Theater Around The Bay: Stupid Ghost – the Who, What, & Why, with Director Claire Rice

Stupid Ghost director Claire Rice tells us about the immense talent involved in this month’s production, the challenges faced in staging the show in a bar, and the reasons it’s important to catch before we close tomorrow night!

stupidghost-01 copy

Who are you? Who is involved in this production?

I am Claire Rice and I’m the director of Stupid Ghost. Tonya Narvaez, Theater Pub co-artistic director and the producer of this play, brought me this script in early 2016. Along the way she’s been my sounding board for ideas, my champion, my anti-procrastination machine, and a constant source of positive energy. Savannah Reich is the playwright. Early on I decided that the song in the show needed to have music arranged for it so I brought on Spencer Bainbridge who wrote the music. To help promote the show I created a short video. Spencer played guitar, Karen Offereins sung and it was recorded by Christine McClintock. I was able to convince Tonya to play a ghost in the woods along with Marissa Skudlarek, Neil Higgins, Erin Merchant and my husband Matt Gunnison. Tonya and Theater Pub co-artistic director Meg Trowbridge helped cast the show. The actors are Megan Cohen, Christine Keating, Ryan Hayes, Celeste Conowitch and Valerie Fachman. Celeste designed and did the lettering on the costumes. The actors designed their own costumes. I can’t believe how lucky I am to get such a talented group of people together.

What is Stupid Ghost?

Stupid Ghost is a story of love, regret, selfishness, the search for life experiences and the destruction of lives. In many ways it really does follow the path of a traditional ghost story. A ghost follows a girl home and slowly begins taking over her life and the consequences are tragic. But instead of it being a horror from the perspective of the living, it is a tragedy from the perspective of a lonely ghost. She doesn’t mean for the things that happen to happen. And I think following her journey we can see ourselves in her. Searching for contact with other people. Searching for love and light. Trying to be seen for who we really are and falling in love when we shouldn’t. It is a really lovely play that packs a great deal into its short run time.

What challenges did you encounter staging this production in a bar?

I think the biggest challenges with this play have been trying to translate it to the bar. It isn’t easy, but it is fun, to come up with concepts for a canoe and a car chase through the woods in a black box theater, but it feels impossible in a bar. Even simple choices in any script become a strategic nightmare. Both Savannah and I were worried about ensuring that the intimate scenes remained quiet and intimate, which can be difficult in a working bar in the Tenderloin. I tried to work on as many levels as I could and keep the play moving so that when we get to that scene the audience is ready for stillness.

stupid-ghosts-in-park-copy

Why Stupid Ghost?

I am drawn to plays that reach out beyond themselves to connect with the audience. It isn’t just the direct address, but the use of unreliable narrators, linear storytelling, unique world building, and moments that almost feel like lessons in empathy. In this play the characters need so much and they discover what those needs are as they go. They learn about themselves through mistakes and sacrifices and successes and connections. The characters are well drawn and the action is entertaining. It has been a fun show to work on and I’ve really enjoyed watching it over the past two nights as well.

Why here? Why now?

What I love about the San Francisco theater scene is the urge of its artists to do theater in every nook, cranny and corner they can. There is an urgency and a living quality to the scene that makes it feel as necessary to the fabric of San Francisco as cable cars and strangely warm weather in the Fall. Stupid Ghost is a storytelling play reaching into the audience. It makes sense that the audience be in arms’ reach and in a place that doesn’t feel like a traditional theater space. And Stupid Ghost is entertaining. It is funny and lively and lovely. You feel hope and fear and love and all the things that make seeing theater fun.

You have two more opportunities to catch Stupid Ghost at PianoFight (144 Taylor St.)!

TONIGHT – Monday, September 26 @ 8:00pm
TOMORROW – Tuesday, September 27 @ 8:00pm

As always, admission is FREE, with a $10 donation suggested at the door. No reservations required, but we suggest getting there early to get a good seat and enjoy PianoFight’s full bar and dinner menu. Remember to show your appreciate to our hosts.

Hi-Ho The Glamorous Life: What I Did For Love

Marissa Skudlarek shares some thoughts on our impending closure.

By now, you’ve probably heard that Theater Pub will wind down operations after our December show. It’s not a decision that the artistic staff made lightly, but at the same time, it’s a decision they made with no regrets and no sense of heartbreak. Theater Pub is dying a peaceful, natural death; we’re not looking for a miracle to “save” us and, in fact, we might not accept it if it was offered.

Indeed, we really don’t want people to see our closure announcement and spin it into some story about how The Arts Are Dying In The Bay Area Because It’s Too Expensive Here. Maybe that’s true for some arts organizations that have had to shut down, but not for us. Nor do we feel like our passing will leave an un-fillable hole in the local theater scene. Contrary to popular belief, “there are a lot more opportunities and venues in the Bay Area today than there used to be,” as Meg Trowbridge wrote.

When we posted our closure announcement on a Bay Area theater message board, a local theater patron reacted with concern and alarm. He offered to set up a GoFundMe page if that would allow us to “stick around.” As I said, we want to nip this narrative in the bud, so Stuart Bousel gave me the go-ahead to reply to the man. This is what I wrote:

“I’m a longtime Theater Pub attendee/writer/producer/blogger/actor and friend of the Pub’s current leadership, Stuart Bousel, Meg Trowbridge, and Tonya Narvaez. We appreciate your concern and your desire to keep art alive in the Bay Area, but as Stuart and Meg and Tonya wrote in their post, money has very little to do with why we have decided to end Theater Pub. Theater Pub was never going to be a full-time, quit-your-day-job career for any of us. We are indie theater artists juggling a lot of responsibilities (both theater-related and not), and after many years of hard work to produce a new show in a bar every single month — not an easy task! — we want to concentrate on other projects, other ways of making art, other things in our lives. None of us are quitting theater or leaving the Bay Area — on the contrary, I think we’re all busier than ever! So Theater Pub, the institution/organization, is going away, but WE, the artists, are not going away. The friendships and connections we have made, the skills we have learned, are not going away. It may sound strange, in a capitalistic age in a crazy expensive city where nearly every conversation turns to money, but the reason we’re ending Theater Pub isn’t about the money, it’s about the art.”

