The Real World Theater Edition: Interview With Rob Ready

Barbara Jwanouskos interviews Rob Ready about PianoFight, Theater Pub, Short Lived, and $5,000 in prize money!

I caught up with Rob Ready, the Artistic Director of PianoFight, this week to talk about ShortLived, the short play festival that includes 36 pieces by “indy artists of all stripes”.

The competition brings a $5,000 cash prize on the line as competitors duke it out over six regular season rounds and then one championship road. Each round lasts a week and has four performances. The short plays are scored by audience members and the highest scoring piece of each round clinches a spot in the championship round. We’re currently in week five of ShortLived with the championship round right around the corner. The winner will receive a full-length production in addition to the $5,000 cash prize.

Rob gave me background on ShortLived, how it compares to other new play development programs out there, and some of his favorite moments.

Barbara: What’s your background in theater?

Rob: Performing since I was a kid, school and community theater growing up, BFA from NYU Tisch and artistic directoring PianoFight ever since. I had gigs at ODC in marketing and Z Space in biz dev and producing random shows. Oh and I play a drunk Llama every year for Theater Pub. And THAT’S IT.

Barbara: How did ShortLived come about?

Rob: We were coming to the end of our first year running Studio 250 at Off-Market (our old venue), and were talking to Point Break Live about renting three months. We were stoked because it was our first year and we ran a ton of shows and after nine months we were tired. But then they took a tour of the space, said, “This won’t work.” And they bailed. So we had to come up with something that could fill three months and that we actually wanted to do. So we came up with ShortLived, a show that changed each week, and that audiences had a hand in deciding, and where the prize was legit – a full-length production the following year. It’s definitely a slog, but the experience of putting on new plays every week for three months is one that has shaped me as a performer and producer.


Barbara: What is the thing you like most about ShortLived and how have audiences reacted?

Rob: The instant community. You bring together a ton of very different artists, and they compete creatively – basically you don’t get any phoned in performances, because there are only four shows per round and there’s money and resources and bragging rights on the line. Watching your peers work to actively be better every night is a cool thing to see. When everybody else is pushing to be better, you push to be better, and there’s an interesting bond that comes from that.

On the audience side too, the act of scoring elicits real opinions and discussion from audience members who have a natural instinct to compare notes during and after the show. Because folks are directly asked to evaluate pieces critically, the chatter after shows tends to be pretty high level, so strangers who happened to sit next to each other in the show will end up having beers at a table after discussing why they scored one piece higher than another. Again, it’s another cool thing to see.

Barbara: How does it compare to other new play development opportunities/venues? What does it offer that others don’t?

Rob: I’m sure there are other festivals that do similar things to ShortLived, but seems like the main differences are that ShortLived:

– gets all 36 plays off book and on their feet
– provides critical audience feedback for artists
– has no submission fee =)
– is hyper local
– lets audiences decide the winner and which plays advance
– offers a legit grand prize of cash money AND a show

Barbara: Favorite moments – how about three, from ShortLived?

Rob: These are gonna be more personal for me, but here ya go:
– In ShortLived 2 or 3, Duncan Wold, Christy Crowley and I put together a 10-minute musical in one day. It didn’t win, but it did really well – and working that fast was very cool.

– Performing Kirk Shimano’s play Inner Dialogue in ShortLived 4. It took second place in ShortLived 3 in 2011, and because the rules were different, it performed every weekend for 13 weeks. So when we brought back the festival after 144 Taylor St opened, it felt like it was a good call to bring back that piece and enter it into the Wildcard Round. Hadn’t acted on stage with Dan Williams since we’d done the piece originally, so being able to perform with my friend and business partner in our new theater was pretty special.

– Producing Megan Cohen’s first play in ShortLived 1.

Barbara: Anything you’re looking forward to this time around?

Rob: The Finals. They are always amazing. They sell out like crazy, the plays are really strong, the crowds are amped, the performers are jacked too and the whole week is just really fun.

Barbara: Plugs/shout-outs for upcoming performances of friends’ work?

Rob: Adventures in Tech by Stuart Bousel and directed by Allison Page. Also Terro-Rama 2 by Anthony Miller and Claire Rice and directed by Colin Johnson. Maggie’s Riff, written by John Lipsky, adapted by his son Jonah with musical direction by his other son, Adam, directed by Faultline AD Cole Ferraiuolo. And yes – they are all here at PianoFight!

For more on ShortLived at PianoFight, click here!


Cowan Palace: Drowning in Beauty Beyond a Grand Victorian Soap Opera and Other Chats With Margery Fairchild

This week, Ashley’s talking to Margery Fairchild about her new production!

Quatre Pic

Featuring, Christy Crowley, Kirsten Dwyer, Katharine Otis, and Courtney Russell; Photo Credit: Basil Galloway

As we get ready to begin The Year Of Monkey and dive deeper into 2016’s second month, Dark Porch Theatre is preparing to kick off their new season! Pas de Quatre, opening at EXIT Studio in just a few days, is the poetic brainchild of Margery Fairchild who has spent years developing this work exploring the relationships between ballet dancers and their art.

