Introducing The Directors Of Pint Sized IV! (Part One)

Pint Sized Plays IV is back tonight for it’s third performance! This year our excellent line up of writers is supported by an equitably awesome line up of directors, so we thought we’d take a moment to introduce some of them and find out more about who they are, what they’re looking forward to, and how they brought so much magic to this year’s festival.

Tell the world who you are in 100 words or less.

Charles Lewis III: I’m one of those rare “San Francisco natives” you’ve heard about in folk tales. The combustible combination of Melvin van Peebles, Cyclops from X-Men, and a touch of Isadora Duncan for good measure. I love the machine gun-like clatter of my typewriter. I don’t drink coffee, so I’m considered weird… in San Francisco. I still buy all of my albums on CD. Bit of a tech geek. I love celluloid. Shakespeare made me want to act, direct, write, and bequeath “my second-best bed” to an ex after I die.

Meg O’Connor: By night, I am a playwright and improviser who occasionally directs and acts. By day, I am marketing and client-relations extraordinaire for an immigration law firm.

Adam Sussman: East Coast refugee from Boston enjoying the long-haired devil-may-care atmosphere of the Bay. I’m a director, writer, dramaturge and occasional performer who recently left a decade long career in community health/harm reduction to focus on theater. I work with Ragged Wing Ensemble in Oakland and produce work through my company “Parker Street Odditorium.” Like us on the Facebook!

Adam Sussman: Devil May Care

How did you get involved with Theater Pub, or if you’re a returning director, why did you come back?

Charles Lewis III: Way back in January 2010 I was in a production of William Inge’s Bus Stop at the Altarena Playhouse. My co-star lovely and talented actress named Xanadu Bruggers. When the production ended she asked all of us in the cast to come see her in an “anti-Valentine’s Day show” taking place at a café in The City. I was hesitant as I had some bad memories of performances in bars and cafés, but I still went to see SF TheaterPub’s second-ever show: A Valentine’s Day Post-Mortem. I went back the next month and that summer I was in their multi-part Sophocles adaptation The Theban Chronicles. That Autumn I was in their Oscar Wilde and HP Lovecraft show and in December I both performed in and co-wrote their first Christmas show. And I’ve been a regular attendee ever since.

Adam Sussman: Stuart (Bousel) asked me, and after reading through the great scripts and being sweet-talked by the puckish Neil Higgins, how could I say no?

Meg O’Connor: I have known the artistic directors since they were dreaming Theater Pub up, and first directed with them for The Theban Chronicles. I have directed in every Pint Sized (and produced the very first). I guess you could say I’m addicted (but I can quit whenever I want).

Meg O’Connor Can’t Quit You… Or Can She?

What’s been the most exciting part of this process?

Meg O’Connor: Reading the scripts for the first time, and getting a sense of the vibe of this year’s festival is my favorite part. And getting to see each script realized is really rewarding.

Adam Sussman: Being able to see the piece come to life form page to stage. Typically this is a cop-out answer, but “Mark +/-” is so complicated that the script is literally in spreadsheet form since there’s so much overlapping dialogue and precision timing. So the metamorphosis from text to performance in this case had an extra element of difficulty and therefore excitement.

Charles Lewis III: No matter how sure you are about a production during rehearsal, there is always a way to be blind-sided by the audience. Being a director for one script (Sang Kim’s The Apotheosis of Grandma Shimkin) and actor in another (Megan Cohen’s The Last Beer in the World), it’s been trippy to hear the audience give a slight chuckle to one thing, but erupt with laughter at another.

What’s been the most troublesome?

Adam Sussman: I wanted a very specific set of gestures that all three Marks shared, but these gestures are only interesting if they are nearly identical rather than merely similar. So there was one rehearsal where I had to play “gesture cop,” calling out even small discrepancies from the agreed upon gestural choreography.

Charles Lewis III: I’ll just say that the recent BART strike made for a… unique experience in travelling to and from rehearsals.

Meg O’Connor: Rob Ready. What a diva.

Would you say putting together a show for Pint Sized is more skin of your teeth or seat of your pants and why?

Charles Lewis III: Apotheosis was definitely the latter. We had a very short turnaround from my coming on as director to the first performance. We only locked down the cast about a week before opening. Given the logistics and technical aspects of the piece – two actors who are seated through most of it, no major lighting cues – you might think it wouldn’t be all that much trouble. But when your first question to a potential actor is “Can you learn eleven pages in a week?” and you have only two rehearsals to get the verbal rhythm down, pick costumes, and more, then you realise it’s crunch time.
I just told myself that we were working with the same timetable as the average SNL episode, except our best writers aren’t talked about in past tense. I’m both pleasantly amazed by what everyone put together in such a short amount of time.

