Love and Information by Caryl Churchill at ACT’s is a collection of 57 self-contained scenes on the title’s subject –each lasting from five seconds to five minutes with over 140 characters played by a talented ensemble of twelve actors. Each scene contains from one to 3 actors and the entire show runs about 90 minutes. This theatrical kaleidoscope employing video and film is staged imaginatively by Director Casey Stangl in the newly opened Strand Theater at 1127 Market Street, SF. Continuing through August 9, 2015. Tickets $40-$100 415.749.2228/ act-sf.org.
Aurora Theatre Company’s closes its 23rd season with DETROIT by Lisa D’Amour. This Bay Area Premiere of the Obie-winning satire features Amy Resnick, Jeff Garrett, Luisa Frasconi and Patrick Kelly. Ms. Resnick is wildly funny as Mary who with her husband Ben–newly unemployed–are attempting to survive in their suburban home. Welcoming young Sharon and Kenny who met at rehab and have just moved into the long empty house next door, the older couple’s values get threatened when the backyard barbecue turns dangerous and threatening. Director Josh Costello keeps this dark comedy moving as we watch the social fabric of the American psyche fray strand by strand. DETROIT plays through July 19 at the Aurora Theatre in Berkeley. Tickets $32-$50 510.843.4822/ auroratheatre.org
Extended through July 5th is Custom Made Theatre’s SF Premiere of Grey Gardens, the Musical directed by Stuart Bousel with Musical Direction by David Brown. Based on a true story and the documentary, Grey Gardens (book by Doug Wright, music by Scott Frankel, Lyrics by Michael Korie) is a fascinating exploration of Jackie Kennedy’s aunt and cousin who in 1973 she discovered living in a squalid Long Island Mansion and hanging on to reality by a thread. The stellar cast brings to life this musical exploration of the American dream gone wrong and what it means to become a social pariah by examining both the back-story of the family and the fate they couldn’t possibly have imagined. Heather Orth and Juliana Lustenader lead the cast in spot on performances. Tickets $20-$50 www.custommade.org/tickets.
Upcoming July 9th – Aug 2nd and back for the fifth time, don’t miss Custom Made’s longest running show in their 16 year history, the hilarious Book of Liz by David and Amy Sedaris about everyone’s favorite squeamish nun Elizabeth Donderstuck and her famous cheeseballs at Gough Street Theatre.
And as of Sept 1st, Custom Made will have a new home at 533 Sutter Street, 2nd floor, between Powell and Mason. More news at www.custommade.org/tickets.
Around the corner at the Phoenix Theatre at 414 Mason Street, Off-Broadway West just completed their run of Harold Pinter’s modern classic The Birthday Party ably directed by Richard Harder. The Birthday Party is about Stanley Webber (Adam Simpson), a one-time piano player in his 30s, who lives in a boarding house, run by Meg (Celia Maurice) and Petey Boles (Graham Cowley), in an English seaside town. Two sinister strangers, Goldberg (Keith Burkland) and McCann (James Centofanti), who arrive supposedly on his birthday and who appear to have come looking for him, turn Stanley’s apparently innocuous birthday party–organized by Meg with their saucy neighbor Lulu (Jessica Lea Risco) as a guest–into a nightmare. This is ensemble acting at its best. Sound and Lighting Design by Ian Walker create additional elements of foreboding on Bert Van Aalsburg’s believably English set. OBW’s next production will be in 2016. www.offbroadwaywest.org
For Discount tickets to many of these and other theatre events check out Goldstar.com
Linda Ayres-Frederick
The Annual San Francisco International Arts Festival (till June 7) Dazzles
by Jenny Lenore Rosenbaum
Until June 7, 2015, the San Francisco International Arts Festival (SFIAF) is a nearly three-week cornucopia of theater, dance, music, performance art and art exhibitions that few American cities can match in aesthetic diversity and sheer exhilarating power. San Francisco, with its world famous multi-cultural pizzazz, is the ideal setting to showcase and celebrate the power of Bay Area and global art to inspire, thrill and engender cross-cultural understanding.
Indeed, among the goals of visionary SFIAF Founder, Andrew Wood, is to nurture cross-cultural collaborations among the featured artists. Another is to showcase both emerging and established artists who often do not have U.S. or overseas representation (agents, producing organizations) and whose creations are rarely (and, in some cases never) seen in the States. Because the featured artists are not part of the American touring circuit, the 2015 lineup of performances cannot be seen elsewhere in the U.S., or the world.
Among the Festival’s other curatorial priorities and values is to serve as a catalyst for the emergence of enlarged audiences for the arts, to expand opportunities for artists to showcase their work globally, to heighten the public’s awareness of the transformative power of the arts (on mind, body and spirit), and to spark new perspectives — provocative and illuminating– on psychological, spiritual, social, cultural, political and environmental issues.
