Theater Around The Bay: KING LEAR Begins Second Week!

KING LEAR returns tonight!

Don’t miss this final production from Theater Pub!

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Adapted and directed by Sam Bertken and featuring Valerie Fachman, Carl Lucania, Marlene Yarosh, Genevieve Perdue, Megan Briggs, Matt Weimer, Charlie D. Gray, Sam Heft-Luthy, Vince Faso, Karl Schackne and Kevin Glass, LEAR is the fitting swan song of sadness and silliness that will close the book on Theater Pub.

Catch “LEAR” only at PIANOFIGHT (144 Taylor Street):

Monday, November 28 @ 8:00pm
Tuesday, November 29 @ 8:00pm

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

See you at the Pub!

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Theater Around The Bay: Announcing Theater Pub’s Next Show!

Theater Pub’s November show is another classic from the Bard’s folio. We’ve done comedies, we’ve done histories, we’ve done problem plays- and now, with the same love, speed, and healthy irreverence that’s made these productions instant classics in the past, we present William Shakespeare’s LEAR.

kinglear-01-2-copy

Adapted and directed by Sam Bertken and featuring Valerie Fachman, Carl Lucania, Marlene Yarosh, Genevieve Perdue, Megan Briggs, Matt Weimer, Charlie D. Gray, Sam Heft-Luthy, Vince Faso, Karl Schackne and Kevin Glass, LEAR is the fitting swan song of sadness and silliness that will close the book on Theater Pub.

Catch “LEAR” only at PIANOFIGHT (144 Taylor Street):

Monday, November 21 @ 8:00pm
Tuesday, November 22 @ 8:00pm
Monday, November 28 @ 8:00pm
Tuesday, November 29 @ 8:00pm

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

See you at the Pub!

Theater Around The Bay: Get Ready For Better Than Television!

Our next show, Better Than Television, is going to turn your world upside down! Before the adventure begins, we figured it was time to check in with regular TP contributor, Megan Cohen, who is the brains behind this crazy new show!

TP: Megan Cohen- you’re back again! What keeps you coming back to Theater Pub?

MC: Every mad scientist needs a lab.

TP: Every show you do is different, but how is this show particularly unique?

MC: As a swirling “live channel” programmed with serial shows and commercials, Better Than Television is bigger AND smaller than anything I’ve done at Pub. The plays are tiny; micro-episodes of just a few minutes each, for short attention spans. The evening is huge, with lots of characters, genres, theme songs, commercials. I’ve got about 25 artists on the team: writers, actors, musicians. That’s a lot of talent for a free show in a bar.

TP: Explain your process behind this one- there was some kind of writing party?

MC: Over a weekend, 17 writers came to my house. We drank 2 flats of Diet Coke, I made 16 pizzas, and between us all, on that Saturday and Sunday we wrote 59 brand new micro-plays. We created the soap opera All My Feels, the sci-fi adventure Space Bitch, and everything else you’ll see onstage.

Megan Cohen is sort of like what would happen if Orson Welles had a better childhood.

Megan Cohen is sort of like what would happen if Orson Welles had a better childhood.

I love to do things myself; I’ll write a whole show and mix the soundtrack and make the props with a glue gun; heck, as a performance artist, I’m working on a 12-hour durational solo show right now. I love doing things myself, but I wanted Better Than Television to be about teamwork, friendship, and celebrating the incredible wealth of talent in our community. I built a structure, gave some prompts, gave a format, and then the crew of writers really made the episodes and commercials their own! A fabulous array of voices. I am surprised, thrilled, delighted, and definitely entertained by what people wrote in this format, and I hope you will be too.

TP: What is it about television that makes it a suitable topic for its perceived nemesis- The Theater?

MC: I’m part of The Broadcast Television Generation. The generation before me didn’t have TV on all the time in the house growing up, and the generation after me has everything online and on-demand, where they can curate it themselves. I grew up in the 80s and 90s, tuning in for “Nick at Night” and “TGIF,” at the blissful mercy of a machine that fed me dreams on its own schedule. Going to theater is not so different from trusting a Broadcast Network. You show up, and it takes you somewhere you didn’t know you wanted to go. You just stay tuned. I think we all need that. We all make a lot of decisions every day, and sometimes you want to relax and let someone you trust take the reins. That’s what I’m planning for these shows to do. People want to be entertained, and I think they want to be a bit surprised.

TP: So, ideally someone comes to all four nights of this, yes?

MC: Better Than Television is a different show each night! New episodes of each micro-serial, a rotating cast of actors, twists and turns all the time; I hope that if you come once, you’ll get hooked, and will want to come back and see what happens next. If you get addicted to the channel and binge-watch the whole 4-night series, you’ll have a lot of fun. More fun than a cat in a banana.

