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! 

Theater Around the Bay: Gabriel Bellman and Megan Briggs of “Polling Place”

The Pint-Sized Plays open TONIGHT so we’re bringing you another in our series of interviews with the folks behind the 2016 Pint-Sized Plays. Here are writer Gabriel Bellman and director Megan Briggs of “Polling Place”!

“Polling Place” satirizes the current political climate and the heated rhetoric of the 2016 election. In it, a highly strung woman who’s just cast her ballot goes into a bar and confronts a laconic man with the question “Do you think it’s fair to vote for a candidate based on whether they sit down or stand up when they use the washroom?” Caitlin Evenson plays the woman, Claire, and Ron Talbot is the man, Ian.

Gabriel Bellman

Writer Gabriel Bellman has his eyes on you.

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

Gabriel: I’m proud to have been in this festival before. I enjoy the challenge of writing something on deadline, so when I saw the call for entries post into the clouds via a proxy-streaming server third-party service that takes encrypted pieces of digital information and converts them into the written language, I decided to write a short play using keystrokes and symbols to make words that were then used as a key to unlock language from digital chunks of electromagnitized green-chip circuit boards.

Megan: I directed a Pint-Sized show several years ago and had such a blast! Pint-Sized is one of my favorite SF Theater Pub events so I’m excited to be a part of it again this year 🙂

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

Gabriel: I think it’s to avoid thinking of it as a short play. When you envision a three-inch photograph, for example, you might be thinking of only a corner of a mouth, but (possibly) a better photograph is a three-inch square-size photo of the planet Earth, as cliched and trite as that photo may be at this point (unless of course an alien is in the corner snapping a selfie and it isn’t a blatantly poor Photoshop-job). So if you set out to capture a micro-cosmonaut, then you can still explore heaven and earth, right? A small version of the entire experience of humanity, I guess is the goal, and that’s hard to fit into anything. I feel like I didn’t answer the question. The hardest thing about writing a short play is the constant comparisons to William Shakespeare from strangers on the street.

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

Megan: The show I’m directing is absolutely delightful! Gabriel has written thoughtful and intelligent characters whose lives intersect in an unexpected way on Election Day. We had a fabulous time unpacking these characters and discovering the humor that comes when you mix politics with uncertainty. I also adore my cast. Caitlin Evenson and Ron Talbot are two fantastic performers and I’m very excited this show marks the first time they are working together on stage!

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

Gabriel: Getting to see different human minds, each encapsulated in uniquely shaped skulls, interpreting and engaging in the process of making art in live performance. Writing is such a solitary act that it can be a form of self-flagellation or affliction, but when actors come along, that all changes. Actors are a jovial bunch, on balance, and are attuned to human emotion to such a way that they can call it upon demand with strangers looking at them — it’s pretty amazing. So the best thing is to play in creative space with other artists — it can seem too good to be true.

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

Megan: I think Stacy Ross is an incredible performer! She excels at both comedy and drama and by all accounts she is a dream to work with.

Megan Briggs

Megan Briggs is a frequent Theater Pub performer and now, a Pint-Sized director!

Who or what are your biggest artistic influences?

Gabriel: There are a lot of different ways to answer that. For one, I could say parents, teachers, other artists, I could point to the times we live in, I could recount a midnight screening of Gremlins, or a Bob Dylan concert, or a Shaquille O’Neal dunk, or a Pop-Tart. Let me say something more guided: here are a few writers I felt impressed by as an adult. Denis Johnson, Junot Diaz, Mary Shelley, Seamus Heaney. Allen Ginsburg’s Howl is still the best poem ever written (although not as good as Whitman’s Song of Myself – which is basically a rip-off of William Blake). Is that an answer? My biggest influences are gangsta rap, existentialism, Atari 2600, and Indian food.

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

Megan: I would have to say Emily Blunt because I would really love to see how this play would change if we had a British actress playing the part of Claire. It would bring up a series of entirely new questions about her character and why she is so intrigued by the political process.

