by people who don’t consider themselves “theater people,” has not produced a single play by a Bay Area resident. Aside from their own Artistic Director, of course.
To be fair, ACT has produced some Bay Area-themed plays in the last six seasons. It premiered an ambitious musical-comedy adaptation of Armistead Maupin’s Tales of the City books – but the writers and many of the stars of that show came from New York. It presented the autobiographical one-man show Humor Abuse, in which Lorenzo Pisoni reminisces about growing up in S.F.’s Pickle Family Circus – but Pisoni is now a New York-based actor, and ACT basically imported his show wholesale from NYC. Perloff and local choreographer Val Caniparoli worked together to create The Tosca Project, a dance-theater piece about the history of the Tosca Café in North Beach – but that wasn’t a play in the traditional sense, and besides, it still makes Perloff the only local writer to get her plays produced on ACT’s mainstage. I should also note, in the interests of fairness, that ACT has commissioned local writers like Peter Sinn Nachtrieb to write plays for its MFA acting students.
It’s pretty galling that ACT ignores local playwrights to such an extent. But most galling of all is the way that the company thinks it is connected to the local theater scene, despite such evidence to the contrary. In 2011, after Tales of the City premiered, Perloff wrote an essay for the Huffington Post describing how this production was an example of what she calls “locavore theater,” “creatively embracing that which is grown and nourished in our own backyards.” She made a lot of high-minded, earnest-sounding points — audiences want to see stories that they feel connected to; a theater can succeed only if it is deeply rooted in its community — while importing the show’s writers and stars from across the country.
Perloff concludes her essay by writing, “Perhaps audiences can be encouraged to revel in vigorous and delicious work that is nurtured closer to home. It might be an experiment worth taking.” Yes, Carey, perhaps they could. In fact, many theater companies in the Bay Area meet with success by doing just that. But will you, and your organization, be brave enough to rise to your own challenge?
*Freudian slip: I initially typed “columnists” instead of “colonists.” True story.
**N.B.: Higher is listed on ACT’s website as a mainstage show, but it was not actually included in subscription packages and was performed in the smaller Theater at the Children’s Creativity Museum, not in ACT’s flagship proscenium space. Which either heightens or obscures my point.
Marissa Skudlarek is a San Francisco-based playwright and arts writer. Her play Pleiades, featuring nine local actors and a local director, opens at the Phoenix Theater this August. For more, visit pleiadessf.wordpress.com.
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