Tag Archives: Aurora Theatre Company
In the edgy and provocative “A Bright New Boise,” Idahoan author and winner of the 2011 Obie Award for Playwriting, Samuel D. Hunter, examines familial relations, forgiveness, religion and corporate culture.
Protagonist Will (accomplished Robert Parsons) left his rural Idaho town for Boise after a headline-making tragedy blows apart his nondenominational evangelical church. Will applies for minimal wage work at the Hobby Lobby, a craft-supply big box store (see more about the real Hobby Lobby below), with the hope of reconnecting with Alex, the gloomy teenager he had given up for adoption.
Alex (well-acted by Daniel Petzold) and Alex’s also adopted brother, Leroy (Patrick Russell shines) work at the Hobby Lobby, as does the profit-seeking, loudmouth manager Pauline, (funny Gwen Loeb) and the anxious depressed Anna (excellent Megan Trout). Will completes this blue-collar quintet, all sharing dead-end jobs. Most of the play’s action occurs in the Hobby Lobby’s stark break room, with only a few scenes outside the store. Hobby Lobby is their world. In fact, Will and Anna both choose to spend evenings in the break room. … Continue reading »
Aurora Theatre’s final production of the season is also its finest of the season. Provocative playwright and screenwriter Neil LaBute (Fat Pig, Reasons to be Pretty, In the Company of Men), presents us with an outstanding dark comedy in which nothing is quite what it seems. Even after the play ends, the audience is left to wonder where the truth lies. And that’s just one of the many attributes of this taut 2005 play that has already fascinated audiences in New York and London, among others.
This is How It Goes is a three-character piece about the blond, stay-at-home mother and former cheerleader, Belinda Phipps (fantastic Carrie Paff), her black, athletic, successful and driven husband, Cody Phipps (terrific Aldo Billingslea) and the unnamed smart-ass male narrator, “Man” (exceptional Gabriel Marin) who returns to their Midwestern hometown, rents a studio apartment above the Phipps’ garage and turns their three lives upside down. … Continue reading »
Barbara Oliver, the founding Artistic Director of Berkeley’s Aurora Theatre and an instrumental figure in Bay Area theatre for more than 40 years, passed away peacefully from complications of a stroke on Monday at her Berkeley home. Her family was with her, as they have been throughout the duration of her recent illness. She was 85.
A veteran actress and director, Oliver co-founded Aurora Theatre Company in 1992 and was its Artistic Director until stepping down in 2004.
“Like many people in the Bay Area, my life has been irrevocably changed for the better by having met Barbara Oliver,” said Aurora Theatre Company Artistic Director Tom Ross. “Little did I know that our initial meeting, a job interview 22 years ago, would take me, and hundreds of Aurora Theatre artists, staff, Board members, and patrons, on such a long and significant journey, one that will no doubt continue for many years to come. Trying to distill the legacy that Barbara left as founding Artistic Director is difficult, as she created such a vast foundation, but ultimately, I think that she instilled the belief that we should move forward and grow steadily with absolute integrity, and to show unequivocal fairness to all. Barbara not only preached these messages but personified them. It goes without saying that she was a talented actor, director, and teacher as well. Her passion was endless and she could inspire nearly anyone.” … Continue reading »
Our Practical Heaven is a personality study about three generations of women who gather over several holiday seasons.
They meet at the beach house owned by widowed grandmother Vera (wonderfully acted by Joy Carlin). Vera’s daughter, the insecure and fragile Sasha (top performance by Anne Darragh), and Sasha’s two teenage daughters, Leez and Suze (Adrienne Walters and Blythe Foster, both skilled at their roles). Vera’s “honorary daughter,” the loving yet ambitious Willa (excellent Julia Brothers) and her mysteriously ill daughter, Magz (Lauren Spencer captures a difficult role), are an integral element in the familial group.
Our Practical Heaven explores the ever-shifting connections and bonds among the women. While they swim in the pond, bird watch and clean the house, we observe the changing undercurrents of family allegiance, loyalty, and jealousy. … Continue reading »
One of the pleasures of old-time music is that it acts as a force-field repelling shallow notions of hipness and callow ironic stances. In the hands of a generous artist like Nell Robinson, the specter of kitsch is banished by an abundance of soul.
Next week Robinson, a tremendously gifted singer in the throes of a late-blooming career, joins with her musical partner, guitarist Jim Nunally, to inaugurate Aurora Theatre’s new cabaret space, Harry’s UpStage, with “A Down Home Christmas with Nell and Jim,” which runs Dec. 13-21. Featuring original material, seasonal standards, and sundry songs that seem appropriate, the show is new, but the concept is old indeed.
“We’ve done a lot of singing at the holidays with family and friends,” says Robinson, aka long-time Berkeley resident Hilary Perkins. “We’re taking the music that we love to sing in our living rooms and bringing it into the new Aurora performance space, hoping to make it feel like a living room, singing music people will know, and some new stuff we’ve written.” … Continue reading »
Four engaging one-act plays by Thornton Wilder, the three-time Pulitzer prize-winning author, give us insight into Wilder’s view of the ways in which American families live and struggle — for better or for worse. Add a terrific cast and wonderful direction by Barbara Oliver, and these plays come alive. Whether written in the 1930s or the 1960s, the Wilder Times one-act plays remain creative and fresh.
