The Real World, Theater Edition: An Interview with Alan Olejniczak

Barbara Jwanouskos interviews, Alan Olejniczak about his upcoming show, “Present Tense.”

I had to feel instant comradery with Alan Olejniczak and having a complicated last name with a silent “J”. In case you were wondering, Alan gives you a little tip on his website on how to pronounce his name, which I’m totally going to steal for my own forth coming website.

“How in the heck do you pronounce that last name?”
OH/la/KNEE/check

We had the chance to bond over email about opera libretti. I was inspired by Alan’s story of the serendipitous outcome of a little facebook post he put out to the world when he had submitted to a company he admires that actually didn’t take unsolicited playwriting submissions. Partially because while I make adjustments to my own playwriting trajectory, I’m feeling the need to be bold and put myself out there more and more.

What follows is my email exchange with Alan. I am looking forward to meeting him, geeking out about Pearl S. Buck and of course, seeing his plays.

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Babs: I’m interested in people’s trajectory into writing. Tell me how you got involved in the Bay Area theater scene. Did you come in originally as a playwright? Was anything an impetus?

Alan: While I have a BFA with a focus in Performing Arts, I studied the classics but had little idea of how plays were written or even developed. Up to that point, I never considered the idea of writing one. About six years ago, I saw a developmental reading of a play by Lauren Gunderson at Marin Theater Company. I was inspired and strangely determined to write one myself. After all, how hard could it be? For me, playwrighting has become a passion and continues to be the most difficult and most rewarding personal endeavors I have ever undertaken.

Babs: This tends to be such a loaded question, but do you think you have a writing style, and if so, what is it like? How would your friends describe your writing and the subject matter that you’re attracted to?

Alan: It’s too early for me to claim any particular writing style, and in many ways, I’m still finding my voice. I enjoy writing dramas and I’m naturally drawn to mythology and the stories of powerful historical figures. My work has been described as classically-styled, intellectual, but most often, operatic. I believe theater should be distinct from film and I’m not always attracted to realism, despite Present Tense being written this way.

Babs: Tell me about your upcoming production of “Present Tense” at ACT Costume Shop. What is it about? Where did it grow out of? What might we expect?

Alan: Present Tense is really my second play. It’s a play cycle of five separate vignettes. It’s about loving families and dilemmas that some us face. It’s drawn from personal experiences and those of people I love. The focus is on intimate stories rather than the grand and the characters are drawn from real life rather than archetypes. I wrote the Present Tense with my friend, Rik Lopes in mind and I’m thrilled that he is able to direct and perform in this play.

Babs: I read on your website that you are also very much interested in opera. Could you talk a little about that? What drew you to it and have you written any libretti, out of curiosity?

Alan: While working on my undergrad at UW-Milwaukee, I studied theater production, but outside of school, I sang in the chorus of the Florentine Opera Company. I graduated, moved to Atlanta, and didn’t sing again for another fifteen years. I loved working with the Atlanta Opera and sang three seasons before moving to California. For now, I simply enjoy being a season ticket holder with the San Francisco Opera.

I love opera and believe it’s one of the greatest western art forms. It combines the highest expressions of vocal and orchestral music with the greatest demands on stagecraft. Currently, I’m in the early stages of developing a play for We Players. It’s drawn from Greek mythology and combines spoken drama with song, spectacle, and dance. I’m excited for the opportunity to work with such amazing and dynamic company. My crazy dream is to adapt Pearl S. Buck’s “The Good Earth” into a grand opera.

Babs: I mentioned that this month’s themes are “luck and chance”. Can you tell me a story of how this might have intersected with your playwriting/theater trajectory?

Alan: Connecting with We Players was certainly serendipity. Last summer, I posted on Facebook that I foolishly submitted an unsolicited script to a company I love. Never a smart move, but I was feeling bold and guessed that my email was already deleted. By chance, my friend Arthur Oliver, who I worked with at the Atlanta Opera read the post and privately messaged me, asking which company it was? He knew Ava Roy personally and he really made this connection happen. I’m forever grateful.