Now in its 10th year, the Festival and its partners have presented over 150 arts ensembles from the Bay Area and over 50 countries. This year the Festival is being co-presented with Fort Mason Center, the conglomerate of performing arts venues, museums and other cultural institutions stunningly situated along San Francisco’s waterfront, in the Marina district.
The featured work, including 150 ticketed performances, spans the gamut from traditional to innovative and avant-garde. Participating artists and companies are from Australia, the U.K., Belgium, Brazil, Ireland, Poland, El Salvador, Japan, South Korea, Austria, the Congo, France, Peru, Germany, Russia, Taiwan — as well as many American and local Bay Area performing and visual artists. Among the exhibitions is “Bearing Witness: Surveillance in the Drone Age” (curated by Matt McKinley and Hanna Regev).
Unquestionably, the world class SFIAF can serve as a model for cities, around the world, to nurture the performing and visual arts in ways that transcend the giving of pleasure to audiences. Even beyond this — the pleasure that of course is an irresistible and compelling goal of any performing or visual artist — a festival such as SFIAF offers other cascading, ever reverberating benefits.
It creates the kinds of cultural bridges and proffers powerful transformative perspectives sorely needed in an era blighted by war, international tensions and sectarian violence. In this arena, the SFIAF and the concurrent Venice Biennale can be seen as “co-conspirators” in the quest for nothing less than global harmony through the potency of the arts, for the kinds of cross-cultural admiration that perhaps, just perhaps, can work miracles. We can only hope the Festival will be an ever-reverberating annual force to work such magic, in San Francisco and throughout the world.
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SFIAF events will take place in a number of Fort Mason venues including Cowell and Southside Theaters, the Firehouse, the Fleet Room, and the Conference Center. For detailed information on daily performances, opening receptions, pre- and post-performance soirees, workshops and free shuttle buses to Fort Mason (departing from Valencia and 24th Streets, and Market and The Embacadero), go to: www.sfiaf.org // info@sfiaf.org// or call (415) 399-9554. Tickets: from $12 to $50 with some free events.
This Covered Wagon Needs a Tow Truck
How does the old-fashioned pioneer spirit handle modern problems? What does it do about bankruptcy, wrecked cars, obstinate offspring? The character of Mom in Marin Theatre Company’s “The Way West,” manages them by denying everything, telling stories or singing. These strategies have always worked for her, but Mom may have come to the end of the trail this time.
“The Way West” forecasts its journey with a wonderful set by Geoffrey M. Curley, a tilted construction of disordered tables and overstuffed furniture, ribbed over with arches that evoke the interior of a covered wagon. In it, Mom quarrels with her two daughters, Manda, the high achiever from Chicago, and Meesh, the loser who stayed home. Both of them often agree that they don’t know what Mom’s talking about.
Still, Manda’s going to help Mom complete the paperwork for bankruptcy, a procedure this lady sees as her last chance, and Manda’s old boyfriend, Luis, is available to help with the legalities.
There will be a lot of them. Has Mom really charged $3500 to an Elizabeth Arden account? Is it possible she’s paid $500 for a tiny bottle of “magic water” that her friend Tress is selling to her spa customers? Did Mom actually crash Meesh’s car in the garage? She doesn’t think so. “Prairie wisdom,” she says, “is not to talk about it.” And then Manda is downsized. The wheels have, as the title card says, come off this covered wagon.
Playwright Mona Mansour sees her own American mother as the inspiration for Mom and for the “theatrical moments” in the play. These are the stories Mom tells — real whoppers — that are supposed to illustrate to the girls how fortunate they are not to be dying along the route, starving and confronting ravening coyotes. She also tosses musical instruments at them like a cheerleader, rallying songs that urge “Roll, roll, roll!” or “Fight! Fight! Fight!” And even though this family has come to a dead stop somewhere around Stockton or Modesto, Mom’s core belief is, “The next place will be better.”
The songs are not old campfire favorites, like “Home on the Range.” They’re originals, composed by Megan Pearl Smith and Sam Misner. During the singing, Director Hayley Finn has the cast members sing not to each other, but to the audience; the same occurs with Mom’s stories. It’s unusual direction and seems to freeze any forward action.
Anne Darragh presents a warm-hearted, gullible Mom, the object of equal parts affection and exasperation. Marin Theatre Company newcomer Rosie Hallett plays daughter Meesh, who’s stayed at home much too long. Kathryn Zdan — as good a musician as she is an actress — has the part of Manda, the one who almost got away by going east.
Stacy Ross, MTC regular, here has a small, but effective role as Tress, the spa owner who has come to believe her own sales pitches. And Hugo E. Carbajal, another newcomer, carries two entirely different parts as boyfriend/legal advisor Luis and as the no-pay-no pizza delivery guy.