This is the second-most-fun thing in the world.

This is the second-most-fun thing in the world.

TP: And what if someone can only come one night? How does it change their experience?

MC: Each night stands alone. If you tune in with us at Theater Pub for one night, you won’t see the complete run of any series, but you will see enough episodes of each micro-show to get the gist, so you can fall in love briefly with the characters and the story. Especially Space Bitch. Everyone loves Space Bitch.

TP: If you could work on any real-life TV show, what it would be and what would you bring to the table?

MC: Any TV show ever? Deadwood. Any current TV show? Orphan Black. What would I bring to the table? Wit, courage, small pores, and the chops I’ve built in an energetic and dedicated writing career where, at age 32, I’ve shared almost 100 of my scripts with audiences around the world.

TP: What if a network approached you and said, “Anything you want?” What does your ideal TV show look like?

MC: It’s kind of a Deadwood-meets-Orphan-Black mashup in a comic vein with a supernatural slant, where everyone in a small frontier town is played by the ghost of Madeline Khan.

(For real, though, if anyone wants to rep me, I can send you an hour-long TV pilot that’s not that.)

TP: Any shout outs for other stuff going on in the community?

MC: Along with Theater Pub, KML and Faultline are 2 resident companies at PianoFight that are having strong seasons this year, with lots of good artists involved. See them, see everything, see Theater Pub every month. See anything by any of the artists who are part of making Better Than Television: Paul Anderson, Scott Baker, Sam Bertken, Stuart Bousel, Jeremy Cole, Barry Eitel, Valerie Fachman, Fenner Fenner, Danielle Gray, Kenneth Heaton, Paul Jennings, Colin Johnson, Dan Kurtz, Rebecca Longworth, Carl Lucania, Becky Raeta, Samantha Ricci, Cassie Rosenbrock, Heather Shaw, Jeunee Simon, Marissa Skudlarek, Peter Townley, Steven Westdahl, Indiia Wilmott, Marlene Yarosh, wow that’s a mouthful. Keep an eye on those people. Also, of course you should see everything that I personally am doing everywhere always.

TP: What’s next for you?

MC: On the closing day of this show, I’m heading for the “Ground Floor” new works program at Berkeley Rep. We’re doing some development there on my new full-length play Truest. It’s about a pair of sisters who love and fight each other, kind of a Thelma-and-Louise-meets-Sam-Shepard vibe. For news on that and other projects, keep in touch with me on Twitter: @WayBetterThanTV or on my website www.MeganCohen.com.

Better than Television starts on June 20 and plays through June 28, only at San Francisco Theater Pub! 

Theater Around The Bay: Executive Director Stuart Bousel Stepping Down

Spring brings changes; Stuart Bousel announces a big one.

Happy April Fool’s Day!

So, today seems like as good a time as any to make an announcement I’ve been meaning to make. My plan was to piggyback off another announcement that I’ve been waiting for, but that news seems delayed, so I’m going to just forge ahead.

As I stated on Facebook few weeks back, I’ve been going to therapy again. This is the result of a combination of things, easily summed up as “Life was getting stressful, had been for quite some time, and I opted not to repeat my mental breakdown of 2007-2008, by preemptively doing something about it instead of waiting to lose my mind first.” As often happens in therapy, organizing one’s thoughts and desires quickly makes apparent that action is sometimes required on multiple fronts if one wants to have a decent shot at thriving over merely surviving, and so it was with me, and is part of what led to this decision, the nutshell of which is: I’m stepping down from Theater Pub.

Now, this won’t happen tomorrow (sorry, would-be successors, be patient). It will happen after the New Year, starting January 1, 2017. I know that seems like a really long time, but due to some I-can’t-yet-say-what circumstances, I’m effectively booked from August through December with other projects, so my artistic involvement with Theater Pub this year was most likely ending with August’s Pint-Sized Plays anyway, though I’m sure I’ll be involved with the musical too, if in a very cameo capacity. Part of the reason why I am stepping down is because I have just hit the maximum amount of hours I can squeeze from a day and blood I can extract from my stone heart. And at the risk of bragging, things don’t look to be slowing down, but rather the opposite, meaning I’ve finally hit a point of having to make some tough decisions and withdraw from various things I love, so I can keep doing other things I love, but also growing and evolving as an artist and as a person.

