June 27, 2012
This is only a test.
June 10, 2012
Georgetown’s University’s Center on Education and the Workforce published a study in 2011 which surveyed the value of college degrees.
It also clearly proves artists don’t get their degrees for the money. We study for our sanity, we do it to better understand and digest humanity, to practice restraint and humility, we do it for the chance that we will make a positive difference in someone and start a chain to pay it forward. I love that feeling during a rehearsal between warming up and running the characters; when your body is tingling and you feel centered and ready to do/be/react-to/explore anything and anyone. Throughout the process your eyes are open to people, to their movement, so you can hone your own Laban efforts and seven viewpoints into a definitively different character than yourself.
February 8, 2012
January 9, 2012
Too Cool! How can I get in touch with these ladies for a job??
I’d like to get in on the archiving at Pixar–from organizing the DVD collection to scanning art for the new digital collection. If only I knew how to get them to develop a job just for me…
December 13, 2011
This inspiring and fun number will always remind me of warm Fresno nights and driving to the midnight showing of the last Harry Potter movie with my brah Dan Goldston. Summer Arts is more than just a program; everyday I hear about my Steppenwolf brothers and sisters starting their new projects…I’m humbled and encouraged by the fact that I can and I will ‘Do Better’–even though I’m not vying for ‘the greatest man in the world’!
December 9, 2011
December 5, 2011
dismissed to the dejected pool
of could’a, would’a, should’a,
and aint gonna be
another lost opportunity
floating downstream and away
angsty and aching for arms to lay
open and ready to catch the next
who might be the catch of the day
or just another catch and release
my arms cant fit two of these beasts
holding more would be a chore
unless I could voraciously eat
feasting on fictitious character meat
fasting, letting my reality pass me
ignoring the snoring boring into my brain
for fantasy whoring
morphing my mind to someone else’s sane
how many characters can my body contain?
their voices in my head are foreign and strange
is it the same in the moment they’ve gained
living on stage
breathing amongst other life
its star light and lime light and strife
mixed with timed-right and contrite
moments of shared delight
I like my varying height
changing my shape depending on the night
one hunches and one stands upright
poised for the poison she hides behind
pinching hairs for potions to make you go blind
I love choosing gestures
differentiating for court jesters
and college lectures
postulating conjectures with only my hips
obsessive compulsive with finger tips
and I will never give up
playing with the tempo of my lips
alternating speeds for fibs or quips
If I brush your hair
I could crack a whip
if I were only more quick
my arm will go from head to hip lickity-split
here we mention spacial relationship
from the most infinite in me
to the most infinite abyss
close your eyes and travel it
what makes up a cell in my heart
to all the cells in my arm
to this minute piece of art
from the floor, to the door, to the car
then the street, then the town, not too far
the next county, closest big city
state, country, to italy
to the moon
the whole milky way
nothingness before a galaxy
I certainly cannot satisfactorily say
what is farther away
perhaps another prayer astray
thats being in-finite to infinite without any delay
this passion invites dismay
this passion will also purvey
ashtrays and new days with nothing the same
undeniably I’m game
up for the challenge of wearing a new name
forgetting the lame fame for a night to feign tame
by day a dame who fair exclaims,
“the real act is living in passionless shame!”
by night the act is all on stage
craving the savory seconds in the cross-over craze
cringing when we cant continue to play
to blaze, to bluff,
to lose my tough
for what I fear is my
my lost characters slip away
but characters gained
characters begotten haunt in
thoughts in a train
November 21, 2011
info blurb in the SF GATE & Times Herald:
From Bill S. on Yelp.com
San Francisco, CA
This show will appeal to slightly drunk, slightly Emo, Blade Runner fans. For others, its a tougher call. More Human Than Human offers heart and intimacy, not technique and polish. Many people will understandably hate it, but I’m glad I saw it.
The writing is heavy handed, uncreative, frequently redundant, and sloppy. The story is more predictable than the law of gravity. The skill and talent of the actors may or may not be great, but the performances were, to put in mildly, unimpressive. As for costumes, props, staging and so on, let’s just say ‘high production values’ aren’t this show’s middle name. And considering the roughness of the performance we saw, a token discount at the box office would have been much appreciated.