Meanwhile, this Medium post by Jeff Lewonczyk about why he gave up making indie theater in New York, has been making the rounds. As I said, for the time being, none of the core Theater Pub folks are planning to give up theater the way that Lewonczyk has. But I also think that we all understand his sentiments and don’t blame him in the least. There comes a time to step away from things, thoughtfully but without regrets.

As Stuart, Meg, and Tonya wrote in the title of their joint post, “autumn is a time to say goodbye.” Many of the Theater Pub usual suspects are also involved with the San Francisco Olympians Festival, which begins in just a few weeks and whose theme this year is myths of death and the underworld. But at least for me, looking at death through a Greek-myth framework means seeing it as inevitable, and necessary, and possibly peaceful. (The mythological figure I’m writing about this year is Macaria, Persephone’s daughter and the goddess of peaceful death.) It means thinking about the cyclical nature of things; how Persephone goes to the underworld for half the year, but she is never lost down there forever.

And in the meantime, we’re ending Theater Pub with a show about a ghost (September), a show about a gravedigger (October), King Lear (November), and, finally, a musical celebration/funeral/wake. Because we’re theater people, and we know how to end things.

Marissa Skudlarek is a San Francisco-based playwright and arts writer. See the staged reading of her new play Macaria, or The Good Life at the Olympians Festival on October 14.

Theater Around The Bay: Autumn Is A Good Time To Say Goodbye

So, you’ve probably heard the rumors that Theater Pub is coming to an end and it’s true: Meg, Tonya, and Stuart have decided to close up shop this December. With fall right around the corner and the holidays looming, it seems like a good time to say goodbye, so we’re giving official notice today.

Meg Trowbridge says farewell to the theater in a bar she loves the most…

Theater Pub came back at a serendipitous time for me. I was newly freelancing (read:unemployed) and looking to dive head-first into making art. When Stuart asked me to take on an Artistic Director position, I was eager to get to work. Turns out, it’s a lot of work, guys! Monthly shows are no joke, but even with the non-stop nature of Theater Pub giving me gray hairs, it was magical to see the old and new faces coming together to make theater. It was a pleasure to get to know the crew of PianoFight so well. I especially loved opening nights that were followed by Beatles Karaoke. My theater-loving heart was full on many of these nights.

But a non-stop theater that can’t support its staff is not sustainable. It was around the same time that Stuart, Tonya and I were all thinking about our graceful exit from SFTP – unbeknownst to each other. Stuart was the first to say Uncle (to be fair, he’d been there since 2010, so it was really his time). When Tonya and I sat with the idea of taking on SFTP on our own, the biggest question we had to ask ourselves was why? Did SFTP serve a purpose anymore? When Theater Pub started all those years ago, it accomplished two things: it helped a bar bring in folks on a Monday night, and provided a venue for theater people to produce unlikely works. When we returned to PianoFight, we tried to do the same thing: bring crowds into PianoFight on quiet nights and provide a venue for exciting theater.

I figured once we returned that we’d have people knocking down our door to pitch ideas or get involved – but that wasn’t the case. Not that we didn’t feel loved, there are just a lot more opportunities and venues in the Bay Area today than there used to be. It’s actually great news – it’s news that makes it easier to put Theater Pub to bed.

The three people running Theater Pub right now are playwrights – we sometimes direct, sometimes act, sometimes go full-on diva at a piano bar, but we are playwrights first and foremost. And when playwrights are spending most of their time managing art instead of creating it, it is time to move on. (We get itchy.)

From here, I go on to head up writing a few shows for Killing My Lobster (check out The Political Show this November and look for next season’s announcement!). I will also be finishing up my Pontos Trilogy, which got its beginnings in the Olympians Festival: Wine Dark Sea.

I look forward to seeing what other SFTP regulars have in store! I look forward to having more time to see theater! And if you keep your eyes peeled, Pint-Sized Plays may rear its drunken head for another go next summer…

Much love to all of those who worked with us and supported us.

Meg

Tonya Narvaez gives a long hug goodbye to SFTP…

I wanted to be part of Theater Pub from the first time I attended, which was Pint-Sized in 2011. I wanted to support it however I could. My support took the form of shouting about the shows from the rooftops (of my Facebook), bringing friends along to get them hooked, donating at each show, acting in shows, writing shows, and eventually becoming Co-Artistic Director with Meghan Trowbridge and working with her and Stuart Bousel to see how Theater Pub fit into this new theater landscape. I wanted to do all of these things because Theater Pub has given so much to me.

As an actor, it served to connect me with so many talented theater artists and inspire me with unique shows and magical theater moments.

As a writer, it gave me a home to put on some of my more peculiar ideas and taught me important lessons about my process and my voice.

As a producer, I’ve learned so many hard lessons about how to put on theater. About how to plan a season, how to work with friends (or strangers), how to rely on others, how to expect the unexpected, or when that fails, how to roll with the punches, how and when to say the hard things, and remembering to say the good things. Producing is not for the faint of heart, and it certainly isn’t for anyone who isn’t all-in.