Babs: What keeps you writing?

Alan: Humans have always had a deep need for sharing stories. It’s primal. We are also drawn to meaningful and satisfying work and playwrighting for me fills both of these needs. I find I’m most productive and inspired in the mornings. I wake early, make a pot of coffee, and write. Playwrighting, for me, has become literally the reason I get up in the morning.

Babs: Any advice for those that might want to write a play and have it produced?

Alan: Frankly, I’m still learning myself. However, I would say to write a play, one must learn the mechanics of dramatic structure and how to develop compelling characters and dialogue. You must also really love the subject of your play as it may take years to develop. Lastly be persistent and be open to thoughtful critique. I know the surest way to bring your play to the stage is to self-produce. Take the risk yourself rather than ask others. I remember speaking to Stuart Bousel who stated there is no right way to produce a play or be successful in theater.

Babs: Any plugs for anything of yours (or others) coming up?

Alan: Well, certainly We Player’s Ondine. I hope to work front-of-house on the production after the run of Present Tense. Ondine will be spectacularly staged at the Sutro Baths and will not be a show to miss. I would also recommend Patricia Milton’s Enemies: Foreign and Abroad with Central Works Theater. I’m also looking forward to Impact Theater’s Richard III and Piano Fight’s ShortLived.

PRESENT TENSE_Poster_draft 6 (Final)

You can find out more about Present Tense and ticket information at the ACT Costume Shop website. For news on Alan Olejniczak, check out his website at www.alanolejniczak.com.

Barbara Jwanouskos is a SF Bay Area-based playwright with an upcoming reading of her untitled punk play through Just Theater’s New Play Lab on April 28th. You can follow her on twitter @bjwany and now on Facebook.

Theater Around The Bay: Year-End Round-Up Act 1

Well, we’ve made it- the end of 2014! It’s been a tremendous year of learning and change, tragedy and triumph, and our eight staff bloggers are here to share with you some of their own highlights from a year of working, writing and watching in the Bay Area Theater scene (and beyond)! Enjoy! We’ll have more highlights from 2014 tomorrow and Wednesday! 

Ashley Cowan’s Top 5 Actors I Met This Year (in random order!)

1) Heather Kellogg: I had seen Heather at auditions in the past but she always intimidated me with her talent, pretty looks, and bangin’ bangs. Luckily for me, I had the chance to meet her at a reading early in the year and I immediately started my campaign to be friends. She also just amazed me in Rat Girl.

2) Justin Gillman: I feel like I saw Justin in more roles than any other actor in 2014 but I was completely blown away by his performance in Pastorella. What I appreciated so much about his time on stage was that underneath an incredible, honest portrayal was an energy that simply longed to be; there’s something so beautiful about watching someone do what they love to do and do it so well.

3) Kitty Torres: I absolutely loved The Crucible at Custom Made and while so many of the actors deserve recognition for their work, I really wanted to commend Kitty for her part in an awesome show. She had to walk the fine line of being captivating, but still and silent, while also not taking attention away from the action and dialogue happening around her in the play’s opening scene. And she nailed it. I met her in person weeks later in person and my goodness, she’s also just delightful.

4) Vince Faso: I knew of Vince but we officially met at a party in February of this year. I enjoyed getting to know him both in person and on stage but it was his roles in Terror-Rama that made me realize that Vince is like a firework; while the sky may be beautiful on its own, when he walks on stage, he naturally lights it up in a new way.

5) Terry Bamberger: I met Terry at an audition and she’s the opposite of someone you’d expect to meet in such an environment. She was incredibly kind, supportive, and while you’re hoping you get into the play, you start to equally root for her to be in it too. And after seeing Terry in Three Tall Women, it’s clear that she’s also someone who deserves to be cast from her range and skills alone.