Yet for all these problems More Human than Human connected to something in me. The show touches powerfully on some big and basic themes – the human yearning to love and be loved, to grow, to express oneself creatively and sexually. More Human Than Human also gets a tremendous lift by setting itself in the Blade Runner universe and attempting to provide another view of that universe, much as Wicked did with Wizard of Oz.
The production gets bonus points for guts and a partial pass on the poor acting. At least according to a chat I had after the show with the cast and producer, just before opening day a dispute took out one of the actors, who in turn successfully pressured the star into quitting as well. Rather than just give up, the team decided the show had to go on, found a willing (and absolutely gorgeous) roommate with the ability to learn lines quickly. Twenty four hours later a new star was born.
Should you see it? If at any point cyberpunk has been a big part of your life then yes, if only for the thrill of being within touching distance of a replicant. If you enjoy truly intimate theater, are willing to see a glass as half full, not half empty and covered in fingerprints with a bit of lipstick on the rim, and have at least a small emo streak than yes, check it out, though you might want a drink or two first. If you want polish, precision, big budget effects and costumes, this isn’t for you.
The show costs $25, runs for around 75 minutes without an intermission and is at the Dark Room Theater on Mission between 18th and 19th street. The theater has no bar or concession stand but seems OK with the audience bring in their own tasty beverages.”
A thank you to Bill S. for really saying what was on his mind. As a cast member, I feel like hes definitely right about a lot of things–including how gorgeous Heather is! ♥
November 17, 2011
Since our reviewer saw the show, our cast has undergone some artistic grafting–including the incorporation of B. Duke as our new Hector and Heather Jean as our new Pris. AND–even better news for the knowledge pursuers–now STUDENTS PAY $15 with ID.
The next show, this Thursday (tomorrow), will be pretty fun and overwhelming. I’m expecting family from the north, a Steppenwolf–sister from the south, and fellow artists from the east bay. DONT FORGET STUDENTS PAY $15 with ID.
Our show has, in my opinion, only gotten better since the abominable-actor-abandonment on the evening of the third show (exactly a week ago tomorrow). Working with the rest of the wonderful cast whole-heartedly reaffirms my belief that an honest working actor cares more about hording the experience than the cash. We leave the ego at the door and work together with generosity of spirit and passion in our hearts.
There are many interesting people we’ve met along this journey. Liars, drunkards, and tactless jammers have been among the worst–but we’ve also met a playwright, an author, our ‘family’s’ family and friends and that has made all the difference. Although the audience is not the only reason we produce plays, its nice to know there is a fan base looking to you for a new story, new characters, and new life. I feel humbled by their interest and blessed to share the Dark Room air.
So…More Human Than Human has been reviewed by the San Francisco Guardian…and besides the loose divulging of the plot, I’m not sure what else you will glean or gain from this article.
In case for some reason you cant open the link:
The Performant: Humanesque
“More Human Than Human” and “Two Clowns” explore the in/human condition
If our frail human lives begin, as the fundies would have it, at the moment of conception, at what point are we defined as being possessed of humanity? Is it simply a matter of our genetic makeup? Is it possible for a fully “human” consciousness to develop in non-human entities, and is it such consciousness that defines us at all? At what point, if ever, do we abdicate our rights to lay claim to our humanity? These questions may not be new, but they never seem to go entirely out of fashion, and this weekend you can catch two very different pieces of theatre tackling these persistent conundrums: “More Human than Human,” at The Dark Room, and “Two Clowns” at the Boxcar Theatre Studios on Hyde Steet.
“More Human than Human,” penned by B. Duke (Paul Addis), is a prequel to the cult film Bladerunner (1982) and the novel from which it was adapted, Philip K. Dick’s enduring sci-fi classic Do Androids Dream of Electric Sheep (1968). Taking the tack that it is the artistic abilities displayed by the rogue replicants which propels their burgeoning self-awareness, “Human” turns pleasure model Pris (Kendra Coeur) into an aspiring ballerina, assassin/burlesque dancer Zhora (Alissa Magrill) into an opera singer, the slow-witted Leon (Alejandro Torres) into a sensitive photographer, and the ringleader Roy (Ronan Barbour) into an appreciator (though not a writer) of poetry.