This year I had to admit to myself that I wasn’t all-in for Theater Pub. Not because it’s not worthy. Not because it’s not glorious. But because my priorities have shifted since taking the position of Artistic Director two years ago and I only have so much bandwidth at my disposal.

Thank you so much to everyone who has supported Theater Pub all these years. Whether by attending shows or Saturday Write Fever, reading the blog, writing, directing, acting, producing, playing music, singing, donating money, donating rehearsal space, providing a venue, or any of the other countless ways in which the community has helped make this organization what it is.

It’s wonderful Theater Pub had a home in this town for so long and that it was a place that connected people and allowed artists to play. But I do not believe the end of Theater Pub will leave a gap that will need filling in our community. At least not right now. The San Francisco indie theater scene is truly alive right now. The amount of art being created and the number of new artists emerging each year is thrilling.

So if this news leaves you feeling a gap in yourself, I implore you to make some art. To bring a group of people together and create something for this community to consume. To make some mistakes, learn some lessons, add value and a unique voice to the community, and have a lot of fun. I know I’ve had more fun than should be allowed.

Stuart bids a loving adieu to his baby, Lil Theater Pub Bousel…

So, this is not the first time I’ve said goodbye to Theater Pub, though I suspect this time it’s a little bit more definitive. When I announced my departure in April, I had done so hoping Tonya and Meg would be up for carrying the torch forward, but when it came to light that they weren’t necessarily looking to do that, we made the decision to bring the organization itself to a close. A bittersweet decision, to be sure, but the right one. The truth is, we were all ready to move on to new things, many of us already had, and Theater Pub, while dear to our hearts, was preventing us from doing that or making it harder to fully engage the futures that were arriving whether we were ready or not. We talked about handing over the baton to new folks, but didn’t feel that the “right” people had emerged to replace us at Theater Pub. The “right” people seemed to want to do their own thing, not inherit somebody else’s creation, and I can’t blame them for that: after all, I only helped found Theater Pub because I was the sort of people who wanted to be a trailblazer myself.

What’s important to point out is that Theater Pub isn’t ending because it “has” to end. It’s ending because of the reverse reason: it’s been wildly successful, for the most part, and accomplished what it set out to do: build a community and be a launching point for the careers of the people most intimately connected to it. The trouble is that Meg, Tonya, myself, and others (such as our bloggers, original founding team, and various staff) have got so much on our plates now that we’re having a harder and harder time keeping all of them spinning. Something has to give, and we’d rather set something down then drop it, if for no other reason than when you set something down you still have the option to one day pick it up again. That’s the beauty of knowing when to stop before you break something, or yourself for that matter.

The most amazing thing about Theater Pub is that it’s lasted as long as it has, and has refused to die at least twice. So chances are, it’ll be back again, at some point, in some form. Recently I went to a concert of my favorite band, Belly, who were on tour after a 20-year hiatus. It was pretty amazing. They were actually better than they had been back in 1996. Sometimes taking a break, a nice long one, is not only necessary, but helpful. If we do come back somewhere down the line, I expect we’ll be back for all the right reasons, and super happy to be there. In the meantime, Saturday Write Fever will continue in 2017 as part of the EXIT, and Marissa and I will periodically post on the blog or let others do so when someone really has something to say. The Stuey Awards will continue. The Pint-Sized Plays will continue as part of PianoFight. We’ll all stay in touch, one way or another. And when you least expect it, I have a sneaking suspicion we’ll be back. And if we’re not… well… we’ll always have Paris. Right?

“Everything dies,” the heroine of my favorite novel, The Last Unicorn, says to her lover, “I want to die when you die!” Things are precious because they are not eternal. It’s been a tremendous gift to start something, stay with it for years, put it to bed, wake it up again, watch it succeed anew and learn from it once more. And it would be a tremendous ingratitude to hold on until it felt like we were prisoners to our own creation. Sometimes the way you love something best is to let it go, especially while you still love it.

Thank you, everyone. It’s been one of the best times of my life.

Please join us for our last four months of shows at PianoFight, including Stupid Ghost, opening September 19th!

Theater Around the Bay: Elizabeth Gjelten and Jimmy Moore of “Don’t I Know You?”

The Pint-Sized Plays have one more performance, on Monday the 29th. We continue our series of interviews with the 2016 Pint-Sized folks by speaking to writer Elizabeth “Liz” Gjelten and director Jimmy Moore of “Don’t I Know You?”

“Don’t I Know You?” takes place in a dive bar frequented by expats from an unnamed, war-torn country. A conversation that begins with the cliched old pick-up line “Don’t I know you?” eventually takes a darker turn as the characters’ past actions come back to haunt them. The play features actors Daphne Dorman, Sarah Leight, and Alexander Marr.

Gjelten

Playwright Liz Gjelten is new to Pint-Sized this year.

How did you get involved with Pint-Sized this year? 

Liz: I saw Marissa Skudlarek’s post about it on the “Yeah, I Said Feminist” Facebook group, especially noting that she wanted submissions from women playwrights with interesting roles for women. I’d had this idea knocking around in my head, and the bar setting gave me the impetus to see it out.

Jimmy: I heard about it after directing a short play for Theater Pub’s On the Spot in March, which I was welcomed to by Stuart Bousel! (Aren’t we all?)

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

Liz: Creating a full life for the characters in a brief period of time. Also, avoiding the temptation to squeeze too much in.

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

Liz: The chance to see something through from idea to completion in something less than two years! Also, the chance to play with form and ideas.

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

Jimmy: I love the collaboration between writer, director and actors as we move ink on paper to bodies in space with real stories.