Barbara Jwanouskos’s Top 5 Moments in Bay Area Theater Where I Admired the Writer

This year has been one of momentous changes. I spent the first five months completing the last semester of the Dramatic Writing program at Carnegie Mellon University and receiving my MFA. I moved back to Bay Area and since then, have tried to become enmeshed in the theater scene once again. I haven’t had the resources to see all the performances I would have liked, but this list puts together the top five moments since being back that I’ve not only enjoyed the performance, but I found myself stuck with an element of the show that made me appreciate what the playwright had put together. In no particular order…

1) The Late Wedding by Christopher Chen at Crowded Fire Theater: Chris is known for his meta-theatrical style and elements – often with great effect. I have admired the intricacy of Chris’s plays and how he is able to weave together a satisfying experience using untraditional narrative structures. While watching The Late Wedding, I found myself at first chuckling at the lines (I’m paraphrasing, but…), “You think to yourself, is this really how the whole play is going to be?” and then finding a deeper meaning beyond what was being said that revolved around the constructs we build around relationships and how we arbitrarily abdicate power to these structures. Then, of course, I noticed that thought and noted, “Man, that was some good writing…”

2) Superheroes by Sean San José at Cutting Ball Theater with Campo Santo: I was talking with another playwright friend once who said, “Sean can take anything and make it good – he’s a phenomenal editor,” and in the back of my head, I wondered what types of plays he would create if behind the wheel as playwright. In Superheroes, there is a moment where the mystery of how the government was involved in the distribution of crack unfolds and you’re suddenly in the druggy, sordid, deep personal space of actual lives affected by these shady undertakings. Seeing the powerlessness against addiction and the yearning to gain some kind of way out – I sat back and was just thinking, “Wow, I want to write with that kind of intense emotional rawness because that is striking.” I left that play with butterflies in my stomach that lasted at least two hours.

3) Fucked Up Chronicles of CIA Satan and Prison Industry Peter and Never Ending Story by Brit Frazier at the One Minute Play Festival (Playwrights Foundation): Clocking in at under a minute each – these two plays that opened the One Minute Play Festival’s Clump 6 after Intermission were among the most striking images and moments for me of that festival. Brit’s two plays were hard-hitting, pull-no-punches, extremely timely works that I just remember thinking, “Now that is how to tell a whole story in just one minute.” I was talking to a friend about the festival and he said, “Even though they were only a minute, it’s funny how you can tell who really knows how to write.” I totally agree, and the first plays that I thought of when he said that were Brit’s.

4) Millicent Scowlworthy by Rob Handel at 99 Stock Productions:
I was only familiar with Aphrodisiac and 13P on a most basic level when I decided to apply to Carnegie Mellon, but, of course, training with a working playwright and librettist, you can’t help but be curious about his other work. Though I hadn’t read Millicent Scowlworthy, the title alone was something that I figured I’d enjoy. Seeing the production this summer, I had another “So grateful I got to train with this guy” moment as I watched the plot swirl around the looming question that the characters kept on attacking, addressing, backing away from at every moment. The desperate need for the kids to act out the traumatic event from their past and from their community felt so powerfully moving. I understood, but didn’t know why – it was more of a feeling of “I know this. This is somewhere I’ve been.” And to me, what could be a better feeling to inspire out your audience with your writing?

5)
Year of the Rooster by Eric Dufault at Impact Theater: I’d met Eric at a La MaMa E.T.C. playwriting symposium in Italy a number of years ago. We all were working on group projects so you got less of a sense of what types of plays each person wrote and more of their sources of inspiration. I have to say, going to Impact to see Year of the Rooster was probably THE most enjoyable experience I’ve had in theater this year – just everything about it came together: the writing, the directing, the space, the performances… There was pizza and beer… But I was profoundly engaged in the story and also how Eric chose to tell it and it was another moment where I reflected, “where are the moments I can really grab my key audience and give them something meaty and fun?”

