Follow the Vodka: Everyday Theatricality!

Robert Estes, theater’s super-tailgater.

White Chapel copy

Ah, the dedication of the night columnist! Late on a Monday night, I’m still diligently laboring at the newest gin joint in the city, White Chapel (600 Polk Street). This place is a fantastical recreation of an abandoned tube station in London; well, except that the station in question, White Chapel is actually still operating. Here, though, the imaginary abandoned station has become a lovingly rendered 1890s gin palace.

When I first looked at White Chapel’s extensive drink menu, I fell in love with the two page listing of twenty-two drinks under the heading “The Martini Family.” Who knows if the dates and descriptions given to all the drinks are academically accurate; I’m not interested in fact-checking the menu, only drink-checking it. So, tonight I began my ginventure by having the first drink on the list, the Pink Gin (dated 1840s), composed of Plymouth Gin and angostura bitters.

I love that the early reviews for this place kept mentioning all the “fake” things about the recreation, such as fake water damage. My theater self couldn’t help but say, it’s not fake, it’s distressed, it’s Theater!

Indeed, it’s fascinating to realize how many bars in the city have become insanely popular by creating an immersive theatrical experience for their drinkers, I mean patrons. An entity called Future Bars now owns nine different local bars, all theatrically presented, ranging from the just opened Pagan Idol tiki bar to the old-standby Bourbon and Branch speakeasy.

It makes me think that so often in theater we wonder how to attract an audience, yet somehow people outside of us, use our rough magic to create very popular events. Even real estate agents know in their bones how important it is to the sale price of a property for it to be properly “staged” at the open house.

On a much greater scale, the mass popularity of sports rests on a ham-handed strict adherence to the principle of dramatic conflict. The “classic matchup” between this team and that one or this player and that one sells all! And franchises encourage theatricality on the part of their fans. One of the joys of going to a sporting event in person is to experience the unconscious theatricality of everyday people as they come to cheer on their team.

I always laugh to myself when I happen to be on a Sunday morning BART train on the day of a Oakland Raiders home game. Raiders fans are legendary for their elaborate costumes, intricate makeup, and outlandish accessories! I would love to compliment them on their detailed and beautiful theatricality, but I also wish to retain my front teeth, so I just smile to myself. But if you ever get the chance, I highly recommend surreptitiously checking out the character-specific costuming choices of the rebel/pirate/Star Wars/Hells’s Angel’s Raider Nation.

And on a smaller, humbler, yet just as faithful way, please notice the down-scale yet touching outfits of the long-suffering A’s fan. They still wear player jerseys from the 1970s. Being the team of my single-digit -year days (oh the love of an 8 -and-a-half-year-old for his team), I still am, on the inside, a fan wearing my Dad’s San Francisco Giants cap inside-out in shame in the bleachers in 1969, when that area was known as Reggie’s Regiment. It was a cold night and my dad would not let me go bare-headed.

Just the other day, after spending the last ten months indoors in rehearsal and performance for five consecutive shows, I happily returned to the Coliseum for a day game. Once again, I couldn’t help but feel the connection in so many ways between baseball and theater. Both are places of memories. There are ghosts on the playing field just as on the playing stage. Looking out at the infield where the shortstop plays, I see Campy Campaneris, Rob Picciolo, Alfredo Griffin, Walt Weiss, just as when I look at various Bay Area stages, I see Tony Amedola, Lorri Holt, John Bellucci, Michelle Morain, Sarah Moser.

I still remember the first that I saw James Carpenter. He was a young man in Otherwise Engaged at the Berkeley Rep in 1984. Like most theatergoers, I’ve seen him so many times since then, all the way from his nervous comic performance in Paint it Red at the Rep to a slithery Stanley in The Birthday Party at the Aurora. It was kind of a shock when he started playing the older, patriarchal “ravenous Earls” in Shakespeare. (Maybe we’ve both gotten older!) Still, it’s been fun to follow his career. Just like it’s been fun to follow my favorite baseball players as a fan.

kind of wish that theater had more of the “true fans” just like baseball. The true fan attends the game even if their team isn’t doing very well. Wouldn’t it be nice to have a devoted group of people who rooted for us! Let’s go, PianoFight! Three-peat! Well, maybe PF does have those fans! Seriously, though, as my previous night column touched on, it would be great if we could support theater without it always having to be (allegedly) amazing.

Yet we’re kind of lucky in theater when compared to athletes, because everything we do is subjective. Pity the poor baseball player who’s having a bad year! Could you see your worst review being highlighted every day by the theater company where you perform? In baseball, every team shows the player’s statistics before every at-bat. “Now standing at the plate to deliver To Be or Not to Be, the actor with the .198 batting average for the season!” Shudder.

Perhaps perversely, I admit that I actually enjoy going to baseball games when my team isn’t doing as well. It’s almost like going to an audition as the marginal players engage in a Darwinian struggle to remain alive in the show (major leagues). I remember one actor saying that he thought certain audience members deliberately chose to attend the first preview of every show because they wanted to see a trainwreck. Of course, life-long humiliation is one of darker sides to sports…who will ever forget the name of the Boston Red Sox’s first baseman who let the ground ball go through his legs in a World Series game thirty years ago?

