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.

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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 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: Dylan Waite on Gravedigger: The Musical

Gravedigger: The Musical opens tonight! Learn more about the show and how the script came to be from the writer Dylan Waite.

Tell us about yourself. What brought you to San Francisco?
I’m originally from Fresno, CA. I went to school in the Bay Area and eventually succumbed to San Francisco’s gravity.

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When and how did “Gravedigger: The Musical” come about?
I had written a musical in college, called The Pelican House, sort of as a joke (it was about a group of male prostitutes) and it ended up going fairly well. Gravedigger was take two on the irreverent musical idea.

How has the show evolved over the years?
It was originally supposed to have some shitpunk music, but Casey Robbins got his hands on it and came up with some stuff that’s actually really good. As a result of Casey’s composition, the collective brow of the piece had to be raised by a couple of notches.

What is this story about? Why is it unique?
It’s about love and how sometimes you can be in love and still be an asshole. It’s mostly also about a bunch of people who really want to do something with a corpse. I guess in musicals there’s this sense that our sympathies are aligned with whoever’s in love and this musical challenges that. Is that unique? Maybe not anymore.

Any shoutouts for stuff going on in the community?
Which community? Probably not.

Any current or future projects we should keep an eye out for?
I perform in Too Much Light Makes the Baby Go Blind with the San Francisco Neo-Futurists on the regular. That happens most Fridays and Saturdays at Safe House Arts, whether or not I’m in it. It’s good.

Catch Gravedigger: The Musical only at PIANOFIGHT (144 Taylor Street):

Monday, October 17 @ 8:00pm – TONIGHT
Tuesday, October 18 @ 8:00pm
Monday, October 24 @ 8:00pm
Tuesday, October 25 @ 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: 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!

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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.

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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.

Theater Around The Bay: Stupid Ghost Opens Next Week!

Co-Artistic Director Tonya Narvaez reveals what drew her to Stupid Ghost, announces the marvelous cast, and releases a teaser trailer.

One week from today, San Francisco Theater Pub will open Stupid Ghost, written by Savannah Reich (http://savannahreich.com) and directed by Claire Rice. I chose this play for Theater Pub after it was shown to me by a friend, Theater Pub’s own Barbara Jwanouskos. Once I started reading, I couldn’t put it down. This play touches me in so many ways. It has heart, it’s dark and twisty, and it has the kind of humor that sort of tickles you on the chin before punching you in the gut. To me, this play is about the desire to connect above all else, being unsure how to do so, and being willing to do absolutely whatever it takes to get what you want.

A young Claire Rice unwittingly preparing to direct Stupid Ghost.

A young Claire Rice unwittingly preparing to direct Stupid Ghost.

I selfishly wanted to direct this piece myself. After sitting with that decision for awhile, I realized there was only one person I knew who could direct this play. That person is Claire Rice. To me, this play screams Claire Rice’s name from the rooftops. It pleads to be read by her. It begs to be thoughtfully analyzed and synthesized into a production by her mind and her heart. I sent the play in Claire’s direction and let her know how I felt. Thankfully she agreed with me and took on the project.

Trying on sheets and cutting out eyeholes at rehearsal.

Trying on sheets and cutting out eyeholes at rehearsal.

I’m now incredibly delighted to announce our cast and release a teaser trailer for this very special Theater Pub production.

Ghost – Christine Keating
Ronnie – Celeste Conowitch
Poltergeist – Ryan Hayes
Lecturer – Valerie Fachman
John Pierre – Megan Cohen

See Stupid Ghost only at PianoFight (144 Taylor Street, San Francisco):

Monday, September 19 @ 8:00pm
Tuesday, September 20 @ 8:00pm
Monday, September 26 @ 8:00pm
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 appreciation to our hosts.

See you at the Pub!

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: James Nelson and Neil Higgins of “Beer Culture”

The final performance of the Pint-Sized Plays is tonight at 8 PM and we’re concluding our interview series by talking with writer James Nelson and director Neil Higgins of “Beer Culture”!

“Beer Culture” offers some of the biggest laughs in the 2016 Pint-Sized Plays festival. When San Francisco hipster Annie (Caitlin Evenson) introduces her Stella-drinking Midwestern friend Billy (Paul Rodrigues) to her bow-tied beer-snob friend Charlie (Kyle McReddie), the stage is set for an uproarious satire of hipster snobbery and West Coast microbrew culture.

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Playwright James Nelson knows beer culture.

How did you hear about Theater Pub’s Pint-Sized Play Festival, or if you’re returning, why did you come back?

James: I generally keep tabs on what Theater Pub is up to — they were the first group to welcome me in when I first was starting out in the Bay, and I’ve always admired the volume and variety of work that’s produced! I submitted to Pint-Sized this time because I was out of practice as a playwright, and wanted to use the festival as an excuse to churn something out.

Neil: I came back for the money.

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

James: Establishing a world with rules.

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

James: Honestly, they’re very quick to write. And they let you tell stories that are only interesting for a few pages.

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

Neil: Seeing my actors scream about, and orgasm over, beer.

What’s been most troublesome?

Neil: Scheduling. Dear god, scheduling.

Who or what are your biggest artistic influences?

James: Brian Friel, Peter Shaffer, Martin McDonagh, Anton Chekhov, Street Fighter (1994 film), and Benvenuto Cellini.

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

James: Patrick Stewart. It wouldn’t make any sense but he’s just that good.

Neil: Jesse Eisenberg because he seems like such a douche, which is exactly what my script calls for.

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Director Neil Higgins prefers wine.

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

Neil: When Darren Criss isn’t in town, definitely Megan Cohen.

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

James: I just moved to Indiana to start a MFA in Directing, so I’m knee-deep in grad school at the moment. I do hope I’ll have a chance to write while I’m here — I’ve got a lot of stuff brewing and a school setting is so rich in resources.

Neil: I’m writing for SF Olympians this year, and am directing and acting in Left Coast Theatre’s next show, Left Coast News.

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

James: I don’t want to think about it, I’m gonna cry.

Neil: Seeing if the Llama comes back.

What’s your favorite beer?

James: I’ll give you a top five in no particular order: Evil Twin (Heretic); Brother Thelonious (North Coast); Back in Black (21st Amendment); Wookey Jack (Firestone Walker); and Ruthless Rye (Sierra Nevada). Also, if you like beer but haven’t visited Fieldwork Brewing in Berkeley, you need to go right now. They’re going to be the most important brewery in the Bay Area within a few years.

Neil: Wine.

See the FINAL performance of “Beer Culture” and the rest of the 2016 Pint-Sized Plays tonight at 8 PM at PianoFight!