“The Way West” has a short run of only twenty-nine shows. It will close on Mother’s Day, May 10. Tuesday, Thursday, Friday and Saturday performances are at 8p.m., Wednesdays are at 7:30 and Sundays are at 7p.m. Matinees are every Sunday at 2p.m., also Thursday, April 30 at 1p.m. and May 9 at 2p.m.
Ticket prices range from $20 to $53, and discounts are available for teens, seniors, military personnel and their families. (Bring ID.)
For reservations or more information, call the Box Office, (415) 388-5208 or see boxoffice@marintheatre.org.
A Month in the Country Not Always a Vacation
Russian drama requires some effort from American audiences. We must distinguish the Kolyas from the Katyas, the Alexseys from the Arkadys, and then we need to adapt to political and family systems that were in place at the time. Most Russian drama performed here is from Chekhov, but Ross Valley Players’ new production is pre-Chekhovian, “A Month in the Country” by Ivan Turgenev. Its Russian gloom has been brightened by an adaptation from Irish playwright Brian Friel and by lively direction from James Nelson.
First, the audience is warned that cossacks will be on hand to enforce the no cell phone rules, and then the garden wall opens to reveal a comfortably-furnished country estate with a card game going on in the background. The game is being made more difficult by the German tutor’s language struggles. When Herr Schaaf accuses his partners of “stealing the cat,” they stop and correct him: “the kitty.”
Natalya, the lady of the house, lounges on a nearby sofa, wheedling a long-time admirer to read to her and whining how sick she is of these “gloomy, airless rooms, just like those of the lace makers.” Michel, the admirer, clearly adores her, though it’s hard to see why.
Residents and visitors come and go with other complaints and needs. Natalya’s husband Arkady Islayev bursts in, full of enthusiasm for his new winnowing machine, but explaining to all who will listen about the need to supervise Russian workmen. Two household servants, Matvey and Katya, continue their disagreement about Matvey’s marriage proposal and whether or not he’s too old for her.
Anna, Arkady’s dignified mother lives here on the estate, and so does Lizaveta, a snuff-sniffing companion. Neither of them seems to have much to do, other than maintain the status quo.
A new member has recently joined the household: Alexsay, another tutor for the Islayevs’ son. Natalya is besotted with the handsome young man. The possibility of forbidden romance relieves her boredom, though he’s only twenty-one , and she’s twenty-nine. However, an attractive seventeen-year-old girl is also on the premises, a foster daughter named Vera, and she’s interested in Alexsey as well. Seeing Natalya’s distress, Dr. Shpigelsky says he’s found a perfect husband for Vera. It will turn out that the suitor is a rich neighbor, fifty-seven years old. This suggestion brings on more conflict. And when Natalya’s husband becomes dimly aware of Michel’s infatuation with his wife, he comes up with an astonishing way to keep everybody happy. Who will stay here? Who will go?
Director James Nelson sees Turgenev’s play as “the destructive and incendiary nature of desire,” with each character involved in “a web of romantic pursuit” that contrasts with their polite and ordered setting.
Ken Rowland designed the set for them, a garden and interior suitable for country gentility. Michael A. Berg fashioned costumes for the different social classes of the 1840’s.
Shannon Veon Kase has the difficult role of Natalya, petulant, spoiled and sometimes shrill in her discontent. Her devoted Michel, subtly played by Ben Ortega, seems genuinely lovable, though unloved. Tom Hudgens portrays Arkady, the tradition-bound husband, with natural authority, while Wood Lockhart depicts Dr. Shpiegelsky’s self-awareness and good humor.
Zach Stewart plays the appealing tutor, Alexsey, and Emily Ludlow is talented young Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayer.com
up with an astonishing way to keep everybody happy. Who will stay here? Who will go?
Director James Nelson sees Turgenev’s play as “the destructive and incendiary nature of desire,” with each character involved in “a web of romantic pursuit” that contrasts with their polite and ordered setting.
Ken Rowland designed the set for them, a garden and interior suitable for country gentility. Michael A. Berg fashioned costumes for the different social classes of the 1840’s.
Shannon Veon Kase has the difficult role of Natalya, petulant, spoiled and sometimes shrill in her discontent. Her devoted Michel, subtly played by Ben Ortega, seems genuinely lovable, though unloved. Tom Hudgens portrays Arkady, the tradition-bound husband, with natural authority, while Wood Lockhart depicts Dr. Shpiegelsky’s self-awareness and good humor.
Zach Stewart plays the appealing tutor, Alexsey, and Emily Ludlow is talented young Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayers.com
Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayers.com
670 words By ROSINE REYNOLDS
A Month in the Country Not Always a Vacation
Russian drama requires some effort from American audiences. We must distinguish the Kolyas from the Katyas, the Alexseys from the Arkadys, and then we need to adapt to political and family systems that were in place at the time. Most Russian drama performed here is from Chekhov, but Ross Valley Players’ new production is pre-Chekhovian, “A Month in the Country” by Ivan Turgenev. Its Russian gloom has been brightened by an adaptation from Irish playwright Brian Friel and by lively direction from James Nelson.