Gabriel: Penelope Cruz because I have loved her since I was 19 and saw Belle Epoque. Actually, I wouldn’t want it to be weird, so maybe a better answer is Magic Johnson, since i have loved him since I was 15. Wait, was that a trick question? The answer is Madonna.

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

Gabriel: I’m working on a feature play about a historical figure from New York at the turn of the century. I would say who and what it is about, but I’m too excited about it because I don’t think anybody else has done it yet, and it’s a good idea, and when you share those ideas early on, it bursts the bubble. What’s also next for me is a bubble tea. Very, very soon.

Megan: I’m very excited to be performing in Theater Pub’s production of King Lear this fall! I like my Shakespeare to be fast paced with high drama, and I think Theater Pub is the perfect venue for presenting Shakespeare that’s anything but boring and stuffy.

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

Megan: I’m excited about seeing the musical Chess for the first time at Custom Made Theatre Company this fall. I’m also super pumped for Hamilton next spring (although I have to be willing to wait for it).

Gabriel: I’m looking forward to the Lit Crawl, I believe I’ll be performing in that, and also seeing Hamilton, and plays that actors and playwrights from Pint-Sized are doing. It’s a talented group, excluding myself, since that sounds weird.

Finally, what’s your favorite beer?

Megan: I’m more of a cider girl myself, and Stella Cidre is my absolute favorite!

Gabriel: For anybody who was raised in the shadows of the Willamette Valley, it’s Black Butte Porter. But honestly, I love a nice Jamaican ginger beer.

See “Polling Place” and the other Pint-Sized Plays at PianoFight on August 15, 16, 22, 23, and 29!

Theater Around the Bay: Jake Arky of “Julie Kopitsky’s Bat Mitzvah”

Next in our series of interviews with the folks behind the 2016 Pint-Sized Plays: writer-director Jake Arky of “Julie Kopitsky’s Bat Mitzvah”!

“Julie Kopitsky’s Bat Mitzvah” is a comedic monologue by a 36-year-old woman who’s finally stopped her hard-partying ways long enough to complete the Jewish rite of passage. Noemi Zeigler Sanchez stars as Julie.

As Jake is the only writer/director pulling double duty this year, he’s answered BOTH our playwright questionnaire and director questionnaire… and sometimes his playwright-self and director-self seem to have differing opinions.

Jake Arky - Headshot 2

Jake Arky, he writes AND directs!

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

Playwright Jake: I bumped into Alejandro Torres, who I had acted with in another Theater Pub show, I Like That, on the street and he mentioned he was producing Pint-Sized this year. I asked if I could send him a monologue that I had just been thinking about writing. He said yes, so I guess I was on the hook to write something good and lo and behold, it made the cut.

And, Director Jake, how did you get involved with Pint-Sized?

Director Jake: I wrote a deadly play and when no one else was brave enough to touch it, I bravely stepped up to the plate to wrestle it into the work of art you’ll see on stage.

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

Playwright Jake: Keeping it a short play.

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

Playwright Jake: Cut to the action.

What’s been the most exciting part of directing this play?

Director Jake: Rehearsals and just discovering everything the play can turn into.

What’s been most troublesome?

Director Jake: Trusting myself as a director, especially since it’s a new hat I’ve been wearing only in the last year.

Who or what are your biggest artistic influences?

Playwright Jake: TV. Lots of TV.

Who’s your secret Bay Area actor crush?

Director Jake: They know who they are.

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

Playwright Jake: Louis C.K. and Kate McKinnon, for obvious reasons.

Director Jake: The cast of The Wire. Like, every single person that was ever on that show.

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

Director Jake: I’m the Drama Director at a high school on the Peninsula and I’ll be directing Assassins in a brand new theater space this fall.

Playwright Jake: A play about helicopter parents who kill their children when they aren’t perfect. It’s a comedy!

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

Playwright Jake: All of them.

Director Jake: Anything coming up at PianoFight.

What’s your favorite beer?

Playwright Jake: Stone’s Smoked Porter.