Will Leschber’s Top 5 Outlets That Brought You Bay Area Theater (outside of a theater)

5) Kickstarter: The Facebook account of everyone you know who crowd-funded a project this year. Sure, it got old being asked to donate once every other week to another mounting production or budding theater project. BUT, the great news is, with this new avenue of financial backing, many Bay Area theater projects that might have otherwise gone unproduced got their time in the sun. This could be viewed as equally positive or negative… I like to look on the bright side of this phenomenon.

4) Blogging: San Francisco Theater Pub Blog- I know, I know. It’s tacky to include this blog on our own top 5 list. But hey, just remember this isn’t a ranking of importance. It’s just a reminder of how Bay Area theater branches out in ways other than the stage. And I’m proud to say this is a decent example. There, I said it.

3) YouTube: A good number of independent theater performances are recorded for posterity. Theater Pub productions of yesteryear and past Olympians festival readings are no exception. I’d like to highlight Paul Anderson who tirelessly recorded this year’s Olympians Festival: Monsters Ball. Due to his efforts and the efforts of all involved, the wider community can access these readings. For a festival that highlights a springboard-process towards playwriting improvement, that can be a very valuable tool.

2) Hashtags: #Theater, #HowElseWouldWeFollowEachOther, #MyNewPlay, #YourNewPlay, #Hashtags, #KeywordsSellTickets

1) The Born Ready podcast: Each week Rob Ready and Ray Hobbs tear into the San Francisco theater scene with jokes and, dare I say it, thoughtful commentary. Looking for a wide spanning podcast that touches on the myriad levels of theater creation, production, performance and all things in between? Crack a beer and listen up! This is for you.

Charles Lewis III’s Top 5 Invaluable Lessons I Learned

This past year was a wild one; not fully good or bad. I achieved some career milestones AND failed to meet some goals. I got 86’d from some prominent companies AND formed new connections with others. With it all said and done, what have I got to show for it? Well, here are five things that stand out to me:

1) “Be mindful of what I say, but stand by every word.” I said in my very first official column piece that I had no intention of trolling – and I don’t – but when I start calling people “asshole” (no matter how accurate), it can run the risk of personal attack rather than constructive criticism. I’m trying to stick to the latter. And believe me, I have no shortage of criticism.

2) “Lucid dreams are the only way to go.” There are some projects, mostly dream roles, that I now know I’ll never do. What’s occurred to me recently is that I shouldn’t limit the creation of my dream projects to just acting. Lots of venues opened up to me recently, and they’ve set off cavalcade of ideas in my head. They might not be what I originally wanted, but it’s great to know I have more options than I first thought.

3) “It’s only ‘too late’ if you’ve decided to give up.” I don’t believe in destiny (“everything is preordained”), but I do believe in fate (the perfect alignment of seemingly random circumstance). I kinda took it for granted that the chances of me making a living at performance art had passed me by, then this year I was offered several more chances. Which ones I take is still in flux, it’s made me reassess what’s important to me about this art form.

4) “Burn a bridge or two. It’s nice to see a kingdom burn without you.” This year someone (whom I shall call “Hobgoblin”) tried to put a curse on me. Nothing magical, but more along the lines of a “You’ll never work in this town again” kinda curse. Years ago I might have been worried, but I knew his words were just that. Instead I threw back my head, started laughing, and said “Oh, Hobgoblin…”

Labyrinth_-_Sara_-_You_have_no_Power copy

5) “If you EVER have the chance to work with Alisha Ehrlich, take it.” If I had to pick a “Person of The Year” for Bay Area Theatre, she’d be it. I acted alongside her in The Crucible this year and when some of us were losing focus, she brought her A-game Every. Single. Night. Most of us can only hope to be as dedicated to our work.

Anthony Miller’s Top 5 People I Loved Working With This Year

There were way more than 5, but I just wanted these people to know how much I appreciated everything they did this year!

1) Colin Johnson: This fucking guy, he was a huge part of my year and the success of Terror-Rama. He’s a fantastic Director, resourceful as hell a never ending source of positivity and enthusiasm and a swell guy .