First, the audience is warned that cossacks will be on hand to enforce the no cell phone rules, and then the garden wall opens to reveal a comfortably-furnished country estate with a card game going on in the background. The game is being made more difficult by the German tutor’s language struggles. When Herr Schaaf accuses his partners of “stealing the cat,” they stop and correct him: “the kitty.”
Natalya, the lady of the house, lounges on a nearby sofa, wheedling a long-time admirer to read to her and whining how sick she is of these “gloomy, airless rooms, just like those of the lace makers.” Michel, the admirer, clearly adores her, though it’s hard to see why.
Residents and visitors come and go with other complaints and needs. Natalya’s husband Arkady Islayev bursts in, full of enthusiasm for his new winnowing machine, but explaining to all who will listen about the need to supervise Russian workmen. Two household servants, Matvey and Katya, continue their disagreement about Matvey’s marriage proposal and whether or not he’s too old for her.
Anna, Arkady’s dignified mother lives here on the estate, and so does Lizaveta, a snuff-sniffing companion. Neither of them seems to have much to do, other than maintain the status quo.
A new member has recently joined the household: Alexsay, another tutor for the Islayevs’ son. Natalya is besotted with the handsome young man. The possibility of forbidden romance relieves her boredom, though he’s only twenty-one , and she’s twenty-nine. However, an attractive seventeen-year-old girl is also on the premises, a foster daughter named Vera, and she’s interested in Alexsey as well. Seeing Natalya’s distress, Dr. Shpigelsky says he’s found a perfect husband for Vera. It will turn out that the suitor is a rich neighbor, fifty-seven years old. This suggestion brings on more conflict. And when Natalya’s husband becomes dimly aware of Michel’s infatuation with his wife, he comes up with an astonishing way to keep everybody happy. Who will stay here? Who will go?
Director James Nelson sees Turgenev’s play as “the destructive and incendiary nature of desire,” with each character involved in “a web of romantic pursuit” that contrasts with their polite and ordered setting.
Ken Rowland designed the set for them, a garden and interior suitable for country gentility. Michael A. Berg fashioned costumes for the different social classes of the 1840’s.
Shannon Veon Kase has the difficult role of Natalya, petulant, spoiled and sometimes shrill in her discontent. Her devoted Michel, subtly played by Ben Ortega, seems genuinely lovable, though unloved. Tom Hudgens portrays Arkady, the tradition-bound husband, with natural authority, while Wood Lockhart depicts Dr. Shpiegelsky’s self-awareness and good humor.
Zach Stewart plays the appealing tutor, Alexsey, and Emily Ludlow is talented young Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayer.com
670 words By ROSINE REYNOLDS
A Month in the Country Not Always a Vacation
Russian drama requires some effort from American audiences. We must distinguish the Kolyas from the Katyas, the Alexseys from the Arkadys, and then we need to adapt to political and family systems that were in place at the time. Most Russian drama performed here is from Chekhov, but Ross Valley Players’ new production is pre-Chekhovian, “A Month in the Country” by Ivan Turgenev. Its Russian gloom has been brightened by an adaptation from Irish playwright Brian Friel and by lively direction from James Nelson.
First, the audience is warned that cossacks will be on hand to enforce the no cell phone rules, and then the garden wall opens to reveal a comfortably-furnished country estate with a card game going on in the background. The game is being made more difficult by the German tutor’s language struggles. When Herr Schaaf accuses his partners of “stealing the cat,” they stop and correct him: “the kitty.”
Natalya, the lady of the house, lounges on a nearby sofa, wheedling a long-time admirer to read to her and whining how sick she is of these “gloomy, airless rooms, just like those of the lace makers.” Michel, the admirer, clearly adores her, though it’s hard to see why.
Residents and visitors come and go with other complaints and needs. Natalya’s husband Arkady Islayev bursts in, full of enthusiasm for his new winnowing machine, but explaining to all who will listen about the need to supervise Russian workmen. Two household servants, Matvey and Katya, continue their disagreement about Matvey’s marriage proposal and whether or not he’s too old for her.
Anna, Arkady’s dignified mother lives here on the estate, and so does Lizaveta, a snuff-sniffing companion. Neither of them seems to have much to do, other than maintain the status quo.