Director Jake: Stone’s Smoked Porter.

See “Julie Kopitsky’s Bat Mitzvah” and the other Pint-Sized Plays at PianoFight on August 15, 16, 22, 23, and 29!

Theater Around the Bay: Shirley Issel & Jamie Harkin of “Angel of Darkness”

From now through the end of August, we’ll be bringing you interviews with the writers and directors of the 2016 Pint-Sized Plays. First up: writer Shirley Issel and director Jamie Harkin of “Angel of Darkness”!

“Angel of Darkness” is a modern mystery play set in a contemporary bar. Death is the barman, and he informs Everyman that as soon as another patron, Fellowship, finishes his beer, Everyman will die… 

Brett Mermer plays Death, James F. Ross plays Fellowship, and Jamie Harkin pulls double duty by playing Everyman as well as directing the show.

How did you get involved with Pint-Sized?

Shirley: I am part of a playwriting class at Stagebridge, taught by Anthony Clarvoe. Anthony gave us your Pint-Sized Play Festival call for submission and rules as a weekly assignment. The rules captured my imagination and I really liked the results, so I submitted.

Jamie: My dear friend Alejandro Torres, who is the deputy producer of Pint-Sized this year, knows me and recommended me.

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

Shirley: Coming up with a good idea.

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

Shirley: It is clear very quickly if you have something good.

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

Jamie: The idea of performing in front of such a huge crowd.

What’s been most troublesome?

Jamie: Finding actors.

Shirley Issel

Shirley Issel, Pint-Sized Playwright.

Who or what are your biggest artistic influences?

Shirley: I am in love with Shakespeare, especially the way one character in each play sets the ball rolling and in doing so calls in his own fate. “Angel of Darkness” takes place on Halloween. When the bartender/Death asks Everyman if he wants a “trick or treat,” Everyman asks for a trick, inviting Death to do his thing.

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

Jamie: Anthony Hopkins, Derek Jacobi, Benedict Cumberbatch or Alan Rickman (if I could bring him back I totally would). Cause, you know, I love me some Brits.

Shirley: I would cast Matthew McConaughey as the bartender. He’s naughty, playful and smart with a killer smile. I can just hear him with his Southern accent asking his customers, “Alright, Alright, Alright! What’ll you have, trick or treat?”

Jamie Harkin

Jamie Harkin, actor AND director!

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

Jamie: Hmm… I’d have to say James Carpenter. I’ve met him a couple times. He’s really really nice.

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

Jamie: I’m in the SF Fringe Festival this year as part of Alejandro’s show Projected Voyages, which is being remounted. I was an original cast member back in 2013.

Shirley: I’m sticking with my playwriting class at Stagebridge and I’m curious myself about what will happen next. One thing new I’m eager to pursue is a class on directing.

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

Shirley: I’m looking forward to seeing Dear Master come back to the Aurora in September. Joy Carlin is directing and she makes sure good material gets a good production.

Jamie: I really wanna see John Leguizamo’s show at Berkeley Rep.

What’s your favorite beer?

Jamie: Milk!

Shirley: Right now, I like Death and Taxes.

See “Angel of Darkness” and the other Pint-Sized Plays at PianoFight on August 15, 16, 22, 23, and 29!

 

Theater Around the Bay: Announcing the 2016 Pint-Sized Plays

PintSized6

Theater Pub is thrilled to announce that our Pint-Sized Play Festival returns this August for FIVE performances at PianoFight — August 15, 16, 22, 23, and 29. That’s right, we’ve added a fifth performance by popular demand!

The Pint-Sized Plays – short plays by Bay Area playwrights that take place in a bar and involve characters drinking beer – have been Theater Pub’s flagship event since 2010. This year, producer Marissa Skudlarek and deputy producer Alejandro Emmanuel Torres are pleased to present 11 new plays by a mix of Theater Pub veterans and new faces.