In the make-believe of theater, where every corpse arises for a joyful linking of hands for the curtain call, we all live for another day, I hope without humiliation. Still, it takes bravery for actors to be absolutely vulnerable in front of so many people. The nerves of the athlete under pressure must surely be like the nerves of the actor. And for the fans, it is their personal nerves in watching that bind them to the emotional event of the game or the play.

Personally, baseball has influenced my work in theater. Last summer, I directed an adapted version of Henry IV parts 1 and 2 called Falstaff! in which the great rogue was played by six different women. The women would also play other roles and the men changed roles as well, so Prince Hal could be Poins and vice versa. The first performance or two was kind of confusing as we worked out the switches, but as the production moved forward, I was pleased that the show developed a great feeling of generosity as everyone had an equal part in carrying the whole play. By the end it was actually like a baseball game where everyone gets their turn at the plate. And for the audience, it was exciting because they weren’t quite sure who they would see playing what role next.

I’ve often thought that the advantage of sports over theater is that we don’t know what will happen in sports. Why couldn’t we, just one time, with no announcement, alter the ending to one of Shakespeare’s plays? Wouldn’t it be great if Emilia said, “Hey, wait a minute, I gave that handkerchief to my husband”? Could you imagine the gasps from the audience at the Oregon Shakespeare Festival if they did that? There could be riots!

Perhaps the appeal of the Shotgun Players’ current Hamlet (running for the next year!), where everyone in the cast learned the entire show and each actor is assigned their part for a particular performance only 5 minutes before show time, comes from each show being part theater and part sports. You really don’t know what will happen each night. And, being honest, there’s a higher chance of a trainwreck on stage each night, which again, is part of the appeal of sports. I wonder if each show seems to the actors like an athletic game, where nightly success or failure is a more open question than in a conventional production.

But then in baseball, we see success and failure in every game. We also see practice. Yes, go the park two hours before game time and you can see batting practice. I wonder if it would be possible to open our theater houses early and let our fans (oh again, how I would love to have fans) see the vocal warm-ups or fight call. For the true fans that would really make attending theater like attending a baseball game!

Well, how much of all of this found synchronicity between baseball and theater is just fine Plymouth gin speaking? This 1840s-era drink is fiery and it’s numbing my tongue! Now as the bar closes and my rambling thoughts on the connections between baseball and theater grow ever more tenuous, I’ll just say Play Theater!

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An Interview With Kirsten Broadbear, Star Of Helen

Having spent the last month thinking about Helen of Troy, it seemed only natural that we should take a few moments to chat up Kirsten Broadbear, a staple of the San Francisco indy theater scene, who will be playing the title role in Helen this Valentine’s Day at SF Theater Pub.

What kind of characters are you drawn to as an actress?

I find humans fascinating, so the more complex the character, the more interesting it is to try to discover and explore what makes the character tick.

So then, what’s it like to play the most beautiful woman who ever lived?

It’s the one thing I’m trying not to focus on, actually. Of course, this molds a large part of who Helen is, but instead of trying to understand what it would feel like to be that beautiful, I’m more intrigued by what it might feel like to be a person underneath a canvas upon which strangers project their conceptions, like we do with celebrities all the time.

What did you know about Helen of Troy before you took this role?

That she caused the Trojan War and a lot of men died for her.

How about now? Has your opinion about her changed?

I think this is the first time I’ve ever even held an opinion about her; before she was just a vapid sort of pawn or catalyst for war and I didn’t attribute much of a personality or humanness to her.

We’re doing this show on Valentine’s Day for a reason. In your opinion, what does this play say about love?

Love is a funny thing. It reveals itself in unexpected ways, and lasting love isn’t always the kind that’s full of passion and romance. In the end, it’s just bloody nice to have someone who knows you, by your side, enjoying an average animal sacrifice in the morning together.

What’s your involvement with Theater Pub been like in the past?

I’ve been fortunate to have participated in quite a few of Theater Pub’s shows. Each time has been a different cast and crew, a different topic, a different concept and different presentation and use of the space, but every single time – it’s made for a great night. Theater Pub is an extremely important venue for the community; it’s accessible and relaxed without being dumbed down. And it’s truly a night to commune. No conventional stage or lights or restricted access to bathrooms enables a connection with the audience that makes everyone feel like they’re a part of the success of the event.

What keeps you coming back, both as a theater artist, and as an audience member?

I am constantly proverbially pinching myself because I’m amazed at how many incredibly intelligent, kind, and fantastically talented people there are to work with in the Bay Area. Theater Pub has a playfulness and an ability to engage with such a variety of people, equally including all those involved behind the scenes and running the bar and the patrons.

As an actress, what’s the difference between acting in a full production, vs. a reading like this show?

There are a lot of differences. But I suppose one important distinction is that a reading somehow allows for more innovation. It’s looser since sets and costumes aren’t present, and it incites the imagination more than a full production with all the spectacles laid out before you.

What else are you working on these days?

