Field Notes From A BOA Virgin: Program 1 And Program 2, Together At Last

Annie Paladino continues her chronicle of this year’s BOA Festival. Anything you want to share about the Bay Area Small Theater Experience? Let us know! We’ll be looking to fill some blank space after Annie gives us her capper article next week. And we know there is plenty of stuff going on out there. Let the world know too!

Another week down — and one to go! Actually, for Program 2, we’ve just got two performances left. Sniff.

This week I give you some thoughts, musings, and observations about the two Programs as counterpoints and/or complements to each other. And, maybe more importantly, I invite those of you who have seen both Programs to share your thoughts on the matter! Commenting is fun.

Right from the first dress rehearsal for Program 2, I was struck by how overpoweringly female our Program is (as were many others). As I’ve already noted, there are two plays with casts of just two women — in one, they are sisters (The Bird Trap), while in the other, lovers (A Game). Right there, you’ve got more types of female relationships than are typically portrayed in any one production on the American stage. Maybe Baby is definitely woman-centric. It follows three women (one single, one with a female partner, one with a male partner) as they approach the decision to conceive a child. Of the remaining two pieces in Program 2, I.S.O Explosive Possibility explores a kaleidoscope of female experiences, equating their branching life paths with the differentiation of stem cells — certainly focusing on women. The only slight outlier here is Death to the Audience, a clever meta-theatrical morsel which kicks off the evening — but then again, maybe the exception proves the rule.

On Saturday evening, I finally (finally!) saw Program 1 — and was kind of bowled over by how thematically different it felt from Program 2. Program 2 is, to grossly oversimplify, the Sex and Violence show. This is pretty obvious from a few of the pieces: The Three Little Dumplings Go Bananas features more colorfully violent imagery than probably all the other shows combined (including matricide represented by a surprisingly disturbing sandwich dismemberment), plus a bit of (albeit weird) heat between the Third Dumpling and the Mailman; Brainkill starts out with a placidly-argued plan to kill people and take their stuff and only gets more morally bankrupt from there; and In Bed begins with a hot-and-heavy drunken make-out between a man and woman on their third date (made all the more intense by the close quarters of the theater) and culminates in the reveal that one of them is a child molester. But even the other plays somehow seem to fit. Cello is quiet and exceedingly delicate in comparison to its Program-mates, but the specter of danger and death looms large (particularly in the form of the cellist/sister on stage). And though The Seagull Project is, on the surface, ebullient and full of life, the violence and adolescent infatuations of its source material permeate every moment (Constantin’s violent and obsessive tendencies are foregrounded in the small bits of text included in the piece).

What do you think? Agree/disagree? Am I full of shit? Missing the point? What other common threads or parallels did you observe? These things are interesting to me for more than just rhetorical reasons — as a snapshot of local Bay Area theater artists, BOA is particularly well suited to tell us something about what we (as a theater community) want to talk about, about what’s on our (collective) minds.

So…women, sex, and violence? Jeez, guys.

Please please discuss in the comments — or if you haven’t seen both Programs, what are you waiting for? There’s only one weekend left!

Make sure you don’t miss out on this year’s BOA Festival! Get more info, and tickets, at http://www.bayoneacts.org!

Field Notes From A BOA Virgin: I’m Sorry Program 1! I Really Do Love You, Pinkie-Swear!

Annie Paladino tells us it’s her, not us.

Here I am this week (same time, same place, you know the drill), bearing a confession, an apology, and an explanation (or two). Let’s get right to it:

CONFESSION: I did not see BOA Program 1 last weekend. I know, I know, last week I promised (ish) that I would. But…I did not. BUT THIS WEEKEND, I WILL. With the Internets as my witness, I swear it!

APOLOGY: …and I’m really sorry I didn’t! It would have been so great to write about! I’m a disgrace to bloggers everywhere, gnashing of teeth, tearing of hair, etc.

EXPLANATION: Okay so I do have some really excellent (ish) explanations for this totally unacceptable lapse. The first stumbling block that I…stumbled on…was my own cast. Appalling, I know. But we love each other so much that we wanted to experience the Other Program together (4eva). And the scheduling stars didn’t align! So we postponed until the next weekend.