Many of the 2016 Pint-Sized Plays deal with endings and beginnings. A man and woman meet to sign their divorce papers in “No Fault,” by Christian Simonsen. In Marissa Skudlarek’s “Cemetery Gates,” two moody and self-dramatizing teenagers sneak into the bar, while in Shirley Issel’s “Angel of Darkness,” Death himself comes to the bar and targets an unsuspecting patron.

Two one-woman shows depict women on the brink of major life changes: “Julie Kopitsky’s Bat Mitzvah” by Jake Arky features a 36-year-old woman who has finally become an adult according to Judaism, while Caitlin Kenney’s “Why Go With Olivia” is about a woman who’s ready to put her old life behind her and start anew.

National and world politics are on everyone’s mind this summer, so some of this year’s Pint-Sized Plays have a political bent. “Polling Place,” by Gabriel Bellman, satirizes the anxieties and rhetoric of the 2016 election, while in “Don’t I Know You,” by Elizabeth Gjelten, a woman confronts the trauma of her past in a war-torn country.

On the lighter side of things, “Beer Culture” by James Nelson satirizes just how snobby San Francisco millennials can be about microbrews, and “Where There’s a Will” by Tanya Grove pays tribute to Shakespeare in this #Shakespeare400 year by imagining his visit to a modern-day bar. Alan Coyne’s “Bar Spies” presents a dizzying array of false identities and double-crossings in a spy-fiction pastiche

As always, Pint-Sized Plays’ mascot, the drunken llama played by PianoFight’s Rob Ready, will return with a new “Llamalogue,” written by Stuart Bousel.

Full lineup of plays, with a quote from each, is as follows:

“Julie Kopitsky’s Bat Mitzvah,” written and directed by Jake Arky—“After the bar mitzvah…it’s just the bar. Okay, so technically this is a bat mitzvah, but let’s not split hairs, yeah?”

“Polling Place” by Gabriel Bellman, directed by Megan Briggs—“What if I did choose a candidate based solely on whether they share certain characteristics with me or not, does that mean I’m voting for myself? Because I’m terrified of narcissists.”

“Llama VI” by Stuart Bousel, directed by Emma Rose Shelton—“Look, I hate tradition as much as the next person, okay? But one day, probably, I won’t be here—and you’re gonna miss that.”

“Bar Spies” by Alan Coyne, directed by Juliana Lustenader—“You asked for this meeting. I have what you want. Tell me what I need to know, or there’s no deal.”

“Don’t I Know You?” by Elizabeth Gjelten, directed by Jimmy Moore—“Here I am, a long way from home, and I see this one here, and I swear, we shared a beer. Back home. Maybe at Salim’s?”

“Where There’s a Will” by Tanya Grove, directed by Vince Faso—“Thou thinkest thy sisters arranged a meeting but never had intention of coming hither? Forsooth, wherefore this deception?”

“Angel of Darkness” by Shirley Issel, directed by Jamie Harkin—“He’s probably going to finish that beer; and when he does… Are you listening? You’re gonna die. So, what are you drinking?”

“Why Go With Olivia?” by Caitlin Kenney, directed by Vince Faso—“I have accepted a new job and would like to pursue this without you beginning September 1st. This does not mean I want a long-distance relationship. Or much continued contact at all.”

“Beer Culture” by James Nelson, directed by Neil Higgins—“I’m really not cool about what just happened. He was going to drink a Stella! At my table! What would people say?”

“No Fault” by Christian Simonsen, directed by Alejandro Emmanuel Torres—“Look, if you haven’t read it, you shouldn’t sign yet. Nothing’s changed regarding Wendy. Still joint custody.”

“Cemetery Gates” by Marissa Skudlarek, directed by Adam Odsess-Rubin—“Every time you look at someone you love, you know they will never be more beautiful than they are at that moment, because they will never again be so young.”