What’s been most troublesome?

Jimmy: Nothing to speak of.

Who or what are your biggest artistic influences?

Liz: The poet Diane di Prima. So many playwrights, but especially Suzan Lori-Parks, Naomi Wallace, Adrienne Kennedy, Erik Ehn, Caryl Churchill.

Jimmy Moore

Jimmy Moore returns to Theater Pub after directing for us in March.

Who’s your secret Bay Area actor crush? That is… what actor would you love a chance to work with?

Jimmy: Too new to the scene to have one other than…that guy with the eyes.

If you could cast a celebrity in your Pint-Sized Play, who would it be and why?

Liz: Sorry, I have a weird mental block about celebrities: They look familiar, but I almost never can remember who they are.

Jimmy: Angelina Jolie cause we have a kickass fight sequence.

What other projects are you working on and/or what’s next for you?

Liz: I’ve got two full-lengths in later stages of drafting: One about the difficulties of cross-cultural marriage and the after-effects of torture on both the former detainee and the whole family, and a dark comedy set in 1967 about a pastor’s wife who kills her husband. Next up: A site-specific piece about people living in supportive housing in the Tenderloin.

Jimmy: I produce and direct a project called Drunk Drag Broadway. We take an entire Broadway musical and give it the “Drunk History” treatment in drag along with live musical performances boiled down to 30-45 minutes. Our next production will be at SF Oasis in December. We have already produced “Wicked-ish” and “Beauty Is a Beast.”

What upcoming shows or events in the Bay Area theater scene are you most excited about?

Liz: Young Jean Lee’s The Shipment at Crowded Fire this coming September. She’s always surprising and brilliant. And I know this is a ways away, but I’m super excited about seeing Robert Lepage’s Needles and Opium at ACT next spring. It’s a rare and wonderful occurrence to have a Lepage piece staged in San Francisco.

Jimmy: Disastrous at SF Oasis! D’Arcy Drollinger is brilliant and hilarious.

What’s your favorite beer?

Liz: Any good IPA with fresh ginger juice added (I’ve been known to bring it to bars in a baggie).

Jimmy: The orange ones…. cause I don’t like beer much. 🙂

Remember, you have one more chance to see “Don’t I Know You?” and the rest of the 2016 Pint-Sized Plays! Monday, August 29, at 8 PM at PianoFight.

 

Theater Around the Bay: Marissa Skudlarek and Adam Odsess-Rubin of “Cemetery Gates”

We continue our series of interviews with the folks behind the 2016 Pint-Sized Plays by speaking to writer Marissa Skudlarek and director Adam Odsess-Rubin of “Cemetery Gates”!

Inspired by the classic Smiths song, “Cemetery Gates” is a vignette about two moody, pretentious high-school seniors who have snuck into a bar with fake IDs in order to try overpriced cocktails, quote poetry, and imagine a world in which they could be happy. Sailor Galaviz plays Theo and Amitis Rossoukh plays Flora.

Skudlarek photo

Writer Marissa Skudlarek goes for a moody-rainy-day aesthetic.

How did you get involved with Pint-Sized, or, if you’re returning to the festival, why did you come back?

Marissa: I have a long history with Pint-Sized. The first edition of the festival, in 2010, was also the first time any theater in San Francisco had produced my work. I had a play in the 2012 festival as well, and then last year, I came back to serve as Tsarina (producer) of the entire festival, the first time that it was at PianoFight. I can’t resist the lure of an imperial title and a rhinestone tiara, so I signed on as Tsarina again for the 2016 festival. Meanwhile, I had originally written “Cemetery Gates” as a submission for The Morrissey Plays, Theater Pub’s January 2016 show. The producer of The Morrissey Plays, Stuart Bousel, didn’t end up picking my script, but he said “This is a good play, you should produce it in Pint-Sized this year.” And, well, the Tsarina gets to make those decisions for herself. It’s good to be the Queen!

Adam: I had been an actor at PianoFight in The SHIT Show and Oreo Carrot Danger with Faultline Theater, but I really wanted to break into directing. I studied directing at UC Santa Cruz, but no companies in the Bay Area seem to want to hire a 24-year-old to direct. I sent my resume to Theater Pub and I’m so grateful they are taking a chance on me.

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

Marissa: I feel like I allow myself to indulge my idiosyncrasies more because, hey, it’s only 10 minutes, right? Last night I was talking to Neil Higgins (a frequent Theater Pub collaborator who directed “Beer Culture” in this year’s Pint-Sized Plays), and he pointed out that both “Cemetery Gates” and my 2012 Pint-Sized Play “Beer Theory” are very “Marissa” plays. They are plays that I could show to people and say “This is what it’s like to live inside my head.” Writing a full-length often means seeking to understand the perspectives of people who don’t think or behave like me; writing a short play lets me burrow into my own obsessions.

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

Adam: I love creating theater outside of conventional theater spaces. I’ve worked with Israeli and Palestinian teenagers in Yosemite and taken Shakespeare to senior-citizen centers, but never done a play in a bar. PianoFight is my favorite bar in the Bay Area, so I’m thrilled to be creating theater in their cabaret space.

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

Marissa: Sometimes it can be complying with the length-limit, though that wasn’t a problem with “Cemetery Gates.” Creating vivid and complex characters while only having a limited space to define them.

What’s been most troublesome?

Adam: My script is six pages. Trying to create a full theatrical experience in under 10 minutes is a really creative challenge for a director. You want a full dramatic arc while also fleshing out your characters, which isn’t easy to do in such a short period of time. And yes, scheduling too. The actors in my piece are both very busy with other projects, so our rehearsal time was limited.