But I still could have (would have) done it! Ventured on my own! Except…sometimes multitasking Bay Area theater artists overestimate their ability to…multitask. And sometimes it can result in bad things like sleeplessness, double-booking yourself, bringing the wrong binder, and caffeine overdose. And sometimes it can result in the sudden realization that some very basic grown-up-person needs are being overlooked. Like groceries. And clean clothes. And that’s what happened to me this week.

I’m sure this won’t come as a shock to you fellow crazy people (i.e. Bay Area theater artists), but this week, my efforts to finally see Program 1 were thwarted by two overflowing hampers and an empty refrigerator.

I don’t mean to be a total bummer, so I’ll leave you on a lighter note — field notes from my first real Saturday night post-show sojourn at the Tempest (official BOA bar):

Really, I think the fact that I spilled beer all over myself while attempting to demonstrate the essence of some of the, er, “dancing” I do in Maybe Baby, and was proud rather than embarrassed, tells you all you need to know.

BOA 2012 runs for two more weekends! I’ll see you there.

A.M.P.

Keep checking back for more updates from Annie Paladino as she navigates the waters of this year’s Bay One Acts Festival. To find out more about them, including everything you could want to know about Program 1, go to http://www.bayoneacts.org.

Field Notes from a BOA Virgin: Highly Scientific Data — I Haz Dem

Annie Paladino continues her report from the BOA front lines… 

So, BOA 2012 happened.

No, wait, just kidding! It’s STILL happening!

What DID happen was that, in less than a week, two full programs composed of 10 amazing one-act plays were loaded-in, teched, and rehearsed (lather, rinse, repeat). This past Sunday, both programs had their first performances. Since the play I am in, Maybe Baby, is in Program 2, I can only speak from that experience- which was LOVELY!- but seriously: just try to imagine TEN CASTS AND CREWS getting their shit together, tech-wise, in like, 4 days. Oh wait, YOU CAN’T, because IT SOUNDS IMPOSSIBLE. But… it happened! I promise! With little-to-no heartbreak, tears, hair-ripping, etc.!

Let the following facts and figures fill you with awe:

– Number of set changes in Program 2: 4

– Number of times we rehearsed the set changes during dress rehearsal: 3

– Number of actors in Program 2: 23

– Ratio of men to women in Program 2: 6:17 (including two separate plays with a cast of just two women — this is significant and awesome!)

– Sweat-intensity level in the overwhelmingly crowded backstage area: off the charts

– Average number of eggs cracked during each performance of Maybe Baby: 4-6

– Yolky-stage rating for the weekend: low (only one incidence of spillage)

– Number of teapots used in Maybe Baby: 9, plus one teapot-dog-puppet

– Average number of pushups done by the women in Maybe Baby (myself included): 20-25

– Number of splinters in bare feet thus far: ZERO, despite vigorous mash-potato-ing (the dance step — no actual cooking involved, sorry) (knock on wood)

– Number of bathrooms for the cast, crew and audience: 1 (plus one secret bathroom for cast/crew shhhh!)

– Number of minutes I have personally spent waiting in line for the bathroom: 15… so far

– Injury rating from the weekend: I may or may not have given my scene partner a fat lip during fight call before dress rehearsal

– Personal excitement level for seeing Program 1 (which I expect to do this weekend): SKY HIGH

– Number of performances before the cast of Maybe Baby reverted to high school theater and started trading back massages backstage during Act I: …zero

In sum…you don’t want to miss BOA 2012.

Until next week…

A.M.P.

PS. Wednesdays and Thursdays are PAY-WHAT-YOU-CAN: perfect for all you broke-asses!

Annie will be back next Tuesday with more sassy backstage commentary. Meanwhile, if you want to know more about BOA 2012, check out http://www.bayoneacts.org for showtimes, tickets and more! 

The Cast of “Brainkill” Tells All

In the latest of our series of articles on “Brainkill”, this year’s Theater Pub contribution to the annual Bay One Acts Festival, we chat with the cast about what it takes to put together a new work, what makes them tick and how many eggs you have to crack to get an omelet.