Two other replicants, Hector (Sean Mann) and Jennifer (Francesca Crebassa) created especially for this origin story, display similar talents, and together the six formulate a plan to hijack a shuttle and head to earth to pursue their dreams. The very definition of “bare bones,” it’s not a production that seems destined to reach a broad audience, though certainly “dickheads” and Bladerunner completists will be intrigued, but the suggestion it raises that self-awareness is a side-effect of the creative drive is one worth mulling over, whether in the theatre, or maybe just over a few beers.
In Ronnie Larsen’s “Two Clowns,” the oddience is introduced to two very different icons of our collective American consciousness—Divine and John Wayne Gacy. The first half follows Harris Glenn Milstead, Divine’s alter-ego and creator, for the last 24 hours of his short life, preparing to put the Divine character to rest and seek his fortunes playing male roles. Actually it’s a little misleading to bill it as a play about Divine, since the play is really about Milstead’s desire to shed the Divine character and reinvent himself, but the second half of the show, the John Wayne Gacy half, is very definitely about the notorious “killer clown”.
As Gacy, Larsen morphs chillingly into a fast-talking, swaggering braggart whose hardened exterior shell can’t entirely conceal a gaping hollow within that he ravenously tries to fill with violence and sex. Alternating between bragging about his exploits and protesting that he’s no “sicko,” Gacy’s snarling monologues are interspersed with testimony from his mother, his ex-wife, and Jeffrey Ringall, one of the few of his victims known to have survived his encounter with the prolific serial killer. Like “More Human than Human,” the subject matter of “Two Clowns” proves more compelling than the actual staging, but its unflinching focus on the outer edge of humanity’s imperfections does provide an intriguing opportunity for reflection.
October 16, 2011
I first saw this posted by the lovely Laura Dickinson. In case the jpg doesnt load it says this:
NOBODY TELLS THIS TO PEOPLE WHO ARE BEGINNERS
I WISH SOMEONE TOLD ME.
ALL OF US WHO DO CREATIVE WORK, WE GET INTO IT BECAUSE WE HAVE GOOD TASTE.
BUT THERE IS THIS GAP.
FOR THE FIRST COUPLE YEARS YOU MAKE STUFF, IT’S JUST NOT THAT GOOD. IT’S TRYING TO BE GOOD, IT HAS POTENTIAL, BUT IT’S NOT.
BUT YOUR TASTE, THE THING THAT GOT YOU INTO THE GAME, IS STILL KILLER. AND YOUR TASTE IS WHY YOUR WORK DISAPPOINTS YOU.
A LOT OF PEOPLE NEVER GET PAST THIS PHASE, THEY QUIT.
MOST PEOPLE I KNOW WHO DO INTERESTING, CREATIVE WORK WEN THROUGH YEARS OF THIS.
WE KNOW OUR WORK DOESN’T HAVE THIS SPECIAL THING THAT WE WANT IT TO HAVE.
WE ALL GO THROUGH THIS.
AND IF YOU ARE JUST STARTING OUT OR YOU ARE STILL IN THIS PHASE, YOU GOTTA KNOW ITS NORMAL AND THE MOST IMPORTANT THING YOU CAN DO IS
DO A LOT OF WORK
PUT YOURSELF ON A DEADLINE SO THAT EVERY WEEK YOU WILL FINISH ONE STORY.
IT IS ONLY BY GOING THROUGH A VOLUME OF WORK THAT YOU WILL CLOSE THAT GAP
AND YOUR WORK WILL BE AS GOOD AS YOUR AMBITIONS
AND I TOOK LONGER TO FIGURE OUT HOW TO DO THIS THAN ANYONE I’VE EVER MET.
IT’S GONNA TAKE AWHILE.
IT’S NORMAL TO TAKE AWHILE.
YOU’VE JUST GOTTA FIGHT YOUR WAY THOUGH.