Here to bring us further into the world of dancing, is the writer and director herself, Margery!

Please tell us a bit more about Pas de Quatre.

In 1845, Benjamin Lumley, the director at Her Majesty’s Theatre in London, had a brilliant idea; to bring together the four reigning Ballerinas of Europe and have them dance together. He also commissioned the famous choreographer Jules Perrot, to create the Divertisment (as it was billed) and the Pas De Quatre was the result of that collaboration. It is considered, along with La Slyphide and Giselle to be one of the seminal works of the Romantic Era in Ballet.

However, the mixing of these powerful celebrities with very distinct styles and personalities, proved somewhat volatile and many historians marvel that it even made it to the stage! Perrot had been married (and divorced) to one of the dancers, partner to two and Ballet Master to all. The dancers themselves had been subjected to incredible public scrutiny and as manufactured as their rivalries were, it still had a distinct impact on their working relationships.

The story has all the makings of a grand Victorian soap opera, but my goal with the project was to dig beyond that temptation.

How has the production evolved since you first began working on it?

I wrote Pas de Quatre as a screenplay in 2002, but it travelled to the back burner. In 2012, I wrote PDQ as a full Two Act play with a cast of 8, which had a staged reading as a part of DIVAfest. In 2014 PDQ morphed into a 50 minute long experimental dance/theatre piece and had a 4 performance workshop at DIVAFest. After several revisions and a new cast, it will debut as part of Dark Porch Theatre’s 2016 residency at Exit Theatre. It’s not a straightforward narrative. The story is deconstructed and organized to parallel the actual music score of the Ballet, a format that allows for greater exploration in the storytelling and character investigation.

As the show focuses on the relationship that forms between ballerinas and ballet, can you tell us a little bit more about your relationship and background with ballet?

I studied Ballet for 9 years at The Boston Ballet and I had a love/hate relationship with the experience. Ballet, like all Fine Art studies, created a foundation of discipline and dedication, but it was also incredibly difficult. While putting your body through the transformation needed to achieve the lines and perfection of the craft, one must deal with a lot of pain and disappointment. I never had the right body and feet to continue as a professional, but I still put myself through it out of love. I quit Ballet at 17 after multiple back and neck injuries. It took a couple years before I started studying Modern Dance in college and began to identify myself as a dancer again. Now as an actor and director, I’ve always recognized the edge and vision that as come from my formative training.

While the show may take place in London, 1845, what do you think San Francisco audiences in 2016 will most relate to?

The Dancers, like ghosts, almost appear as if summoned by the audience themselves and once conjured, they must play out their stories. The history is important, but it is not the lesson of the story, it’s about the people themselves. We connect to human stories, in so far as history repeats itself and we find ourselves navigating the same conflicts and trials despite the Age. I suppose that’s why I’m always drawn towards historical re-imaginings, because there’s so much to learn from it.

What’s been the biggest challenge in bringing this show to its feet?

The biggest challenge was casting. Finding actors with the dance/ movement background to pull off the physical requirements. Ballet isn’t something you can fake. I needed to craft the Play in a way that could accommodate different levels of strengths, but ultimately balance them.

What’s been your favorite moment of mounting this production so far?

The question: “Why do we put ourselves through this?”, being answered one night during the tail end of a Monday Night rehearsal, when the cast has had a collective breakthrough despite their exhaustion and you’re left smiling in wonder. The inevitable doubts being answered by the creative process itself. It keeps us coming back again and again!

What’s your favorite local place for a post show drink/snack?

I like to shake it up! PianoFight and the White Horse are the usual destinations these days.

What’s next for Dark Porch?

Dark Porch Theatre will be presenting the darkly hilarious The Diplomats! Written and Directed by DPT’s co-artistic director Martin Schwartz. It will run through the month of May on the EXIT Main Stage.

What’s next for you? Any projects you’ll be working on in the future or shows you’re excited to see?

I’ll be performing in and co producing The Diplomats in May. I’m also involved in the final shooting phase of the feature film, To No Good End, which I’ve co created with my fiancé Kindrid Parker… And then we’re getting married!

As far as shows I’m excited to see? I’m honestly overwhelmed with the wealth of good Indy theatre/dance/performance happening in this town right now, despite the struggles that artists have faced to stay here. Between Exit Theatre, PianoFight, CounterPulse all on the same block, it’s proof that we’re holding our own!

In 160 words characters or less, why do we need to see Pas de Quatre?

This play is only an hour and you will spend the entire 60 minutes drowning in beauty!

And, it gets even better Theater Pub readers! Margery has offered a special discount code for you! To get it, use: Code: DPTdiscount16; Discount: $10 off per ticket ($15 tix)!

Pas de Quatre runs Thursday – Saturday, February 11 – 27 at 8:00 p.m. with an additional matinee performance at 3 p.m. on February 20. For tickets and more information, please visit