All right cast of “Brainkill”. Who are you?

Dave Levine: I am a San Francisco native, a big fan of puns, and love spending time in the sunshine. I love good jokes and if you ask nicely, I’ll tell you one, or five.

Theresa Miller: I love cooking, acting and watching squirrels in Golden Gate Park. I grew up in Santa Monica, went to school at Sonoma State and now happily live in SF. By day, I act as a patient for medical students where I get to have babies, weird infections and hang out in hospital gowns.

Travis Howse: I’m a recent graduate of SFSU, an actor, a puppeteer, a techie, a clown, and at the moment, a professional grilled cheese maker.

Kate Jones: I’m a Chicagoan who moved to SF based on a gut instinct 4 1/2 years ago.  I love acting more than candy (and I really love candy) and have been involved with theater – improv, sketch, drama, etc., since I could talk. Oh, and during the day I manage travel industry sales at the amazing California Academy of Sciences!

Giovanna Arieta: I’m an ultra-sensitive, laughter enthusiast who flosses twice a day. Seriously.

Dave Levine plays Bobby.

And have you ever worked with Theater Pub before, or been a part of the Bay One Acts Festival? Or both?

Giovanna Arieta: This is my first time working with Theatre Pub and BOA.  I’ve worked with Sara Staley in NCTC’s Youth Aware program and Sheherezade X.  She’s a fabulous director so I know if she’s involved in a project, it must be amazing.

Travis Howse: I haven’t worked with either group before. I have worked with Stuart Bousel before, on Juno En Victoria and last year’s Olympians Festival. I’m very excited to begin what I’m hoping is a long relationship with both the BOA festival and Theater Pub.

Theresa Miller: For Theater Pub, I was in the Greek plays The Congresswomen and Helen. I suspect that Stuart just likes dressing me in sheets. This is my fourth BOA. Our fabulous director, Sara Staley, directed me in BOA ’08, where I was proud to play Object #1. Last year in the festival I was a God freak and three years ago I played a devil.

Kate Jones: I just did Theater Pub for the first time this year (January’s Occupy Theater Pub!), which was such a fun experience, and this is my very first BOA!

Dave Levine: This is my first time acting with both Theater Pub and BOA.

What’s got you excited about being in this year’s BOA Festival?

Travis Howse: I love working with new people. New directors, new actors, and new writers all add to a person’s growth. It is always fantastic to work with such a large group of people on so many different projects and new scripts.

Theresa Miller: Getting to collaborate with a bunch of talented and creative artists has got me pretty pumped too! We had a big table read back in March, and there was this excited energy in the air. I’m thrilled to see how it all comes together.  I also LOVE Brainkill and working with Sara, Dave, Kate, Giovanna, Travis and Stuart. I’m looking forward to seeing how it is received.

Dave Levine: All of the acts are bringing something so new to the table. They’ve all got such style and flavor, their own blend of spices, so I’m excited to see the delicious contrast between the pieces. From what I’ve seen so far, I can’t wait for a taste!

Kate Jones: Ohmigosh, I am so thrilled to be in BOA.  So excited in fact that I am taking a night off from performing in my own show (PianoFight’s ForePlays) that I produce so that I could be involved.  I can’t think of anything more wonderful than being surrounded by so many talented writers, directors and actors, and I feel very lucky to be included in this group.  Hopefully this is my first of many BOAs!  Also, I really loved this piece, Brainkill, and after reading my characters monologue I couldn’t wait to perform it on stage.

Giovanna Arieta: Being in the original cast of any show is an honor, but with Brainkill it is particularly so because the characters give breath to such a raw depiction of human kind.  The script says the characters can be any race, age or sex, so it is exciting to create character that that could have been cast in a completely different way.  Every Carmen will be different.  I am excited to introduce the audience to MY Carmen.

Giovanna Arieta plays Carmen.

So what is this play about?