Who or what are your biggest artistic influences?

Marissa: Ooh, that’s a daunting question, so I’m going to re-frame it as “What are the biggest artistic influences on ‘Cemetery Gates’?” Well, there’s the Smiths song, obviously, and the fact that I wish I’d discovered it when I was a teenager rather than when I was about 25. There’s my weird obsession with a clutch of Tumblr blogs run by teenage or early-twentysomething girls who post about what they call “The Aesthetic,” which seems to mean pictures of old buildings in moody light, marble statues, Donna Tartt’s The Secret History, modern witchcraft, dried flowers, the idea of being this vaguely wistful girl writing in her journal in a coffee shop, etc. And, while I didn’t consciously realize it when I was writing the play, I think it’s probably influenced by one of my favorite recent films, Xavier Dolan’s HeartbeatsHeartbeats is the story of two very pretentious Montreal twentysomethings — a gay guy and a straight girl, like the characters in “Cemetery Gates” — who both fall in love with the same man. The movie is aesthetically lush and painfully funny. Dolan obviously loves his characters while at the same time acknowledging that they are completely ridiculous — which is exactly how I feel about the characters in “Cemetery Gates.”

If you could cast a celebrity in your Pint-Sized Play, who would it be and why?

Adam: I’d love to see Harry Styles from One Direction play Theo in Cemetery Gates. What can I say? He’s just so cute and pouty. It’d be great to see him play an alienated gay teen sneaking into a bar to wax poetic about Oscar Wilde. Molly Ringwald would be an excellent Flora — the ultimate angsty teenager who longs for something better in a world full of constant disappointments.

Marissa: Hmm, the trouble here is that both of my characters are 18 and I feel like I don’t know enough about who the good teenage actors are these days. Maybe Kiernan Shipka as the girl? I loved her as Sally Draper on Mad Men.

12419339_10207300099435145_385063855741125253_o

Director Adam Odsess-Rubin is also looking very aesthetic here.

Who’s your secret Bay Area actor crush? That is… what actor would you love a chance to work with?

Adam: I’m very jealous of anyone who has had the opportunity to be on stage with Radhika Rao. She blows me away as an actor and teacher. She’s such a light in the Bay Area theater community, and such a talented artist. Her passion to create change through her art is what every theater artist in the Bay Area should strive for.

What other projects are you working on and/or what’s next for you?

Adam: I’ll be directing three pieces for the SF Olympians Festival this year, which I am so excited about. My parents gave me a picture book of Greek mythology when I was very little, and so I can’t wait to bring some of these tales to life in a new way on stage. Anne Bogart talks about the importance of mythology in theater, and Anne Washburn touches on this in a big way in Mr. Burns: A Post-Electric Play, which I assistant-directed at A.C.T. and the Guthrie Theater under the late, great Mark Rucker. I was so moved by Washburn’s unique argument for theater as this invincible storytelling form.

Beyond that, I’d love to direct a full-length show next year at a theater company in the area. Artistic Directors, you’ll be hearing from me soon.

Marissa: Revising my long one-act play You’ll Not Feel the Drowning for a staged reading on September 13, part of Custom Made Theatre’s Undiscovered Works program. Finishing a one-act play based on the story of Macaria, Hades and Persephone’s daughter, for an Olympians Festival staged reading on October 14. Planning and hosting a celebration of the Romantic era to take place over Labor Day Weekend. Attending a friend’s wedding in Oregon in mid-September. Trying to keep my sanity in the midst of all this (seriously, it’s a lot right now).

What upcoming shows or events in the Bay Area theater scene are you most excited about?

Adam: I saw Eric Ting’s production of We Are Proud to Present… at SoHo Rep in NYC in 2012 and it was the single greatest production I’ve seen, period. I can’t wait to see his production of An Octoroon at Berkeley Rep next season. I love Annie Baker and am looking forward to John at A.C.T. And Hamilton – my God! I’m not original in saying this, but that show is brilliant.  I’m so glad SHN is bringing it to SF. I don’t know what the smaller theaters have planned for next season yet, but Campo Santo and Z Space produce great work. New Conservatory Theatre Center is an artistic home for me. I’ll see anything they produce.

Marissa: The Olympians Festival, of course! The theme this year is myths of death and the underworld, and I’ve been writing a lot of weird death-haunted plays this year (including “Cemetery Gates”) so that fits right in. Also, a bunch of my friends and I read or reread Pride and Prejudice this year, so I want to plan a field trip to see Lauren Gunderson’s P&P sequel play, Miss Bennet, at Marin Theatre Co. this Christmas.

What’s your favorite beer?

Adam: Moscow mule.

Marissa: The Goldrush at PianoFight — bourbon, honey, and lemon, good for what ails ya.

“Cemetery Gates” and the other Pint-Sized Plays have 3 performances remaining: August 22, 23, and 29 at PianoFight! 

Working Title: Pint Sized Recommendations…or One Llama to Rule them All

This week Will Leschber discusses Pint Sized Play Festival film pairings with Stuart Bousel, Emma Rose Shelton & Rob Ready.

Reflecting on this year’s upcoming Pint-Sized Play Festival has led me to realize what I miss about being at university. The constant consumption of new things and new ideas is the lure, and, of course, those things are generally missed. But the crux, the essential thing that I pine for, is the structured ascension. You feel as if your path is laid before you and that you are constantly improving and growing as you walk down the road towards knowledge…or maybe the road was just leading to semester’s end. Either way, it’s easy at times in our daily lives, our daily grinds, to feel stagnant and/or circling or floating with less aim than we used to know in the past. There is an absence of hope in aimlessness. But the powerful thing is that we are all moving forward, and the trick is to remind yourself that your constant road can be one that ascends, if you mind the way. Nothing like an annual event to rock us back to reflection…or maybe drinking like we are college kids!