While we’re on it, I won’t be working the Fringe Festival this year (though I plan to be back next year) and I will be involved in the SF Olympians Festival in a very reduced capacity (though I plan to be back in full force next year). All this is not because I’m taking a vacation, but because other opportunities presented themselves, and after years of saying no to similar opportunities in the name of being a good leader/founder and looking after my various responsibilities, I decided it was time to say yes. And like… see what happens. I love the Fringe, I love SF Olympians, and I love Theater Pub… but it’s important that love be a choice, and not an obligation, lest it grow into resentment. Which sometimes, lately, it has.

We (being myself, Tonya Narvaez, Meg Trowbridge, and Rob Ready) still haven’t actually decided if Theater Pub will continue to exist after January 1st. I sincerely hope it does. I love having helped found and for a long time direct an organization that embodies the best aspects of the Bay Area theater scene, its pluck and creativity and innovation and scrappiness, not to mentioning actually putting the Inclusive back into ‪#‎buzzwordinclusivity‬ ‪#‎tbacon16‬. Hundreds of different artists have passed through Theater Pub in the last seven years, we have debuted a ton of new work, and for many people (writers, actors, directors, etc.) we have been their first venue in the Bay Area, or the place they returned to doing theater after a long hiatus, or the place they finally got to try on a new hat, or try on a theater hat at all. Since our fourth show we have paid everybody who has worked with us, and we have started a handful of Bay Area traditions that have ensured we are a formidable source of experimentation and opportunity. We survived a venue change, a regime change, a restructuring, and in the last year and a half have rebuilt what a lot of people didn’t think could be rebuilt. We are just now starting to hit what I predict will be a new stride, a new golden era for the company, and I do not want that to go away, but it’s a lot of work, occasionally quite thanklessly so, and I’m not going to force it upon someone simply because I no longer feel it’s the right thing for me. If Tonya and Meg decide to keep it going, there are no better people I can imagine to do the job. If they do not, then this year will be a long kiss goodnight. Either way, I’ll be here through December in an administrative and advisory capacity, either to help transition or to help shut everything down.

Marissa Skudlarek will be taking over the blog at the end of the year, so that won’t be going away, though it will probably change, and knowing Marissa, drastically improve. Rest assured, the Stuey Awards will continue, and will be my annual contribution. I’m not leaving the world, just leaving Theater Pub. If the production side of Theater Pub continues I am planning to snag an annual “Legacy Show” for myself to direct once a year, but again, we’ll see on that front. Saturday Write Fever will also continue under my and Megan Cohen’s guidance, though it may become an exclusively EXIT Theatre event, depending on what happens with the rest of Theater Pub. That said, we’re in the process of selecting and training more hosts, so that Jeunée Simon, Andrew Chung, Sam Bertken, and ourselves have a little bit more scheduling flexibility. I’m not the only one with a life, and I know that. And there comes a time in every career where you want to move on, or at least just be able to take a sabbatical.

Anyway, I think that sums it up. Thanks for reading, and thanks to everyone who has made Theater Pub special over the years. It’s been a pleasure to serve you.

Except when it hasn’t been. (smiley face)

And just to be clear… this is a totally real announcement.

Theater Around The Bay: Don’t Miss Over The Rainbow!

The mere mention of Lisa Frank often conjures daydreams of pencil cases, folders, erasers, notebooks, and Trapper Keepers. Of rainbow unicorns, ballerina bunnies, painting pandas, and glamorous kitties. But this cheerful aesthetic may not be all it seems.

OVER THE RAINBOW, written and directed by Tonya Narvaez, continues performances tonight and tomorrow at 8 PM at PianoFight– DON’T MISS IT!

Can’t get enough? Take this Buzzfeed quiz specially crafted by Tonya to determine which character you’d be in a world run by Lisa Frank!

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Featuring performances by Sam Bertken, Andrew Calabrese, Andrew Chung, Danielle Doyle, Alisha Ehrlich, Caitlin Evenson, Danielle Gray, Danielle Ishihara, and Christine Keating with movement direction by Liz Tenuto.

Playing February 22 and 23, performances are free, with a $10 suggested donation, and seating is first come, first serve.

Get there early to enjoy PianoFight’s full bar and menu!

Theater Around The Bay: Tonya Narvaez Talks Rainbows

Our next show opens a week from tonight and it’s not secret that people are already a little obsessed with it. We sat down with author/director Tonya Narvaez to talk about just why people love Lisa Frank… and fear her… and why this show is another Theater Pub event that you can’t miss!

Tonya was told to submit a "fun" photo and here it is. Also it has two other cast members in it - Sam Bertken and Andrew Calabrese. Photo by Sam Bertken.