I’ll be doing a staged reading for BoxCar’s Sam Shepherd festival in March, which I’m really excited for. Then, I’m thrilled to be part of BOA again this year, working with an incredible group of talents (Megan Cohen, Jessica Holt, Sarah Moser, Siobhan Doherty, Megan Trout, among others), immediately followed by Tia Loca and Her Life of Crimes produced by the wonderful and delicious John Caldon, and performing side by side with the magnificent Matt Gunnison.

Anything you’re looking forward to seeing in the local theater scene?

As I mentioned before, there is such an amazing group of talented people in and around this town, I am constantly looking forward to seeing the magic these people create. It’s always an adventure and I feel lucky to be on the ride.

Catch Kirsten playing Helen in HELEN, this Valentine’s Day at the San Francisco Theater Pub. The show starts at 8, but we encourage you to get there around 7:30 as we can get pretty full. The event is FREE, and only happens at the Cafe Royale, 800 Post Street, San Francisco.

Get To Know Some of the Actors of the Pint-Sized Plays!

Who doesn’t love actors? They’re charming, they’re pretty, and if they’re in Pint-Sized you can see them for free! We took a moment to catch up with a few of them and ask some get-to-know you questions so that everyone heading out to see the Pint-Sized Plays this month would have a jumping off point should they find themselves suddenly next to an actor before, during, or after the show. Enjoy!

What do you love best about theater pub?

Matt Gunnison: The casual, fun atmosphere and an audience that’s there to have a good time.

Sunil Patel: I love that Theater Pub is a casual, free theatre experience that is still very high quality and is produced by very talented people. I love it the most when it makes use of the space in interesting ways, seating actors at tables or having their voices boom down from the balcony above.

Sarah Moser: I love getting to hang out with some of the most talented and most gorgeous human beings in the history of the universe.  And also beer+theater=world peace.

What’s your favorite moment in this year’s Pint-Sized?

Matt Gunnison: Scripted?  Nicole Hammersla: “Awkward silence!”  Unscripted?  Ray Hobbs and Duncan Wold’s dueling baseball caps.

Sunil Patel: I don’t want to spoil it, but there is a line in Endgame II that is one of the greatest things that has ever been said in the English language. I also love all of Nicole Hammersla’s expressions during English for the Romantically Challenged.

Sarah Moser: My favorite rehearsal moment was our first rehearsal for Drinking Alone.  Megan Cohen was kind enough to let us rehearse at her family’s temporary pad in North Beach.  We drank beers, rehearsed in a living room, played with a pet bunny, stood on the porch and talked about Dumbledore, and generally wallowed in our chemistry. My favorite performance moment is watching Megan Briggs’s amazing face in Listen.

What attracts you to a character as an actor?

Matt Gunnison: Dynamism.  Seeing that character change and grow, becoming someone different as a result of their circumstances and choices.  Getting to play those moments of the character stepping onto new ground.

Sarah Moser: I like visceral language that kicks you in the gut.  Also, I like characters who are loners, who aren’t quite coloring inside the lines.

Sunil Patel: I am never attracted to my character as an actor. That seems like it would make for a very awkward time in the bedroom, so I think we should just be friends.

What’s a role you’ve always wanted to play?

Sarah Moser: Oh man.  Right now, I would really, really love to Kayleen in Gruesome Playground Injuries by Rajiv Joseph or Cassy in Clementine in the Lower 9 by Dan Dietz.

Matt Gunnison: I was always more interested in trying out different types (the hero, the villain, the comic relief, etc.) and the many different versions of each.  A character descending into madness would be a thrill.

Sunil Patel: I feel a strong connection to Guildenstern in Rosencrantz and Guildenstern Are Dead. Or is it Rosencrantz? I can never remember.

Who is your favorite actor?

Matt Gunnison: There are too many good actors to narrow it down, but I’m really fond of Kevin Spacey and Gary Sinise for drama, and John Lithgow and Christopher Lloyd for comedy.

Sarah Moser: My favorite actors are Ben Whishaw and my aunt Barbara.  I also love watching local actor Omoze Idehenre.

Sunil Patel: Any actor who can make me forget that I’m watching an actor.

What show are you doing next, or what Bay Area show do you most look forward to this season?

Matt Gunnison: A staged reading of Roy Conboy’s My Tia Loca’s Life of Crime at SFSU’s Studio Theatre on September 17, the SF Olympians Festival at The Exit in October, and–of course–more Theater Pub!

Sarah Moser: I’m excited to be part of the adventure that is turning Megan Cohen’s one act, A Three Little Dumplings Adventure, into a FULL LENGTH PLAY and life experience.

Sunil Patel: I will be playing a thieving heroin addict in Megan Cohen’s Orion as part of the San Francisco Olympians Festival. I am looking forward to Megan Cohen’s full-length play, How to Love, as I presume it is some of sort of theatrical instruction manual. I just love Megan Cohen. Isn’t she great?

What’s your favorite thing to order at a bar?

Matt Gunnison: A new beer that I wind up liking.  Or a vodka tonic if I feel like I have to look classy.

Sarah Moser: It changes all the time.  But I do love me some Jack Daniels, neat.

Sunil Patel: Rum and Coke, hold the rum.