Of all the pints, in all the bars, in all the world…you had to laugh into mine.

Of all the pints, in all the bars, in all the world…you had to laugh into mine.

It is time again for the Pint-Sized Plays. This jovial event comes but once a year and it is glorious. A fruitful fun evening that turns over a handful of laughs in the time it takes to finish a beer. This may not obviously link to an evening of what you may call ascension… but many things can be found in the swirls of a pint glass. The quick cycle of the night is part of the allure. If this play isn’t for you, finish your beer and worry not, for another play is 10 minutes away…and maybe another beer too. 😉 Our constant companion in the years that we’ve seen Theater Pub’s Pint Sized Plays has been the Llama. His pint consumption knows no bottom. His wisdom knows no limits. And his beard is just spectacular.

rob-ready-llama

The three pillars of this year’s Llamalogue who I had the pleasure to speak with are Stuart Bousel, Theater Pub’s Executive Director, Bay Area Ringmaster and playwright of the infamous Llamalogues; Emma Rose Shelton, all-around wonder woman and director of this year’s “Llama VI”; and of course, Rob Ready, Artistic Director of PianoFight and the amazing aforementioned bearded Llama himself.

To get you in the headspace of the Llama (oh God NO…you say…don’t worry, it’ll be OK…this will all wear off in the morning) and the Pint-Sized Plays in general, we have three recommended film pairings to play along with the festival’s themes and schemes.

Lets start with the the Rob-a-Llama recommendation…ready, steady, drink and go!

The Apartment, the 1960 classic directed by Billy Wilder and starring the splendid Jack Lemmon and stunning Shirley Maclaine… To move up the ladder at work, Lemmon lets executives use his apartment for their affairs… hilarity and heartbreak ensue. It’s kind of a similar aesthetic and tone [to our dear Llama]…Lemmon does a ton of over-the-top physical comedy in the role while also coming off as a grounded, fully-fleshed-out person with a big heart. Most of the film is really funny, but there are parts that just tear at your heartstrings. And I think that’s roughly what the Llamalogues aim to do.

The Apartment foreign

Well said, and great recommendation! Now let’s hear what Llamalogue director Emma Rose Shelton has to pair with the indomitable Llama…

Groundhog Day, the 1993 Bill Murray comedy classic… There’s something about Bill Murray’s character coming back each time needing to learn the same lesson and just failing miserably at it. Something about him trying to figure his shit out while being lovably melancholy and self-loathing reminds me of our Llama.

God I love that Punxsutawney Phil. Don't drive angry. Don't drive angry!

God I love that Punxsutawney Phil. Don’t drive angry. Don’t drive angry!

OK, last but not least since this is supposed to be the length of a beer…a slowly nursed beer. Let’s get to Stuart Bousel and close this mother out. Bousel brings to the table a beautiful and less well-known film…but boy is it a treat.

Sally Potter’s Orlando, 1992… Sally Potter, perhaps one of the most underrated filmmakers in the world, is one of my favorite directors, and her film adaptation of Virginia Woolf’s Orlando is, like the source material, many many things. For me, the film is about finding your place in the world, and not just the world, but time itself, coming to terms with the infiniteness of human experience but also the limited scope of any one life, including your own. Or in less fancy speak: it’s about accepting your own mortality, and by doing so, finally beginning to really live. It’s no big secret Theater Pub is coming to an end this year, though Pint-Sized may continue. Will the Llama continue with it? I rather hope so. But I have already decided it won’t be me writing it anymore. So this last Llamalogue is my kiss goodbye to this incredible, rewarding, and demanding period of my life that I’ve loved living through and am also looking forward to having behind me so I can move on to other things. As the angel sings at the end of the film, while Orlando and her daughter watch: I am being born, and I am dying.

orlando-1look-1

That rounds out this pint. I promise the night of Pint Sized Plays at PianoFight is hugely entertaining and there will be more laughs and guffaws than bittersweetness…but like any good night of entertainment the presence of both light and dark will be in attendance…or possibly ascendence.

The season’s change is upon us, as it ever is. Soak it in. It goes fast. This is the last Llamalogue as we have come to know it. Come out, have a beer, a laugh and nod to see the shadow of the Llama pass. You know what they say about a Llama who sees his shadow…or maybe that is something else. This shadow pint is for you, Llama.

pintsized3

Editor’s note: our Pint-Sized Tzarina, Marissa Skudlarek, points out that this is the first year of Pint Sized where we have THREE one-person shows. Says Marissa:

Three of the 11 plays in this year’s Pint-Sized Play Festival are one-person shows. In addition to the return of the drunken llama played by Rob Ready, a beloved character who has appeared in every Pint-Sized Festival since 2010, we’re telling the stories of two women who are on the brink of major life changes. There’s the title character of “Julie Kopitsky’s Bat Mitzvah” by Jake Arky: at the age of 36, Julie has finally earned the right to call herself an adult by the standards of her Jewish faith. And there’s Meredith — or should we call her Olivia? — in Caitlin Kenney’s “Why Go with Olivia?”, a woman who’s preparing to cut ties with her old life and start anew.