The Pint-Sized Plays acting company will feature the talents of Layne Austin, Andrew Chung, Lisa Darter, Nick Dickson, Daphne Dorman, Caitlin Evenson, Sailor Galaviz, Jamie Harkin, Colin Hussey, Sarah Leight, Alexander Marr, Kyle McReddie, Brett Mermer, Courtney Merrell, Rob Ready, Paul Rodrigues, James F. Ross, Amitis Rossoukh, Jessica Rudholm, Ron Talbot, and Noemi Zeigler Sanchez. (Additional casting TBA.) Logo designed by Cody Rishell.

The Pint-Sized Plays will perform five times: August 15, 16, 22, 23, and 29 at 8 PM at PianoFight, 144 Taylor St, San Francisco. Admission is FREE to all performances. For more information, please visit www.sftheaterpub.com.

Hi-Ho, the Glamorous Life: Age Cannot Wither Her

Marissa Skudlarek, growing old thoughtfully. 

In the two weeks since I turned 29, I completed a draft of my first new full-length play in five years, and discovered a secret place to pick blackberries.

If I’m being honest with myself, the blackberries sometimes feel like an even better achievement than the play.

I’ve been thinking a lot about time passing lately: cycles, parallels, how the present moment feels like a tiny, dainty pinprick caught between the vastness of the past and future. (The main character of the play I just completed does a lot of thinking along those lines too, as the director of my staged reading pointed out. Well, I put a lot of myself into her.) My birthday is in the summer and I moved to San Francisco in the summer too, nearly eight years ago. People are moving away, or moving on to different projects. The election cycle and the news cycle are all-pervasive. The last year of my twenties has commenced.

This month is also the ten-year anniversary of my first major achievement as a playwright, when I won a national contest for writers 18 and under and was awarded with a staged reading of my play in New York, plus a week of theatergoing and workshops.

I found out that I’d won on my 19th birthday. I still remember it: waking up early on a summer morning, wrapping myself in a blanket, sitting on the end of my bed and calling the New York number of the Young Playwrights organization. (They had left me a vague and maddening voice mail a few days earlier and I hadn’t been able to call them back due to the Fourth of July holiday.) The woman who ran the organization, Sheri Goldhirsch, told me that I’d won.

I wish I could say that that was the moment my life changed.

It was a wonderful experience, don’t get me wrong; but it now feels strange and distant, and I hardly ever think about it. I can’t even remember the exact date of the staged reading. When I do think about that week in New York, it is often with regret that I did not keep in better touch with the professional writers and directors to whom the organization introduced me. I was 19 years old and did not know how to network. I was shy and uncertain (some would say I still am). In my blacker moods, I pray that this contest was not the high-water mark of my playwriting career. I know New York is not the end-all and be-all of a theater career, but I haven’t had any plays in New York since then…

I’m still Facebook friends with the other seven contest winners. Some of them still seem to be involved in arts-related pursuits: theater, writing, filmmaking. One has a baby and is divorcing her husband. Nobody is wildly successful. Nobody is anybody you’ve ever read about in a puff piece touting “the latest hot young playwright.” I would be rabidly jealous if they were. There’s a decent chance that out of all of us, I’ve written the most new works for the stage in the last ten years. But I feel weird about comparing myself to the other contest winners; if I’ve kept writing plays while others have given it up, that isn’t necessarily something to be proud of. Maybe it means I am just more set in my ways and resistant to change.

Sheri Goldhirsch is now deceased.

The man who directed my staged reading went on to direct a little play off-Broadway that became a huge hit, and moved to Broadway, and earned him a Tony nomination for his direction. (Now you can see why I wish I’d kept in better touch with him.)

I also can’t shake a feeling of guilt that whenever I take advantage of an opportunity for “young people,” I’ve gamed the system. I skipped first grade and have a summer birthday, so I’ve always been younger than everyone else, or prematurely advanced for my age, depending on how you want to look at it. When I submitted my play to the Young Playwrights competition, I was 18.5 years old and had already completed three semesters of college. It was perfectly fine for me to submit according to the contest’s rules, but I couldn’t help feeling that I wasn’t the kind of person that the contest was designed for.