2) Alandra Hileman: The courageous Production Stage Manager of Terror-Rama. Smart, unafraid to give an opinion or tell an actor, designer director or producer “no”, in fact she’s fantastic at “No”.

3) Brendan West: Brendan is the Composer of Zombie! The Musical!, we had our first conversation about writing the show in 2007. Since then, it’s been produced a few times, but never with live music. Working with Brendan again to finally showcase the score live in concert was incredible.

4) Robin Bradford:  In the last 3 years, when no one believed in me, Robin Bradford believed in me. This year, I was lucky enough to direct staged readings of her plays, The Ghosts of Route 66 (Co-Written by Joe Wolff) and Low Hanging Fruit. I love getting to work with the amazing actors she wrangles and incredible work she trusts me with.

5) Natalie Ashodian: My partner in life, devoted cat mother and so much more, this year, she has been my Producer, Costume Designer, Graphic Designer, Film Crew Supervisor, Zombie Wrangler and Copy Editor. She is the best. The. Best.

Allison Page’s Top 5 Moments That Made Me Love Being A Theater Maker In The Bay Area

1) The Return Of Theater Pub: I just have to say it – I’m thrilled that Theater Pub’s monthly shows are starting up again in January. It’s such a unique theater-going experience and encourages a different type of relationship to theater which is essential to new audience bases who maybe think that it isn’t for them. It infuses life and a casual feel to our beloved dramatics and welcomes any and all to have a beer and take in some art. I look forward to seeing what the new year will bring for TPub and its artistic team! And obviously, we’ll be here with ye olde blog.

2) Adventures At The TBA Conference: That sounds more thrilling and wild than it actually is. What happened is that I found I had a bunch of opinions about things! WHO KNEW?! Opinions about things and shows and companies and ideals and art and the conference itself. Conferences aren’t a perfect thing – never will be, because they’re conferences – but it does shine a light on what it is we’re doing, and that’s a biggie. Also I had a lot of whiskey with some new and old theater faces before the final session so that was cool.

3) The Opening Of The New PianoFight Venue: This is clearly getting a lot of mention from bay area theater people, because it’s exciting. No, it’s not the first theater to open up in the Tenderloin (HEYYYY EXIT Theatre!) but another multi-stage space is really encouraging. This next year will be a big one for them. Any time you’re doing something big and new, that first year is a doozy. Here’s hopin’ people get out to see things in the TL and support this giant venture. I will most definitely be there – both as an audience member and as a theater maker. It’s poised to be a real theatrical hub if enough people get on board. GET SOME!

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4) Seeing The Crucible: Seeing Custom Made’s production of The Crucible was exciting for a bunch of reasons, starting with the fact that I’ve never seen a production of it filled with actors instead of high school students. IT WAS GREAT. Yes, surprise, it’s not a boring old standard. It can be vital and thrilling and new but somehow not new at the same time. It was so full of great performances in both the larger roles and the not so large ones, and it really felt like everyone was invested in this big wrenching story they believed in – thus getting the audience to believe in it, too. Maybe that sounds like it should be common, but it’s not as much as it should be.

5) Everything That Happens At SF Sketchfest: Man, I love Sketchfest. Not just participating in it, but seeing everything I can (you can’t see all the things because there are so many, but I do what I can do). It’s this great combination of local and national stand up, improv, sketch, tributes, talkbacks, and indefinable stuff which takes over the city and points to the bay area as a place able to sustain a gigantic festival of funny people. And audiences go bonkers for the big name acts who come to town. The performers themselves get in prime mingling time with each other – something funny people can be pretty awkward about, but in this case we all know it’s going to be weird and we just go for it.