Julie, the Llama, Meredith… they’ve all been around the block a few times. They’re adults, thirtysomethings, with histories and backstories and opinions. And yet they don’t always make the right choices, especially when pints of beer are involved. They are brash, opinionated, and very fun characters, but they’re also all seeking meaning and fulfillment in their own ways. I know, that sounds like a lot to ask from a proudly self-proclaimed slut who gets drunk at her own Bat Mitzvah, or a woman whose quest for a new life means turning her back on everything that came before, or a boozy llama who started out in 2010 as an absurdist sight gag. But it also happens to be true.

Don’t Miss Pint Sized Plays VI, playing 8/15, 8/16, 8/22, 8/23, 8/29, 8 PM, only at PianoFight! 

Hi-Ho, the Glamorous Life: An Interview with Danielle Gray

Marissa Skudlarek speaks with one of the Bay Area’s most exciting multi-hyphenate performers!

I don’t think I’d ever seen the actor-singer-musician-clown-fashionista Danielle Gray at this time last year, and then all of a sudden they burst upon the indie-theater scene. And, while I spend my days in a cubicle at a day job, Danielle always seems to be learning new circus skills, or singing torch songs in secret cabarets, and looking fabulous doing it. Currently, Danielle is acting in the new play Hunting Love in Oakland, which seemed as good an excuse as any to chat with them about their art and aesthetics.

HuntingLove

Nican Robinson as Narciso, Danielle Gray as Echo, Susan-Jane Harrison as Love.

Marissa: Tell me a little bit about Hunting Love and the character you play in it.

Danielle: Hunting Love is a new play by Susan-Jane Harrison. It’s kind of a reunion collaboration between Susan-Jane and director Erin Merritt, who used to work together at all-female Shakespeare company Woman’s Will. Hunting Love is being produced by a new company called Local Dystopia, which has produced shows here and in London, and is going up at the Flight Deck in downtown Oakland. The piece is fairly ambitious in its incorporation of dance/movement and sound/music. We have this amazingly talented three-person Greek chorus/band (Jed Parsario, Mia Pixley, Bruce Bennett) who play original music, provide atmospheric Foley sounds with their instruments, and act as minor characters. I am so impressed by them all the time.

Hunting Love is a new story, loosely using characters from Greek mythology. I play two characters who are inextricably connected in the story – Echo, a lovesick dryad who has willingly been turned into air so that she may follow Narciso (played by Nican Robinson) forever, and I also play Histrionia, daughter of Love (played by Susan-Jane Harrison). Character inspirations for my Echo include ballerinas, kittens who scratch you even when they’re trying to be affectionate, and baby velociraptors. She’s a bit feral, but in a lovable way. Histrionia is in her early twenties, but has had some emotional development setbacks… so she is a fully-grown woman with the emotional capacity and understanding of intimacy of a teenager. The play is about learning what intimacy and love even are — how do we go about this confusing business of loving one another?

Marissa: You’ve said that your audition for the 2015 San Francisco Olympians Festival (after which you were cast in a major role in the staged reading of Allison Page’s Jasons) is the reason you’ve been so busy with work over the last year.

Danielle: This is true! I auditioned on the advice of a friend who did it several years ago, and quickly found myself surrounded by excellent new friends and collaborators.

danielle-Theater Pub

Danielle as a mime in the March Theater Pub show, On the Spot. Photo by Tonya Narvaez.

Marissa: What were some of the artistic highlights of the last year for you?

Danielle: It sounds like I’m pandering, but sincerely, working with Theater Pub has been a major highlight of 2016. [Danielle played the Duke in Theater Pub’s February show Over the Rainbow, had roles in two short plays in our March show On the Spot, and also appeared in our June show Better Than Television –ed.] Theater Pub is the opposite of elitist, and everyone involved is engaged fully in the process of trying new things, both with existing texts and new work. It’s been really refreshing. However, my favorite show I only got because the director and writer saw me at Olympians was The Horse’s Ass & Friends, Megan Cohen’s delicious vaudevillian showcase of short works that played last December. It was a dream cast and crew and experience — everyone involved was a super talented pro and a lovely person, and I still count them all as friends I would recommend to anyone, or work with again in a second.

Marissa: Since so many good things came out of the Olympians Festival for you, it’s appropriate that you’re now acting in another play that is inspired by Greek mythology. What’s your favorite Greek myth or mythological figure?

Danielle: Oh, it is hard to pick. I like Medusa quite a bit, because she’s such an interesting, nuanced character who is often unfairly reduced to a Halloween monster. Her situation is fully unfair and she’s just trying to make the best of things by living up to her bad bitch reputation with no apologies, amirite? I’ve also always been fascinated by Hera, who is clearly the one keeping Mount Olympus running behind the scenes while Zeus is being a swan unconcerned with consent or whatever. I like complicated, imperfect female or non-binary characters in basically any mythology.

Marissa: You are making it as a working artist (sans day job) in the Bay Area, at a time when many people say that that’s no longer possible. What are your tips on how to make this work?

Danielle: So this is a popular rumor, and it’s only sometimes true, but I have been known to pull it off for months at a time. My situation changes frequently. I have anywhere from two to four part-time day jobs going at any given time. Nearly all are at least a little art-related, a rule I made for myself this year.  Right now I am teaching at an outdoor preschool for the summer, and I work at the front desk of a dance studio so I can get class credit, which is like… medium artistic, more about supplementing process expenses and doing research. Other arts work is contract-based and somewhat unpredictable, like cabaret or walk-around character acting for parties.

Tip #1: FOUR JOBS IS TOO MANY, don’t do this, I do this so you can see how crazy it can make a person.

Tip #2: Most artists I know have at least two things they love. My advice, for people who are willing to hustle like they will die tomorrow, is to do both of them. Don’t buy the advice that you have to pick. I love working with kids, so I keep my side job options open in five-and-under education, and luckily I live in the Bay Area, where when parents find out I also do cabaret they just think I am cool. They recognize that adults contain multitudes and are capable of being responsible, caring human beings AND doing weird circus sideshows for cash.