Adam Sussman: Seat of pants. Little time and no resources is always an exciting place to start with a theater piece. Skin of your teeth implies a close call, a bad mindset to begin a process with.

Meg O’Connor: Seat of your pants. Lots of last minute changes, lots of rolling with the punches. I’m lucky my cast were such bad-ass pros.

What’s next for you?

Adam Sussman: I’m directing (and appearing in) a beautiful piece for Fool’s Fury Factory Parts Festival written by Addie Ulrey. In the fall I’ll be directing a site specific ensemble piece written by Anthony Clarvoe for Ragged Wing Ensemble.

Meg O’Connor: I, intentionally, have very little going on until November – which is awesome. Two of my short plays (The Helmet and The Shield) will be featured in the Olympians Festival (http://www.sfolympians.com/) and I’m also getting hitched this November – eek! Also, my improv team, Chinese Ballroom, is included in the SF Improv Fest this year, the evening of Sept. 18th.

Charles Lewis III: Acting-wise, I’m pondering a couple offers and just accepted my first role for 2014. Writing-wise, my own blog (TheThinkingMansIdiot.wordpress.com) is up and running again. I’m also putting together some long-in-development scripts. And I plan on taking part in the 31 Plays in 31 Project this August. Directing-wise, I’ll once again be a writer and director for The SF Olympians Festival. Good stuff comin’ up.

What are you looking forward to in the larger Bay Area theater scene?

Charles Lewis III: “Transition” seems to be the word du jour and I can see why – it seems that everyone is making changes (hopefully for the best). I’m about to make one that’s been coming for some time. I think it’ll be beneficial to my theatre work in the long run and I’m looking towards the future with cautious optimism.

Charles Lewis III: Epitome of Optimistic

Meg O’Connor: No Man’s Land at Berkley Rep…mainly because I have a lady-boner for Ian McKellen AND Patrick Stewart.

Adam Sussman: So many things. I’m looking forward to seeing the other work at the Factory Parts festival including new pieces by Fool’s Fury, Joan Howard, Rapid Descent and Elizabeth Spreen. My good friend Nathaniel Justiniano is throwing an amazing benefit called “Cure Canada” for his fantastic group, Naked Empire Bouffon Company with a helluva line-up of performers, I’m also hoping he’ll do a homecoming production of his ingenious piece You Killed Hamlet or Guilty Creatures Sitting at a Play which has been touring Canada this summer. I’m excited to see Rebecca Longworth’s O Best Beloved at the Fringe this year, Bonnie and Clyde at Shotgun and Performing the Diaspora at Counterpulse.

Who in the Bay Area theater scene would you just love a chance to work with next?

Adam Sussman: Shotgun Theater, I’ve been lucky enough to have Artistic Director Patrick Dooley as a mentor through the TBA Atlas Program. I really love the work Shotgun does and how smart they are about building audiences while taking big artistic risks.

Meg O’Connor: I’m pretty excited about PianoFight’s new space and I get the sense that is going to be a fun group and space to work with.

Charles Lewis III: Too many to name. I wouldn’t mind if they answered with my name to the same question (hint, hint). TheaterPub has been a wonderful networking tool for all who attend; point in fact, it’s a contributing factor to my aforementioned transition. No matter what incarnation TheaterPub takes after this, I value the relationships I’ve made here and look forward to continuing them for some time to come.

What’s your favorite thing to order at the Cafe Royale?

Meg O’Connor: You’ll typically find me with a Boont Amber Ale in my hand, but I’ve been having a fling on the side with Hitachino Nest White Ale.

Adam Sussman: Duvel.

Charles Lewis III: Red Stripe. Crispin. Pilsner. Stella, back in the early days. Whatever glass of wine I’ve bought for Cody (Rishell) in the past. In fact, whatever drinks I’ve bought for folks at the Royale. ‘Cause in the end, the drink isn’t nearly as important as raising your glass in a toast with great people.

Don’t miss Pint Sized Plays IV, playing tonight and two more times this month: July 29 and 30, always at 8 PM, only at the Cafe Royale! The show is free and no reservations are necessary, but we encourage you to get there early because we will be full!

Proud Paduans

ChiRounding out our series of interviews with the cast of Taming of the Shrew, we have Jan Marsh, Vince Faso and Sarah Stewart, who essentially play the people of Padua, the city where Shrew takes place. Each of them plays an essential part, with Sarah in particular playing a key character who has less than a dozen lines in the play. But supporting roles are still critical roles in this play, and each of these folks brings more than their share to the table.

So who are you, in 100 words or less?

Jan: Good question. The answer changes daily.

Vince: I’m an Oakland resident and have a degree in Performing Arts & Social Justice from the University of San Francisco. I have performed with many companies around the Bay Area and enjoy the occasional stints as a director and playwright. During the day I teach middle school Drama at Redwood Day School in Oakland where we’re currently in rehearsals for “Joseph and the Amazing Technicolor Dreamcoat.” My other love is improv and I’m a proud member of Chinese Ballroom Comedy Improv.