A new member has recently joined the household: Alexsay, another tutor for the Islayevs’ son. Natalya is besotted with the handsome young man. The possibility of forbidden romance relieves her boredom, though he’s only twenty-one , and she’s twenty-nine. However, an attractive seventeen-year-old girl is also on the premises, a foster daughter named Vera, and she’s interested in Alexsey as well. Seeing Natalya’s distress, Dr. Shpigelsky says he’s found a perfect husband for Vera. It will turn out that the suitor is a rich neighbor, fifty-seven years old. This suggestion brings on more conflict. And when Natalya’s husband becomes dimly aware of Michel’s infatuation with his wife, he comes up with an astonishing way to keep everybody happy. Who will stay here? Who will go?
Director James Nelson sees Turgenev’s play as “the destructive and incendiary nature of desire,” with each character involved in “a web of romantic pursuit” that contrasts with their polite and ordered setting.
Ken Rowland designed the set for them, a garden and interior suitable for country gentility. Michael A. Berg fashioned costumes for the different social classes of the 1840’s.
Shannon Veon Kase has the difficult role of Natalya, petulant, spoiled and sometimes shrill in her discontent. Her devoted Michel, subtly played by Ben Ortega, seems genuinely lovable, though unloved. Tom Hudgens portrays Arkady, the tradition-bound husband, with natural authority, while Wood Lockhart depicts Dr. Shpiegelsky’s self-awareness and good humor.
Zach Stewart plays the appealing tutor, Alexsey, and Emily Ludlow is talented young Vera. The arguing servants, Matvey and Katya, are acted by Johnny DeBernard and Jocelyn Roddie. Robyn Wiley is the snuff-addicted Lizaveta, and Kim Bromley is the estate’s distinguished owner, Anna. The outsider, Herr Schaaf, is given a humorous turn by Mark Shepard, with Frederick Lein as the unwelcome suitor, Bolshintsov.
“A Month in the Country” will be at the Barn Theatre in the Marin Art & Garden Center, Ross, Thursdays through through Sunday April 12. Thursday shows are at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sunday matinees at 2 p.m.
(NOTE: There will be both 2 p.m. and 8 p.m. performances on Saturday, April 11.
Ticket prices range from $14 to $29. For complete information, call 415-456-9555 or see www.rossvalleyplayer.com
When we’re enjoying a well-staged Shakespeare comedy, life’s a beach, and this one comes complete with a lifeguard chair, a parked surfboard and an obliging Pepsi machine. As soon as the Beach Boys launch into, “Surfin’ USA,” the boardwalk comes to life with skaters, twisters, comic policemen and dancers doing “The Swim.” The Bard’s Ephesus, it turns out, looks a lot like SoCal’s Venice Beach.
Instead, it’s “The Comedy of Errors” at College of Marin, and its director, James Dunn, has explained that the play is a farce, with all the characters trying to find out who they are and what they’re supposed to be doing. It’s fast-moving, he says, and Dunn should know. This was the first production from COM’s new Drama Department in 1964, which he founded. The present “Comedy,” being shown in the James Dunn Theatre, is the Department’s 272nd.
But not everybody is welcome in Ephesus. A new arrival, pushing a vendor’s cart, is from Syracuse, and the Duke — the one on the beach trike — says the stranger has to pay a big fine or die at sunset; sorry, but that’s the law.
Egeon, the stranger, using props from the cart, explains his situation. He’s here in search of his missing family, separated from him in a shipwreck five years ago. He had twin sons, entirely identical, even to their names. Both were named Antipholus. (Odd, but there’s more.) On the same day in his former home, a servant girl gave birth to another pair of identical twin boys, and these were both named Dromio. The servant twins were raised to serve Egeon’s twins. So there are two Antipholi and two Dromii.
One Antipholus is already a respectable citizen of Syracuse, while the other is about to arrive, each accompanied by a Dromio. More remarkable still, each pair is identically clothed. Let the fun begin.
Shakespeare loved mistaken identity jokes, and this plot gave him all a writer could ask for: a jealous wife, a lovestruck kitchen wench, an impatient goldsmith and general confusion, another comedy standby.
However, Egeon’s death sentence remains since his ransom money keeps vanishing, and everyone comes together for his scheduled execution, including a surprise witness. Then the Duke turns out to be a good guy after all.
Familiar names have contributed to this antic anniversary show. Kenneth Rowland designed the set, Patricia Polen and Jennifer O’Neill provided the costumes and Linda Dunn arranged the props.
In the cast, former Belvederean Steven Price plays the long-suffering Egeon, Skylar Collins appears as a doubly-confused Antipholus, and a tireless Jon Demegillo takes on the role of the much-battered Dromio. Both Demegillo and the saucy actress who plays Angela, the goldsmith — Trungta (Kae) Kositchaimongkol — also assisted with set and costume construction.