Dave Levine: Brainkill is a bit of an onion. From the get go, you meet characters that are pressed by their incredible wants and needs as well as the world they live in. We can see what drives people at a very basic level, and sometimes, the terrible places they go because of it. In the end, we all have to come to face up to who we are and what we’ve done. But more than anything, Brainkill is about eggs.

Travis Howse: I think it’s a play of extremes. It’s about extreme bad and extreme good, extreme chaotic and extreme lawful. It’s about being trapped by those extremes. And it follows one character as he tries to find a balance between those extremes, and we get to see those struggles play out.

Giovanna Arieta: Brainkill shows, in a very sassy and fun way (if I do say so myself), the potential that we all have to be greedy, vulnerable, evil and hyper-sexual, especially in desperate situations.  One person might see the show and relate it to their social circle and someone else might relate it to the world as a whole.

Kate Jones: I really think it speaks to the greed and need for material items in today’s world.  We are all at fault – myself definitely included – but it is important to remember what we should really value and hopefully that is not just “stuff.”  I think this is an extreme way of looking at what the world could become if you take a high contrast, without the grey, and look at society.

Theresa Miller: It’s about different value systems and moral codes, friendship, power, choices, understanding ourselves, what drives us… and Eggs.

Theresa Miller plays Alex.

And who do you play in this show?

Giovanna Arieta: I play Carmen.  She (Or “it,” perhaps?) is objective, steady and without opinion.

Travis Howse: I play Elliot, and Elliot falls into that extreme good category. He is optimistic to the point of delusion, and has a constant desire to help everyone around him. He is like that friend we all have that constantly says, “no worries man, its a beautiful day”. He is attracted to Bobby because Bobby is struggling. Elliot feels that not only can he help Bobby, but he has to help Bobby.

Dave Levine: I play Bobby. He is sweet, unfortunately for him not the sharpest knife but unexpectedly strong in his determination to escape from a life he didn’t mean to fall into. I look at Bobby as a personification of something we all wish we could have done over again and done right.

Theresa Miller: I’m Alex and Alex is Terrifyingly Awesome. She’s powerful, aggressive, manipulative, violent, impulsive and super hot.

Kate Jones: I play Darcy and  I really feel for Darcy. Her character is one that I think people can relate to though they may not want to admit it.  She wants to be wanted and she thinks that having stuff makes her desirable so she will do anything to get it and must constantly have more.  The unfortunate result is that she looses her own values and who she is in order to become what she thinks other people want.

Got a favorite line?

Travis Howse: “I am free”. The line doesn’t make much sense out of context, but it is such a powerful statement in the realm of this play.

Kate Jones: Oh gosh, I have several.  Out of my character’s lines, I really like “”I have never had an ulcer but I know it feels like an empty hole in your gut where other people’s stuff is supposed to be.”  It really shows how much people in this society have lost their own sense of self and who they are is defined by their material items.

Theresa Miller: Too many favorites! Top 3: “I want a fucking omelet. Don’t you want an omelet Bobby? “So put Darcy out of Darcy’s misery” and “Let’s fuck”, which is still kinda scary to say, but I love it!

Dave Levine: I love ‘We’re carrying guns!’ It’s such a delicious verbal joust.

Giovanna Arieta: “Why doesn’t my character have more lines?”

Kate Jones plays Darcy.

So when you’re playing a part, how do you go about getting into the character’s head?

Dave Levine: After I read the script, I go back and sift through trying to find any major or defining moments for the character. What was their motivation and why did they make those choices? It’s important to understand what type of person would choose to live that way. Once I have an understanding for those moments, I can expand on who that character is and step into their skin.

Travis Howse: Honestly, the first thing I do is say all of my lines out-loud. Before a first read through, I’ll sit in my room and speak. Reading the words is one thing, but saying them gives you the feeling of being the character. It starts to train your mouth to talk like the character, and familiarizes your mind with the character’s. It’s difficult to explain without sounding pretentious.

Giovanna Arieta: I define the character’s point of view.  I believe a person’s perspective of the world is the most revealing thing about her.

Kate Jones: I try to understand what the character wants and then why the character wants whatever it is they want.  I can usually find something to identify with based on my own personal wants and needs.  We are all willing to go to different extents to get something that we feel is necessary to our being.