Dave Sikula’s Five Theatre Events That Defined 2014 for Me

1) Slaughterhouse Five, Custom Made Theatre Company: I’ve previously mentioned the night we had to abort our performance because of an actor injury. (I insisted at the time that it was the first time that it had happened to me in 40 years of doing theatre. I’ve since been informed that, not only had it happened to me before, it happened at the same theatre only two years ago.) Regardless, it marked for me a lesson about the magic, and hazards, of live performance. The idea that, not only can anything happen on stage, but that, if the worst comes to the worst, a company of performers will do all they can to come together and make a show work even in the most altered of circumstances.

2) The Suit, ACT: A touring production, but one that provided an invaluable reminder about simplicity. In the 80s, I’d seen Peter Brook’s nine-hour production of The Mahabrarata, and what struck me at that time was how stunningly simple it was. Brook’s faith and trust in cutting away pretense and bullshit and concentrating on simple storytelling – in a manner that is unique to a live performance; that is to say, acknowledging that we’re in the theatre, and not watching television or a movie, was a lesson in stripping things down to their essence and letting the audience use their imaginations to fill in and intensify the story.

3) The Farnsworth Invention, Palo Alto Players: I’ve written at extreme length about the controversy over our production. I’m not going to rehash it again, but I mention it as another lesson; that, in the best circumstances, theatre should provoke our audiences. Not to anger them, but to challenge and defend their preconceptions; to make them defend and/or change their opinions.

4) The Nance, Century at Tanforan: Something else I’ve written about is my frustration at how, even though we’re finally getting “televised” presentations of plays in movie theatres, they’re almost always from London. I have nothing against British theatre (well, actually, I have plenty against it, but nothing I want to get into here …) I realize American producers don’t want to cut into their profits if they can help it, but not only did film versions of Phantom and Les Mis not seem to hurt their theatrical box office receipts, is there any reason to believe that shows like The Bridges of Madison County or even Side Show wouldn’t have benefitted from either the extra publicity or extra cash that national exposure would have given them? Similarly, would broadcasts of the Patrick Stewart/Ian McKellen Waiting for Godot or the Nathan Lane/Brian Dennehy The Iceman Cometh do any harm? I’ll stipulate they don’t have a lot of title recognition, but did The Nance or Company other than their star leading performers? And let’s not limit it to New York. I’d like to see what’s happening in Chicago or Denver or Ashland or San Diego or Dallas or DC or Atlanta or Charlotte or Louisville or Portland or Seattle or Boston or Cleveland – or even San Francisco. The shortsightedness of producers in not wanting to grow their audiences at the expense of some mythical boost to the road box office (and even that, only in major cities) is nothing short of idiotic.

5) The Cocoanuts, Oregon Shakespeare Festival: Another one I wrote about at the time. One of those frustratingly rare occasions when a production not only met my high expectations, but wildly surpassed them. Hilarious and spontaneous, it was another reminder of why a live theatrical performance is so exciting when the actors are willing to take chances in the moment and do anything and are skilled enough to pull them off.

Marissa Skudlarek’s Top 5 Design Moments in Bay Area Theater

1) Liz Ryder’s sound design for The Crucible at Custom Made Theatre Company: Mixing Baroque harpsichord sounds with the frightening laughter of teenage girls, it created an appropriately spooky atmosphere. The friend who I saw The Crucible with went from “What does a sound designer do, anyway?” to “Now I see what sound design can do!” thanks to this show. I also want to honor Liz for the work she did on my own show, Pleiades, composing delicate finger-picked guitar music for scene transitions and putting together a rockin’ pre-show/intermission mix.

2) The Time magazine prop in The Pain and the Itch at Custom Made Theatre Company:

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This play takes place on Thanksgiving 2006, and the subtle but real differences between 2006 and 2014 can be tricky to convey (after all, clothing and furniture haven’t changed much in these eight years). But the November 6, 2006 issue of Time, with President Bush on the cover, takes you right back to the middle of the last decade. Even better, actor Peter Townley flipped through the magazine and paused at an article about Borat. Since Townley’s character was dating a broadly accented, bigoted Russian, it felt just too perfect.