Similarly, tonight, a scene from my new play Juana is going to be read at Playwrights Foundation’s Night of New Works, a scene-reading and networking event that the Bay Area Playwrights Festival interns are hosting for theater-makers under 30. Again, when I submitted my work for possible inclusion in this evening, I felt slightly guilty about doing it: I am 29 years old, I am not fresh out of college, I have a long list of indie-theater credits and I write for this blog every two weeks and a lot of people seem to know my name. Is it fair for me to take up a slot in this evening? Am I going to feel like the old lady at the kids’ table?

And furthermore, are these kinds of opportunities for young people fair, or are they blatant age discrimination? What about the people who discover theater and playwriting when they are in their 30s or older? And then, if this is a youth-obsessed industry, shouldn’t I have done even more to try to become a Hot Twentysomething Playwright rather than hanging back?

When I moved to the Bay Area, it felt like my twenties would last forever. The first play I saw here was Yellowjackets, at Berkeley Rep, on one of their half-price tickets for people under 30. The time when I would age out of that benefit seemed a long way off. I was startled to realize last week that I’m now in my last year of eligibility for Berkeley Rep’s half-price tickets. I feel, simultaneously, like I haven’t done enough with my twenties and like they have gone on for an unbelievably long time.

I have a lot of work still to do this summer. Producing the Pint-Sized Plays, revising a play for Custom Made’s new-works development program, completing a new one-act play for the Olympians Festival. But despite it all, I’m going to try to go to the secret blackberry patch at sunset every chance I get. You know that you should never force a blackberry off its stem; if you have to pull too hard on the berry, it isn’t ripe. You need to pick only the berries that have hung in the sun a good long while, the ones that are on the verge of turning jammy and falling apart. I need to remember to let the berries take their time, and not regret the ones that went unplucked.

Theater Around The Bay: Cowan Palace Goes Portal

Ashley may be 3000 miles away but it’s like she’s right next to you, singing in your ear about her interview with Kirk Shimano and Sang Kim, who prepare to rock San Francisco Theater Pub with Portal: The Musical!

Hello there, my San Francisco friends! Wow, what a few weeks it’s been, huh? Lots going on all over the world but I have to say getting the chance to interview writer Kirk Shimano and director Sang Kim was a real treat. This dynamic duo is currently working on San Francisco Theater Pub’s latest show, Portal: The Musical.

The cast features Alan Coyne, Jamie Lee Currier, Dan Kurtz, Courtney Merrell, and Karen Offereins with musical direction by Liz Baker, voice direction and production design by Renee LeVesque, and Paul Anderson and Spencer Bainbridge rounding out this rockin’ team as the band. The show is set to the music of Jonathan Coulton and this theatrical piece is sure to be unlike any other production you’ve seen this millennium.

Kirk Laughing!

AC: So firstly, what are audiences in store for when they sit down for Portal: The Musical?

KS: I think the experience will be pretty different based on what the audience member is bringing in. Fans of the video game are going to get to see the story they love brought to life in a totally different way. Jonathan Coulton fans will get to hear their favorite songs for the first time again when they’re sung by our characters. And people who don’t know anything about either are going to discover a whole new world that they never knew they were missing.

SK: A lot more feeling and earnestness than you’d expect for a video game based on dimensional rifts and psychotic artificial intelligence. Also – this show passed the Bechdel Test with extra credit! Good Job sticker for us!

AC: So, how did this project come to be?

KS: I played through the original Portal in one sitting and it’s been a favorite ever since. And when I found out the guy who wrote “Still Alive” had a whole repertoire of other work, I got my hands on all the Jonathan Coulton music I could find. But this all really gelled for me when I heard the song “Code Monkey” on the Best. Concert. Ever. album. As soon as I heard that, I immediately knew there was a character behind this song and wanted to bring it to life in a full musical.

SK: Kirk emailed me back in June 2013 after he punched out a first draft during his stay-cation. I replied back and said yes to working on this. I wish it was more dramatic and suspenseful, but there it is. How about we just pretend Kirk threw the script into a Thunderdome death pit and I emerged the victor and claimed the musical as my prize.