Robert Garcia plays both the trike-riding Duke and the creepy Dr. Pinch, Eileen Fisher is Antonius’ wrathful wife, with Melanie Macri as her sister. Michel Harris doubles as Antonius’ friend and a Merchant. The Beach Police are composed of Jesse Lumb, Evan Louie and Jeremy Snowden. Keara Reardon is a Courtesan, with Jannely Calmell and Ariana Mahallati serving as Apprentices. Jeffrey Taylor is another Merchant. (All the merchants have colorful bits.) Christina Jaqua as the Abbess provides the necessary happy ending.
Another reason to enjoy COM’s production: Shakespeare’s original was five acts; this one’s two.
A fine exhibit of artifacts and memorabilia from all fifty years of shows is open to the public in the College of Marin Fine Arts Gallery. The exhibit, assembled by set designer Ron Krempetz, is a lively collection of costumes, props, photos and mini-sets, with videos around the room to bring previous shows to life. The exhibition will remain the length of the show, through March 22. It’s free, but donations are encouraged. The theatre lobby also has a photo display from the early career of the late Robin Williams, when he was a student at COM.
Opening night’s show was also honored with visits by Supervisor Katie Rice and by a representative from Sen. McGuire’s office, presenting the Drama Department with a Certificate of Recognition for its fifty years in the community.
“The Comedy of Errors” will play in the James Dunn Theatre at the College of Marin Fridays and Saturdays through March 21 and Sunday, March 22. Friday and Saturday shows are at 7:30 p.m.; the Sunday matinee is at 2 p.m. Prices range from $10 to $20.
For additional information, call the box office, 415-485-9385, or see brownpapertickets.org.
750 words By ROSINE REYNOLDS
Beach Blanket Ephesus at COM
When we’re enjoying a well-staged Shakespeare comedy, life’s a beach, and this one comes complete with a lifeguard chair, a parked surfboard and an obliging Pepsi machine. As soon as the Beach Boys launch into, “Surfin’ USA,” the boardwalk comes to life with skaters, twisters, comic policemen and dancers doing “The Swim.” The Bard’s Ephesus, it turns out, looks a lot like SoCal’s Venice Beach.
Instead, it’s “The Comedy of Errors” at College of Marin, and its director, James Dunn, has explained that the play is a farce, with all the characters trying to find out who they are and what they’re supposed to be doing. It’s fast-moving, he says, and Dunn should know. This was the first production from COM’s new Drama Department in 1964, which he founded. The present “Comedy,” being shown in the James Dunn Theatre, is the Department’s 272nd.
But not everybody is welcome in Ephesus. A new arrival, pushing a vendor’s cart, is from Syracuse, and the Duke — the one on the beach trike — says the stranger has to pay a big fine or die at sunset; sorry, but that’s the law.
Egeon, the stranger, using props from the cart, explains his situation. He’s here in search of his missing family, separated from him in a shipwreck five years ago. He had twin sons, entirely identical, even to their names. Both were named Antipholus. (Odd, but there’s more.) On the same day in his former home, a servant girl gave birth to another pair of identical twin boys, and these were both named Dromio. The servant twins were raised to serve Egeon’s twins. So there are two Antipholi and two Dromii.
One Antipholus is already a respectable citizen of Syracuse, while the other is about to arrive, each accompanied by a Dromio. More remarkable still, each pair is identically clothed. Let the fun begin.
Shakespeare loved mistaken identity jokes, and this plot gave him all a writer could ask for: a jealous wife, a lovestruck kitchen wench, an impatient goldsmith and general confusion, another comedy standby.
However, Egeon’s death sentence remains since his ransom money keeps vanishing, and everyone comes together for his scheduled execution, including a surprise witness. Then the Duke turns out to be a good guy after all.
Familiar names have contributed to this antic anniversary show. Kenneth Rowland designed the set, Patricia Polen and Jennifer O’Neill provided the costumes and Linda Dunn arranged the props.
In the cast, former Belvederean Steven Price plays the long-suffering Egeon, Skylar Collins appears as a doubly-confused Antipholus, and a tireless Jon Demegillo takes on the role of the much-battered Dromio. Both Demegillo and the saucy actress who plays Angela, the goldsmith — Trungta (Kae) Kositchaimongkol — also assisted with set and costume construction.
Robert Garcia plays both the trike-riding Duke and the creepy Dr. Pinch, Eileen Fisher is Antonius’ wrathful wife, with Melanie Macri as her sister. Michel Harris doubles as Antonius’ friend and a Merchant. The Beach Police are composed of Jesse Lumb, Evan Louie and Jeremy Snowden. Keara Reardon is a Courtesan, with Jannely Calmell and Ariana Mahallati serving as Apprentices. Jeffrey Taylor is another Merchant. (All the merchants have colorful bits.) Christina Jaqua as the Abbess provides the necessary happy ending.
Another reason to enjoy COM’s production: Shakespeare’s original was five acts; this one’s two.