Theresa Miller: I ask why is this person saying this? If the script is well-written, the answers are there in the text. I understand who they are and what motivates them by looking at what the writer gives me.

So in light of THAT, what’s the greatest challenge with playing this character?

Kate Jones: How she can seem one dimensional at points.  But if you look deeper, you can see the sadness, see how she is breaking down and see how she is a little part in all of us.

Giovanna Arieta: Carmen lacks emotional connection to any of the other characters, which makes her very different from any other role I have ever played.

Dave Levine: Bobby is a ton of fun. I don’t really see anything at the level of ‘greatest challenge’, but I did spend a fair amount of time memorizing the repeating and reflexive lines, as well as all the ‘but’ and ‘what’ lines. Those were pretty tricky.

Theresa Miller: I’m enjoying the challenge of making Alex relatable. Her ideas are so out there that she could easily be written off as an evil lunatic. My challenge has been to find the humanity in her and make her real.

Travis Howse: I tend to have a more cynical view of the world and of people, so I’m constantly looking for the negative aspects of any character. In Elliot, I am naturally looking for the ways in which he is a bad person. But after talking with Stuart and Sara and really dissecting the script it is clear to me that Elliot really is the embodiment of a good person. Even though some of the things he does are for somewhat selfish reasons, his heart is always in the right place and his actions are always helping someone else. So the biggest challenge I’m having so far is trying to keep my own prejudice out of Elliot’s personality.

What’s a part you’ve always wanted to play, or an actor whose career you’ve always admired?

Kate Jones: Wow, great question!  I tend to steer on the comedic side. My dream would be to star on a comedy TV series so this might not be very theatery but I would love to take the path of Julia Louis Drefus – SNL, Seinfeld, New Adventures of Old Christine – yes, yes, yes!

Giovanna Arieta: Karen Walker from Will & Grace.  Cam from Modern Family.  Veronica Corningstone from Anchorman.

Dave Levine: I don’t have my sights set on anything specific right now, but I would like to play a character like Gene Wilder’s in Willy Wonka and the Chocolate Factory, Johnny Depp in Ed Wood, or Nathan Lane in The Birdcage. Something along those lines.

Travis Howse: I’ve always wanted to play the Emcee from Cabaret, which is unfortunate because I can’t sing very well.

Theresa Miller: My dream is to play Portia from Merchant of Venice in rep with Pantalone- the commedia character who’s the ultimate crotchety, sex-starved, miserly old man.  I love how they’re opposites!

Travis Howse plays Elliot.

What’s something else going on in this year’s festival you’re really looking forward to seeing?

Theresa Miller: I’m especially excited to see A Game and I.S.O. Explosive Possibility, which are both in Program 2.

Travis Howse: I’m looking forward to I.S.O. Explosive Possibility, because I’m a huge Claire Rice fan, absurdly huge, and she’s directing it. I’m also really excited for The Seagull Project. I went to school with a lot of the performers and creators of that piece and it is always great to see classmates doing so well.

Kate Jones: Of course the PianoFight piece (In Bed) because I do love my theater group and our material and also those 3 Dumplings because I just get giddy at the thought of peaking inside Megan Cohen’s head.

Dave Levine: It’s my first BOA, so naturally, I’m a bit like a kid in a candy shop. If I had to choose, I can’t wait to see In Bed by Sam Leichter. I watched the reading and was totally blown away. It’s raw and very touching. I’m also really excited to see Three Little Dumplings Go Bananas by Megan Cohen for its unhinged hilarity as well as the ukulele playing in The Seagull Project by 11th Hour Ensemble.

Giovanna Arieta: Everything!  I know our show has come a long way since the first staged reading so I’m excited to see how all the other plays have evolved.

To find out more about the Bay One Acts, check out http://www.bayoneacts.org.

Director Sara Staley on “Brainkill”

Bay Area thespian Sara Staley will be directing “Brainkill”, by Stuart Bousel, for this year’s BOA Festival. The show is being produced by San Francisco Theater Pub, who is one of ten producing partners that make the festival happen. For more information on the festival, check out http://www.bayoneacts.org. For more information about Sara, just keep reading! 