3) Eric Sinkkonen’s set design for Wittenberg at the Aurora Theatre: This clever comedy takes place in the 1500s, but features puns and allusions of a more recent vintage. The set design perfectly captured the play’s tone: sure, Martin Luther nails his 95 theses to the church door, but the door’s already covered with flyers advertising lute lessons, meetings of Wittenberg University’s Fencing Club, etc. — just like any bulletin board at any contemporary university.

4) The whirring fan in Hir, at the Magic Theatre: I am, somewhat notoriously, on record as disliking this show. But the holidays are a time for generosity, so let me highlight an element of Hir that I found very effective: at the start of the play, the sound design incorporates a whirring fan. (The monstrous mother, Paige, runs the air conditioning constantly because her disabled husband hates it.) You don’t necessarily notice the white noise at first, but the whole tone of the play changes when another character turns the AC off at a dramatic moment.

5) Whitehands’ costume in Tristan and Yseult, at Berkeley Rep:

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Technically, I saw this show in late 2013, but it ran into 2014, so I’m including it. Whitehands (played by Carly Bawden) is Tristan’s other, less-famous lover. Her little white gloves were a clever nod to her name – and, crooning “Perfidia” in a yellow Fifties suit, pillbox hat, cat-eye sunglasses, and handbag hanging perfectly in the crook of her arm, she made heartbreak look impossibly chic.

What are your top choices, picks, experiences from the last year? Let us know! 

Introducing The Writers Of Pint Sized Plays IV! (Part One)

Pint Sized Plays IV is only a few weeks off and we’re excited to have two writers who are contributing a play to Pint Sized for the very first time! Though Carl Lucania has been a staple of Theater Pub from early on, this marks his first time as part of the festival, while Peter Hsieh will be making his Theater Pub debut! We took a moment to get to know these guys a little bit better, and find out what drew them to Pint Sized, what challenges they faced, and what they’re excited about both at Theater Pub and beyond!

So how did you hear about Theater Pub’s Pint-Sized Play Festival and what possessed you to send something in?

Carl Lucania: I got in on the ground floor, having worked with all the Theater Pub founders at some point or other as an actor. I love to tell stories and enjoy writing, but I’d never written a play before.

Peter Hsieh: I probably saw stuff about it on Facebook, but it was during one of my meetings at Asian American Theatre Co’s New Works Incubator that Sunil or Kirk brought up Theater Pub and my first time submitting was actually for the evening of sci-fi and horror that Sunil was producing. Also I like beer and short plays.

What’s the hardest thing about writing a short play?

Peter Hsieh: Keeping it concise and to the point, there’s no beating around the bush when it comes to short plays and a lot of times it is hard to know what to keep and what to change and what to get rid of.

Carl Lucania: The most difficult thing for me in any self-motivated project is blocking out the time to get it done. After that it seemed fairly intuitive; who doesn’t have at least one good story that takes place in a bar?

What’s the best thing about writing a short play?

Carl Lucania:  That it isn’t a full length play.  That would make my head hurt.

Carl Lucania: Never One To Let His Head Hurt

Carl Lucania: Never One To Let His Head Hurt

Peter Hsieh: It is more focused, for me at least. When I’m writing a short play I usually know where to go and I more easily connect the beginning to the end to give it that extra kick. Also I feel there are a lot more production opportunities for short plays in terms of being an emerging writer, theaters may do maybe one new work a season that is a full length but produce an evening or weekend of five to eight short plays once or twice in their season.

Who do you think is a major influence on your work?

Carl Lucania: I was greatly influenced by Audrey, an 11 year-old whose short play got produced In Pub From Another World back in May. It convinced me to get over myself and contribute something.

Peter Hsieh: Keroauc. I’ve always loved his writing style, his form, his poetry, his sense of rhythm. I think I take a lot from his style and incorporate that in my plays and poems.  American Haiku is so good it makes my balls hurt. Seriously. I am also a big fan of Sarah Kane, I’ve read 4.48 Psychosis more times than I’ve read any other play.