A fine exhibit of artifacts and memorabilia from all fifty years of shows is open to the public in the College of Marin Fine Arts Gallery. The exhibit, assembled by set designer Ron Krempetz, is a lively collection of costumes, props, photos and mini-sets, with videos around the room to bring previous shows to life. The exhibition will remain the length of the show, through March 22. It’s free, but donations are encouraged. The theatre lobby also has a photo display from the early career of the late Robin Williams, when he was a student at COM.
Opening night’s show was also honored with visits by Supervisor Katie Rice and by a representative from Sen. McGuire’s office, presenting the Drama Department with a Certificate of Recognition for its fifty years in the community.
“The Comedy of Errors” will play in the James Dunn Theatre at the College of Marin Fridays and Saturdays through March 21 and Sunday, March 22. Friday and Saturday shows are at 7:30 p.m.; the Sunday matinee is at 2 p.m. Prices range from $10 to $20.
For additional information, call the box office, 415-485-9385, or see brownpapertickets.org.
African Drama in Troubled Times, Troubled Places
For its first production of the new year, Marin Theatre Company is presenting “The Convert,” a Bay Area premiere by Zimbabwean-American playwright and actress, Danai Gurira. The play is important for its originality. It’s an African period piece and a dual-language script set in the present Zimbabwe — Rhodesia in 1896 — at a time when native Africans had begun to strike out against the British colonists and other Africans who sided with them. It’s also another culture’s views of family loyalty.
The play opens with Jekesai, half naked, fleeing with her cousin Tamba from her forced marriage to a much-married older man. This flight will enrage her uncle, who was waiting to collect his “bride price.” Tamba takes her to a safe house, the home of Chilford, a young Catholic clergyman, not yet ordained, where Mai Tamba, Jekesai’s aunt, is housekeeper. The home is furnished with a few pieces of Victorian-style furniture and a small altar on one side of the room. The only other ornamentation is a large, wall-mounted crucifix that startles the young Shona girl. Before Chilford arrives, Mai Tamba throws a concealing, shapeless gown over her niece, then introduces her as a new student and convert. His claim to have the power of God with him will keep Jekesai safe from her enraged uncle. And because Chilford needs converts to improve his status with the Jesuits, he accepts the protege and changes her name to Ester.
Mai Tamba keeps the house in order, but keeps her beliefs to herself. She recites her prayers as required: “Hail, Mary, full of ghosts,” but privately scatters unknown herbs around the home and later upbraids her niece for not going to the family ceremony to honor the dead.
Others come to the home. Chancellor, a friend of Chilford, affects British dress and language because he wants to be part of the winning team. The two friends speak an ornamented kind of English together, while Chancellor’s fiance, Prudence, presents herself as more British than Queen Victoria.
The play’s accents, bilingualism and length make huge demands on both cast and director. MTC’s Jasson Minadakis has assembled a superb, all-Equity cast from locals and imports. Both Katherine Renee Turner (Jekesai/Ester) and Jefferson A. Russell (Chancellor) were together in MTC’s recent production, “Fetch Clay, Make Man.” L. Peter Callender (Uncle) and Omoze Idehenre (Prudence) have made many appearances in the Bay Area, including in Marin Theatre Co’s “Seven Guitars.” Elizabeth Carter (Mai Tamba) has multiple acting credits locally, while both Jabari Brisport (Chilford) and JaBen Early (Tamba) are making their Marin debuts in this play.
Excellent actors and direction will be necessary for “The Convert” to continue in production at other theatres. Ms. Gurira’s script is almost three hours long and burdened with lengthy speeches. “Wordy,” was a remark overheard at the first of two intermissions. Further, the accents can sometimes overcome the dialogue and make it hard to understand — especially during the speeches. This script will need a tune-up if it’s going to get “legs,” but meanwhile, Marin Theatre Company has given “The Convert” a fine introduction to the west coast.
“The Convert” will play at the Marin Theatre Company in Mill Valley Tuesdays through Sundays till March 15. Sunday matinees are at 2p.m. All evening shows begin at 7p.m. Ticket prices range from $20 — $58, with discounts available for seniors and military. For additional information, see the website, marintheatre.org, or call the box office, (415) 388-5208.
SLOGANS
Our major obligation is not to
mistake slogans for solutions.
Edward R. Murrow
David Cameron made the headlines not long ago because he refused to wear a t-shirt proclaiming: THIS IS WHAT A FEMINST LOOKS LIKE. I have no problem with his refusing to wear a slogan like that, because it is just a bunch of words that are meaningless until you act on them.
I wonder if people realize that a statement means nothing unless is indicates an action. Wearing a sentence doesn’t make it happen. I think we should pass a law that forces you to stand by what you say. For example, if you are wearing a t shirt that says WELL BEHAVED WOMEN RARELY MAKE HISTORY you better get naughty or no one will believe in you anymore.