Sang Directing!

AC: What’s been the biggest surprise you’ve experienced while rehearsing a musical about a video game?

KS: I’d say it’s just seeing all the passion that people have for this source material. There’s always a great level of support among other members of the theater community, but it’s been wonderful to also see friends who wouldn’t necessarily consider themselves “theater people” get really excited about this project because of their connection to the source material.

SK: Agree with Kirk. It’s gotten to the point where rehearsals are going long because there’s too many ideas and too much fun being had. And, oh Lord, the spontaneous singing. Always with the spontaneous singing. People singing and making up lyrics and breaking into song. It’s like witnessing a karaoke playlist for ADHD show choir students on meth.

AC: What’s been your favorite moment so far while working on the show?

KS: I’d have to say it’s those moments in rehearsal where we’ve had everyone sing along together. Our cast and creative team has been wonderful to work with in general, but that’s the moment when I just feel we’re all the most connected.

SK: Yes. This.

I played viola in the orchestra so the power of group singing has never made an impact on me until this show. I finally understand why the Grinch’s heart grew three sizes that day.

AC: What drink do you think would pair best with the production?

KS: Maybe one of those novelty drinks that comes in a beaker and has some dry ice to make fog spill out over the sides? Because something that is fun and a little creepy with a chance of killing you is basically the character of GLaDOS.

SK: Anything garnished with olives – just one olive so your drink is looking back at you which reminds me of all our little robot friends from the game.

The Creative Portal  Team

AC: What’s been the hardest challenge you and the cast/crew have faced while bringing this story to life (and song!)?

KS: I feel very fortunate in that Sang has been taking on the HUGE task of all the scheduling and coordination of bringing together all of the talent need to bring this together, and I just get to watch. But one challenge that comes to mind was having to cut a couple songs from the script that I really like but that weren’t serving the story (sorry “I Crush Everything”).

SK: Kirk is gracious but having this specific group of talent has been worth all the wrangling. The hardest thing is to pull the show back for a staged musical setting at Theater Pub. I think a lot of past contributors have excelled in presenting fantastic shows in such an unconventional setting. But the scope and creativity of Kirk’s musical, the Portal universe, Coulton’s songs,along with the talent involved have actually been an embarrassment of riches. Having limited time and resources means picking and discarding your darlings.

AC: Tell us more about what you’re up to after this show! Any fun new projects on deck?

KS: Next up for me will be the San Francisco Olympians Festival, which I’m happy to be returning to for the sixth year in a row. I’m looking forward to sharing a night with three other playwrights (Barbara Jwanouskos, Julianne Jigour, and Alan Coyne) as we present three very stylistically different approaches to the gods of sleep and dreams.

SK: After some rest, I’ll be helping co-write Thunderbird Theatre’s next original play. It’ll be a creative collaboration with The Mess sketch comedy, which also has a show up this November.

AC: What Bay Area show (other than this) are you most excited to see this summer?

KS: I’m a big fan of musicals in general, so I can’t wait to see City of Angels at the San Francisco Playhouse and Chess at the Custom Made Theatre Company. I’ve been a big fan of the cast albums of both and neither is a show that you see performed all the time.

SK: I was glad to see The Rules and the Loud and Unladylike Festival, but they both closed this past weekend. After that, probably my usual summer and fall diet of Pint Sized Plays and the Olympians Festival before I hibernate for the winter.

AC: Using only emoticons, how would you describe Portal?

KIRK: — 0 0– >

SANG: 🍰🤔

AC: If your directing/writing style was a song, what would it be?

SK: For this show? “Bizarre Love Triangle.” You’ll see.

KS: Want to be: “Everything is AWESOME!!!” But, actually: “Still Alive.”

See Portal: The Musical only at PIANOFIGHT (144 Taylor Street):, July 18, 19, 25, and 26 @ 8 PM.

13501856_10157438382280179_8149500536982310544_n