Peter Hsieh: Keroauc cool.

Peter Hsieh: Keroauc cool.

If you could pick one celebrity to be cast in your show, who would it be and why?

Peter Hsieh: Michael Fassbender. Hands Down. He is an awesome and incredible actor and I like him in everything he’s been in. Hunger. Shame. X-men First Class. Heck I’d probably change the script so he takes off his pants so I can have some full frontal Fassbender in my play.

Carl Lucania: Since I’ve got an older woman of Italian heritage in the piece, how about Isabella Rossellini? I’d watch her do just about anything.

What is a writing project you are currently working on?

Peter Hsieh: I am currently working on a new full length play, which is about two high school friends who kinda hold these grudges against each other over different things. Things escalate when one beats the other at this video game and ends doing it with the other kid’s mom. There will be flame throwers, chainsaws, fast cars, gaming, college applications, and a splash of futuristic dystopia. I hope to have a first draft by end of July so I’m pretty stoked.

Carl Lucania: I have this notion to try and adapt Isherwood’s Christopher and his Kind into a sort of Cabaret: The Real Story type piece that includes some music of the Weimar era. I thought an adaptation would be easier than writing an original piece. I was wrong. So wrong.

What’s next for you?

Peter Hsieh: I have an art installation / open house gala of my monologue and poems called Collectives: Volume One going up July 12th at Avid Coffee in San Jose. There are these paintings, installations with headphones that play my poems and monologues mixed to cool music and ambience and stuff. There will be an auction there as well for my installations. Also on that same weekend Rama and Sita a play that I collaborated on with my friend Steve Boyle is going up as part of SJREAL’s Late Night Series at San Jose Rep. My play Even Spies sit on Park Benches is being workshopped at West Valley College as part of Alpha Project, a summer festival of new plays and that is going up end of July and playing through early August I believe. We are also planning our next season for SJREAL so I’m looking forward to cool and innovative new season.

Carl Lucania: Good question. Anyone have any interesting parts for a middle-aged man with all of his hair and most of his marbles?

So what upcoming shows or events are you most excited about in the Bay Area Theater Scene?

Peter Hsieh: Wow, there are so many. I’m excited to see Bay One Acts when it goes up. No man’s Land at Berkeley Rep. The Snow Queen at San Jose Rep this winter. Mutt by Christopher Chen at Impact. City Lights Theatre Co, has an amazing entire season that I’m really looking forward to, and  I always enjoy their shows. There are a lot of them, but one thing that I am probably most excited about is the SF Olympians Festival this year, I don’t think I’ve ever been in such an awesome and big festival with so many talented individual, and the fact that these are all new works by local Bay Area playwrights make it even more exciting, so I guess that one is probably the one I’m most excited for.

Carl Lucania: I’m pretty amped for SF Olympians.  I love Greek mythology, love the creativity that goes into the telling and reinventing of these stories. Plus I’ve had the good fortune to be associated with some great pieces that have come out of the festival.

What’s your favorite beer?

Carl Lucania: Big Daddy IPA. Read into that what you will.

Peter Hsieh: Shock Top Belgian White. Actually I like most Belgian Whites.

You may have heard it’s our last show at Cafe Royale. What do you look forward to for the future of Theater Pub? 

Peter Hsieh: Ah, I wish I had seen more shows at the Cafe Royale! I guess I look forward to being more involved and seeing more productions. I’m a big fan of new works and edge works and  re-imagined classics and there is nothing more exciting than seeing your friends and peers do that sort of stuff.

Carl Lucania: My hope for Theater Pub is to continue to keep doing what it does best: to be a cross-breeding ground for amazing local talent and a place I can drink with people who always have something interesting to say.  And for everyone involved to make a kajillion dollars so they can keep at it. Or at least have some great rehab stories to tell.

Don’t miss Pint Sized Plays IV, playing five times this month: July 15, 16, 22, 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!