So we know you’ve directed for Theater Pub in the past, but what else do you do out there in the Bay Area Theater Scene?

A lot. Since 2001 I’ve been the director of the YouthAware Educational Theatre program at the New Conservatory Theatre Center (NCTC). I’m also directing my first Pride Season show there, The Laramie Project: Ten Year Later, which will open March 31st and then go on tour in Northern and Central California in June with NCTC’s new Pride on Tour program. I directed my first show for Wily West Production last summer, and now this season I’m working as Artistic Producing Director with them. I’ll also be directing a Pat Milton play called Believers for Wily West that will go up in August. In my spare time, I like to produce and direct sketch comedy. I’m directing a sketch for PianoFight’s next Foreplays show going up in April, and working on the second show for Hot Mess SF, a new sketch group that I started with some very talented producer, writer, director and actor friends, that will happen the third weekend in May.

This isn’t your first time directing for BOA either. What have you done there in the past?

In 2008 I directed an eerie, twisted little play called Absolute Pure Happiness by Isaiah Dufort for Three Wise Monkeys. Theater Pub alum Theresa Miller, who is in Brainkill, was also in that show for me. I met Jessica Holt , who kicks booty producing the BOA festival, when she started working at NCTC directing for our Teen Summer Stock program. I designed sound for her show (one of the other theatre hats I wear), and we synced up well, so she asked me to sound design for one of the BOA programs in 2010. Then last year for BOA I was lucky to get to direct a lovely play called Twice as Bright by Daniel Health for the Playwrights’ Center of San Francisco, another local theatre organization that I worked with for several years.

How is this show, Brainkill, a potentially new experience for you?

The pace and the dialogue moves unlike any show I’ve staged before, but I think that’s also what attracted me to the play in the first place.

When directing, what steps do you go about to get “inside” a piece?

The plays I want to direct are the one’s when I read them the first time and the production immediately starts coming to life inside my head. I think having that initial vision or connection with a play is really important as a director. That makes the getting inside the piece part much easier because you don’t have to work as hard to get past the surface of the material. I try to learn as much as I can about the world of the play, but not so much that it distracts me from just telling the story, which is the essence of what we do as theatre artists. In a play like Brainkill, where the world of the play is less specific, I enjoy filling in the missing piece. I also enjoy the fact that it allows more flexibility as a director when the play takes place in a world where really anything can happen.

So what’s this thing about?

To me Brainkill is about the desire to fill the voids that this society creates for us with stuff, when really what we desire is a connection with other people. In a world where we are so very connected with technology, we are actually feeling disconnected from basic human interaction. Theater is wonderful because it not only creates community, but it can also provide society with the emotional catharsis and connection with other humans that we crave.

What speaks to you, or draws you in the most, about Brainkill?

I love the pace and the surprises in the script. Also, I tend to connect more with theatre that tells a story that comments on society in some way. To me, a good play will get audiences to think about society’s flaws and their own, and hopefully spawn a discussion about how we can improve things.

What do you see as the biggest hurdle to overcome to make this thing rock?

The fast paced dialogue will, I’m sure, be a hurdle for actors to get over, and the play shifts from scene to scene a lot for a one act which will be somewhat challenging to stage, but luckily the set configuration/design at Boxcar Playhouse this year gives me lots of options as a director.

What excites you the most?

I love a good dark comedy, and this one also feels very edgy and unique. I’m also really excited to work with the talented actors I’ve cast.

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

I hope it helps audiences look past the noise and the clutter in our world to pause and think about what is really important in our lives. As one character says in Brainkill, “There is so much more to life than stuff.”

What else in this year’s BOA Festival are you looking forward to seeing?

Really all the plays. BOA is such a fabulous collaboration of local independent playwrights, directors, actors and production companies. The BOA play I directed last year was in the same program as Megan Cohen’s play A Three Little Dumplings Adventure directed by Jessica Holt, and I grew very fond of that wacky play and it’s amazing cast, so I’m also looking forward to the next installment, Three Little Dumplings Go Bananas, this year.