Tip #3: Accept help from trusted sources. It would be disingenuous for me to pretend that as an artist in a city with skyrocketing prices, I never hit a surprise financial wall and let my mom (a former costumer and lifelong artist/arts supporter herself) boost me with grocery money. I figure I’ll pay her back when she’s old and I’m successful by being Dorothy to her Sophia and making sure she gets to go on a vacation whenever she effing wants, just like she does for her mother.

Tip #4: This one is honestly the most important. Don’t work jobs that make you miserable. Don’t do it, it’s not worth it. Hold out if you can for a day job that has a team you love, or perks that are actually worth it (like training you in skills that will benefit your arts career), or a job that just makes you happy. Do not languish in industries you hate because you are afraid you won’t find something better in time to rescue yourself from late rent. You will manage. Believe in your own resourcefulness. Ask your network for help.

Marissa: You’ve also been getting into the cabaret scene as a singer, ukulele player, and clown. I am an amateur ukulele player myself so I have to ask: what are your favorite songs to play on the uke?

Danielle: I have been clowning and doing circus sideshow for a couple of years now, started teaching myself ukulele about four years ago but only started playing publicly last year, and I’ve been singing since I could open my mouth. But now I get paid to do it all in dark cabarets and variety shows, fulfilling my destiny of being Sally Bowles with (slightly) more sense in my head, and hopefully fewer Nazis. Lately I’ve been playing the following to relax: “I Wish I Was the Moon,” by Neko Case, “The Chain,” by Ingrid Michaelson, and “That Was Us,” by Julia Nunes. And I’m learning a duet with my dear friend Adam Magill which we will finish eventually: “To Die For Your Ideas,” Pierre de Gaillande’s English translation of a Georges Brassens song. I play so many broody songs on the ukulele I created a clown character centered around it just to lighten the mood. Triste is a sad, pretty clown, who sings pretty, sad songs.

danielle - fortune teller

Danielle as Gilda the Fortune-Teller. Photo by Ralph Boethling.

Marissa: What are your biggest influences or contributors to your aesthetic sensibility?

Danielle: I read a lot of Edgar Allan Poe as a kid, starting just about as soon as I could read a novel. That probably had a lot to do with what is happening here. I read Grimm’s fairy tales and the Anne of Green Gables series like a hundred times. My favorite book in high school was Lolita, because I am obsessed with Nabokov’s love letters to the English language, and the concept of playing with and manipulating audience sympathies. Lydia from Beetlejuice was a strong influence, though I only started wearing black in my late twenties: I didn’t have a “goth phase,” at least not where wardrobe is concerned, because I grew up in the desert. I also grew up in a very theatrical and musical household, so we watched a lot of TCM as a family and on our own. Old Hollywood films, musicals in particular, have had a huge impact on my aesthetic: Katharine Hepburn, Marlene Dietrich, Judy Garland, Carol Burnett, Buster Keaton. Also the fashion of forgotten gems of 1990s cinema. Not the enduringly popular films, but the weird ones like With Honors, or Michael, or Truly, Madly, Deeply. Dad-jeans time capsules. I am enduringly obsessed with vaudeville aesthetics, magic, etc.

Marissa: What’s coming up next for you, and what shows are you most excited to see this summer/fall?

Danielle: So we just opened Hunting Love this past weekend, and it will run through August 21. Click here for tickets. We’ve also begun rehearsals for KML: The Musical, opening in September, which is SO EXCITING because it’s not just my first time working with Killing My Lobster, it’s my first foray into any sketch comedy since my high school cohort’s tragic but heartfelt attempt to form a troupe. I’m thrilled about the team for this show.

I haven’t booked anything at Panic & Give Up (a secret speakeasy cabaret I love) in the near future, but I am always haunting that joint and I’m sure I will turn up on their stage again eventually. It’s a good place to look for me. You can keep in the loop by using the form at www.daniellegray.com/booking, and requesting to be added to my email list. Or follow me on Facebook — I always do a public post when I have a show coming up.

The next show I’m going to see is The Thrush and the Woodpecker at Custom Made, and I’m pretty stoked about the space station they’re building over at PianoFight for Faultline Theater’s The Ice Cream Sandwich Incident.

Marissa: My column is called “Hi-Ho, the Glamorous Life” and you are a notably glamorous person, so I also have to ask: do you have any pointers (either practical or philosophical) for achieving glamor?

Danielle: Oh goodness, Marissa. Blush. I get asked about fashion advice a lot because I am not subtle about my evolving love affair with my wardrobe, and the best advice I have for anybody is to wear what you actually like. It is that simple. Honestly. If you want to wear a ball gown every day, just do it. I’m not at all exaggerating. If you like to wear yoga clothes, buy the ones you really like and rock them. The only thing stopping you from looking exactly the way you want is your hesitation – find photos that inspire you and replicate the items, scour thrift stores and department stores alike, be real about the colors you enjoy, don’t be snobby about brands (high end or low end). I think of every outfit as a costume, with a particular inspiration. Once a friend told me my outfit was “a pair of fishnets away from Bob Fosse Captain Hook,” which remains one of my most treasured compliments. Some days I’m “Andro Duckie.” Often, I get “80s New Wave/Boy George.” You know what makes you feel good, you know whose style you admire. There’s no reason you can’t do what they do. People like to see other people being unabashedly themselves.

Keep up with Danielle’s adventures at www.daniellegray.com.