I have always loved: THE EASIEST WAY TO GET A HEALTHY BODY IS TO MARRY ONE because it gives me an excuse to have flabby arms and a sagging bum. If anyone sees me in that t-shirt, I always say, “That’s why I’m single.”
I am being an honest woman just like my mother said I should be.
Now you take the slogan: IF WOMEN WERE REALLY LIBERATED, WHO WOULD DO THE DISHES? The only women that should wear that one are female executives who get up at 6 in the morning to pack the kids’ lunches and make a hearty breakfast for the family, rush off to the office to do important things and then, at five o’clock, slip off the high heels, don the sensible oxfords and drive to the supermarket to buy dinner. They hurry home, run the vacuum as they rush upstairs to change into something comfortable and loose enough to handle pots and pans, dash downstairs, create a gourmet feast for everyone, light the candles rearrange the flowers on the table and call “Dinner’s ready.” Yes sir. That is THE t- shirt for them.
Their husbands and children should bow down to these heroines of the modern world and present them with shirts that say MOTHERS ARE MIRACLE WORKERS.
If you wear a t-shirt that says: I DON’T NEED YOUR ATTITUDE, I HAVE MY OWN you better have a smart mouth on you. Someone dressed in a shirt like that is telling everyone, “Watch out! I don’t take garbage from anyone.” Yet invariably, the person sporting that kind of slogan will be a skinny five-foot failed football player. Doesn’t he realize he is wearing a lie?
I am a woman of a certain age and I am sick of people giving me t-shirts that shout things like I AM ONE HOT COOKIE because I am not, anymore (if I ever was..but that is another story.) And what about AGE IS JUST A NUMBER. No, it isn’t . It is an accomplishment.
I have been shopping for a t-shirt that tells all you youngsters why I stay out late at night and don’t take good care of my liver and I finally found the perfect one: YOU CAN LIVE TO BE 100 IF YOU GIVE UP ALL THE THINGS THAT MAKE YOU WANT TO LIVE TO BE 100.
I bought it without even looking at the price. I wear it when I go to the pub and I admit I flaunt it when I pass the gym and see those wild-eyed, determined people sweating it out on their stationary bikes. “See this?” I say as I stick out my chest and lap up my chocolate ice-cream cone. “I have discovered truth.”
Summary/Abstract
Michael Ferguson, in reviewing two recent biographies of Alan Turing’s life, concludes that to answer the enigma at the heart of Alan Turing’s death, you have to get inside the complex head of the great mathematician.
His book review entitled ”The Man Who Knew Too Much: Alan Turing and the Invention of the Computer’, by David Leavitt and ‘Alan Turing, the Enigma’, by Alan Hodges”, recently published in the, ‘Journal of Homosexuality’, considers the circumstances of Turing’s death on June 7, 1954.
An apple was found near Turing’s deathbed, out of which several bites had been taken. Froth around his mouth was consistent with cyanide poisoning, but according to sources cited by Michael Ferguson, the apple was never analysed. It has therefore never been definitively confirmed that it had been laced with poison, although there was both potassium cyanide and cyanide solution in Alan Turing’s house.
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ANIMALS GET US
An animal’s eyes have the power
To speak a great language.
Martin Buber
A.R. Gurney created a debutante in his comedy “The Cocktail Hour” who cries, “No one understands me but my horse.” The line got a big laugh but it wasn’t a joke. Our horses, dogs and cats catch on to our moods a lot faster than our partners or our relatives do.
Mothers, of course, are an exception. One glance from you tells them everything. My own mother insisted she could read my entire days activities on my forehead. It turns out that my puppy could do the same thing.
A new study confirms that animals gather information and transmit it through their eyes. This can be very unsettling….especially when sitting down to a holiday meal. There you are digging into your roast turkey and gobbling up your roast potatoes when you feel a forceful presence watching you lift your fork to your mouth and chew those brussel sprouts. You look down at Fido, his mouth open and saliva dripping down his fuzzy little chin. He is watching you so intently he doesn’t even blink. You would have to have a heart of iron to ignore the longing, the unbridled desire on your puppy’s face.
Guilt overwhelms you and you slip him a bit of dark meat and then a bit more. How can you resist?
Fluffy is even more insistent. The minute you put your napkin in your lap, there she is, her whiskers quivering with desire. What can you do? You were the one who rescued her from the shelter. The other guests at the table try to ignore the fact that your cat is sitting ON the holiday table lapping up your cranberry sauce as if it were catnip.
Horses are even more capable of transmitting their needs to you with their unblinking eyes. Last year, I had Christmas dinner in the country and as I dug into my mince pie, I froze. There was Dobbin staring through the window with such intensity that the glass melted. It was no use. I picked up my plate and handed it over.
This year, I have decided to fast for the holiday. It is a lot easier on my conscience.