Sarah: I am a mom, an engineer, a musician, and now happily again – an actor! I strive to find balance in life and to enjoy the good things that come my way. I feel incredibly blessed to live in San Francisco, where just tonight I watched the sun set from Ocean Beach. I enjoy playing music for toddlers in my spare time at a weekly tot jam, doing yoga, and hanging out at the playground with my family.

How did you get involved with Theater Pub?

Jan: I had worked with Meg O’Connor at Playwrights Center of San Francisco. She was directing Theban Chronicles for Theater Pub and her choragos dropped out so I replaced her.

Vince: I also performed in the Theban Chronicles several years ago and have been a fan since. I’m glad to get a chance to perform in a full Theater Pub production.

Sarah: The director (Stuart Bousel) is one of my oldest friends. I have seen many of his shows & have always dreamed of performing in one. Stars aligned for me to be a part of this show, and I have Stuart to thank for making it happen.

What do you love about being in a Theater Pub show?

Jan: Working with Stuart Bousel.

Sarah: I love this cast and the director! Everyone is so talented, professional and fun! And I love how accessible Theater Pub is!

Sarah Stewart: Ray of Sunshine

Vince: The talent is impressive and the atmosphere is exhilarating. The audience is so much a part of the show, and it reminds me of improv.

What do you see as the biggest challenge?

Vince: The audience is so much a part of the show, and it reminds me of improv.

Sarah: The short time frame. This play came together over a few weeks.

Jan: Synching the show/cast’s needs with the Pub’s needs.

Tell us about your character- who are they, what do you love about them, what do you hate?

Jan: Baptista is a mother who wants to provide for her daughters; one has many suitors and can choose the highest in a bidding war, the other is valued by her mother, but not the market. A man comes who understands Katherina, knows how to deal with her, marries her, and facilitates change for her. Baptista makes the best of all possible deals for Bianca, who then ruins it and the family by marrying her tutor. In the long run, Baptista gets what she wanted for both of her daughters, one of whom shows her true colors, the other of whom comes to herself. I like Baptista’s fierceness, and enjoy playing her dualities.

Jan Marsh: Fierce

Vince: Hortensio is a guy who can get things done (or can put you in touch with someone who can). He’s traveled extensively and soaks up experiences like a sponge. I like Hortensio for his quick, fearless wit and how he moves seamlessly between every plot in Shrew.

Sarah: The Widow marries Hortensio after he loses Bianca. She is wealthy. I think she is a bit ahead of her time as a liberated woman (this is what I love about her). She gives her husband a hard time, but is also disturbed by Katherina’s scolding tongue. I hate (strong word) that there isn’t more time to get to know the widow, she is a brief part of the play.

Tell us about Padua, since all your characters live there. What’s it like? Good schools? Housing market?

Jan:Pretty churches, nice river, good economy, great university.

Sarah: I imagine Padua to be similar to Tucson, AZ. There is a rancher, there is a university, there is a lot of drinking and dating of the same people. Average people can afford to have decent places to live.

Vince: Padua is a small, well-to-do town. The kind of place that thinks very highly of itself and resembles larger cities on a smaller scale. Seems like a place where most folks know each other and there’s only one of each occupation.

Each of you plays key supporting characters- what’s the best thing about having a “supporting role”?

Sarah: Less lines to learn! And a great opportunity to learn from watching
the other actors.

Jan: Every cog is important in any play, but Shakespeare even more so than normal. I am small, but I must turn precisely in order for it to work.

Vince: It’s one of the toughest things to do in theatre but sometimes it’s fun to be on stage and not be the center of attention; simply being present in the moment.

Vince Faso: Motivating Like A Champ

One of your characters, the Widow, doesn’t have a name in the script. What do you think her name actually is?

Sarah: I’d like to name her “Gloria” (after Gloria Steinem).

Vince: Florence Isabella Domenico-Bernelli-Pontedra-Lombardi-Giovanni-Francesco-Farfalle.

Jan: Girrlfriend!

What’s your favorite line in Shrew?

Vince: “Better once than never, for never too late.”

Sarah: “He that is giddy thinks the world turns round.” –The Widow

Jan: I like that it starts out with “…good pastime toward….wonderful froward”, and ends with “…children are toward…women are froward”. Kind of a Shakespearean chiasmus.

What’s your favorite beer at Theater Pub?

Sarah: Anchor Steam.

Vince: Brother Thelonius Belgian Style Abbey Ale.

Jan: Well, I don’t drink, but have had their Australian blood orange soda.

Join us for the last two performances of Taming of the Shrew- tonight at 8 PM and Wednesday at 8 PM, only at the Cafe Royale.