The first two plays, both written in 1962, Infancy and Childhood, show us what deficient parents we’ve had and what flawed parents we are to our children. Infancy and Childhood were written for Wilder’s Plays for Bleecker Street at the Circle in the Square Theater in Greenwich Village, where they were directed by the great José Quintero. Then and now, Wilder’s plays experiment with the private thoughts of his characters. … Continue reading »
Aurora theatergoers will have ringside seats to see the Bay Area premiere of Kristoffer Diaz’s vibrant and dynamic 2010 play, The Elaborate Entrance of Chad Deity, titularly about wrestling, but actually a comic drama examining racial politics in the U.S. and larger questions of good and evil. Don’t be turned off to this production if you’re not a fan of wrestling.
The play centers on a fictional professional wrestling monopoly, THE Wrestling, in which the owner, “EKO” (well played by Rod Gnapp) manipulates his wrestlers, choosing the all-American types, such as the swaggering African-American champion, Chad Deity (the handsome Beethovan Oden) to be the winners and the ethnic minorities, such as the Puerto Rican “Mace” to be the losers.
Wrestling fans love the overblown capitalist Chad Deity. He’s an American. He throws money at his audience. Although he can hardly wrestle, competitors such as Mace do all the heavy lifting (pun intentional) in order to make Deity look good in the ring. … Continue reading »
Time stands still — or at least repeats itself in striking fashion — in Anatol, the Aurora Theatre Company’s current production of Austrian dramatist Arthur Schnitzler’s 1893 play.
In a series of six episodes, connected with threadlike chronology by central characters and themes forged in steel, the play unveils the wit, whimsy and withering self-preoccupation of an affluent “cad about town” and his obsession with sexually emancipated women.
Aurora Artistic Director Tom Ross became convinced of Schnitzler’s importance as a playwright after a meeting with translator Margret Schaefer, a Berkeley resident, and soon they were jointed by Barbara Oliver, a founding director at the Aurora, to bring the project to fruition.
The result, in tailored performances designed to be enjoyed in the moment, then savored in reflection, is near perfect. If the play’s central theme and fascination is with faithfulness over a lifetime, Shaefer’s selective ear, Oliver’s brilliant economy of staging, and the quality of the cast captures the audiences’ well-placed trust in mere minutes. … Continue reading »
Annie Baker tackles heavyweight and potentially sensitive subjects in “Body Awareness”, which premiered at the Aurora Theatre last Friday. The sharply written, tightly wound play manages to be at once entertaining, funny and thought-provoking, which is testament to the skills of the 28-year-old playwright.
We open with feminist professor Phyllis (Amy Resnick) on the podium addressing an imaginary, as well as the real, audience. The academic is orchestrating “Body Awareness Week” on a small Vermont college campus. She and her partner Joyce (Jeri Lynn Cohen) are hosting Frank, a guest artist (Howard Swain) who specializes in taking nude photographs of women. Also in the household is Joyce’s 21-year-old son Jared (Patrick Russell), who, the couple believe, has Asperger’s Syndrome.
The family dynamic, already troubled, reaches breaking point after the arrival of Frank who swaggers through every scene sporting a permanent Cheshire cat grin, managing to be likable and vaguely creepy at the same time. … Continue reading »
The Aurora Theatre Company is leaping beyond tradition with a kinetic classic, Igor Stravinsky’s ”The Soldier’s Tale”, created in 1918, and brought to new life through the imaginings of co-directors Muriel Maffre and Tom Ross.
The libretto for “A Soldier’s Tale” was written by the French-speaking Charles-Ferdinand Ramuz, and when Maffre, a former San Francisco Ballet prima ballerina, first encountered the story she was seduced by its colorful, humorous language. “We chose a translation that kept the same flavor,” she said, about the English adaptation penned by Donald Pippin, Artistic Director and founder of San Francisco’s Pocket Opera.
“It’s in rhyme, so that gives it a particular propulsion,” Ross, the Aurora’s Artistic Director, noted. … Continue reading »
Edward Albee was in the audience for the opening night of “A Delicate Balance” at the Aurora Theatre earlier this month. He stood up at the play’s end, joining many others to give the actors a standing ovation. Tom Ross, who directed the play, had not told his cast that the renowned author of the play they were performing would be present on their first night. It would have given them the jitters, he said — even more than … Continue reading »
The 1950s may be known as ‘The Golden Age of Television’, but my personal golden age of boob tubery came a little bit later. At the age of eight I was transported from a country with three television channels (all of which seemed to spend as much time broadcasting the test card as anything else) to the outskirts of a major American metropolis blessed with more than twenty stations.
In this land of milk and honey the phrase ‘Movies Till … Continue reading »