Tonya was told to submit a “fun” photo and here it is. Also it has two other cast members in it – Sam Bertken and Andrew Calabrese. Photo by Sam Bertken.

So, what’s this crazy show all about?

A young Lisa Frank finds a portal (in her bathroom) to The Wonderful World, where all her stuffed animals have come to life. She quickly discovers that everything is not as it seems. That the rules are different here. That even the cutest of characters can have a vicious streak.

Okay… and where did you get this idea?

Ashley Cowan and I were going to write a play together for the February show. It would be about love and dating and about how two people can have such different reads on the same experience. While developing the idea, I started talking about Lisa Frank with someone at PianoFight – I believe it was Megan Cohen. Suddenly the idea had morphed into a play about Lisa Frank on Tinder. This idea thrilled me, so I let myself fall into a Lisa Frank rabbit hole. I read everything I could find about her. She’s the most curious person. She’s guarded but outgoing, bubbly with a hint of sadness. Every article I read included quotes from former employees, who had terrible experiences working at the headquarters in Tucson. It seemed like there was a better story there. Better than imagining Lisa Frank on Tinder. So I decided to write a fictional origin story.

What does the cast think about this project? How are rehearsals going?

I am very fortunate to have this cast. Truly, they have been so game and so fantastic to work with thus far. Some amazing work has been done on these characters. They have taken every bit of information I’ve given them about Lisa Frank and about this strange, topsy-turvy world I’ve created and just ran with it.

When casting, did you ask people what their feelings on Lisa Frank are?

Yes! I asked for their “Favorite Lisa Frank image or character and why”. I received such a mixed bag of responses. Some people were genuinely interested in Lisa Frank characters and had childhood anecdotes to tell. Others were never really interested in Lisa Frank but sent their favorite Nihilisa Frank image. (http://nihilisa-frank.tumblr.com/)

What’s your own personal relationship/history with Lisa Frank? Do you have a favorite product?

I really liked some of the Lisa Frank imagery growing up but I thought I was too cool to admit it. I would make fun of it in passing, but secretly wanted a Trapper Keeper with dolphins and hearts and rainbows all over it.

What would you do if she showed up to the show?

I’m not entirely sure. My instinct says I would hide. My intellect says I would be really interested in what she thought of the show and would try to have a conversation with her about it.

When you write a play, what’s your process and how do you go about shaping a script?

I start with a really basic premise, like “Lisa Frank origin story a’la Wizard of Oz/Alice in Wonderland”. Then I do more research than is needed. Then I develop the characters and the world/s. Once I have a really solid cast of characters to begin with, I’m able to write pretty freely. There are times when I get stuck. When I do, I usually realize it’s because I didn’t build a character out enough, or am trying too hard to stick to some sort of “rule”. Or clinging on to something that isn’t as important as I think it is.

You’re also directing this. Is directing your own work something you like to do? How is directing your own play different from directing something someone else wrote?

I do like to direct my own work, but for selfish reasons. I like to be able to change the script to suit the cast. Or if I see something I’ve done is terrible, I can still change it early on in the process. Often times right then and there at rehearsal. I find it much more challenging to direct another person’s work. There isn’t as much liberty to be taken, and there has to be more structure to the development process. I think as I continue to grow as a writer and as a director this answer will change.

Any shout outs to the rest of the community and what else is going on?

Yes! I want to give shout outs to all the shows I missed because of this show and because of the move I just completed this weekend: Mousetrap at Shotgun Players, Of Serpents and Sea Spray at Custom Made, and Peer Gynt at The EXIT Theatre. And two shows I hope to see soon:

1. Anything from the new Undiscovered Works Series, part of Custom Made’s New Play Development Program. Tomorrow is their second offering at 7pm, “Truest” by Megan Cohen, directed by Ellery Schaar. At the Gallery Cafe – 1200 Mason Street, San Francisco. Free and open to the public, with a $5.00 suggested donation in support of new play development at Custom Made. Food, beer, wine, and non-alcoholic beverages available for purchase!

2. Killing My Lobster’s most recent offering, Sex Battle written and directed and performed by many people more hilarious than me. Pay What You Can: https://www.eventbrite.com/e/sex-battle-pay-what-you-can-night-tickets-20912564042 or other nights: https://www.eventbrite.com/e/sex-battle-tickets-20912351406

3. Tinderella from Faultline, because February deserves a Tinder play! Book by Rose Oser, Music by Christian B. Schmidt, Lyrics by Weston Scott and Directed by Rose Oser. http://www.faultlinetheater.com/#!tickets/cmt5

Don’t miss OVER THE RAINBOW, opening next Monday, only at Theater Pub!