Tag Archives: Shotgun Players
SHOTGUN’S BLAST FESTIVAL Berkeley’s Shotgun Players have launched a new festival, BLAST, with the goal of “exploding the limits of possibility in theater.” The intention is for BLAST to be an annual celebration of difference — a month-long festival of new ideas and visions. “BLAST aims to explode the boundaries of the stage with performances by local and national theater artists. We think life is dynamic, changing, ephemeral, strange, and beautiful. Theater should be too,” says the theater. On Saturday and Sunday you can see My Mind is Like an Open Meadow, by Portland’s Hand2Mouth ensemble. A mixture of lighting, pre-recorded voice, music, dance and scenery, the piece is based on one year’s worth of recordings Erin Leddy made of her fascinating grandmother, actress Sarah Braveman (watch the trailer). BLAST runs through March 6 at the Ashby Stage, 1901 Ashby Ave. Free parking in the Ashby BART parking. Tickets: $15 advance/$20 door. Blast Pack tickets available for multiple performances. See full program at Shotgun Players’ website. … Continue reading »
Since 1952, London audiences have been frightened, surprised and delighted by Dame Agatha Christie’s The Mousetrap, and Shotgun Player’s audience will be no exception. Under the talented direction of Shotgun’s Artistic Director, Patrick Dooley, with an outstanding cast and an elaborate stage set, this quintessential country house murder mystery seems as fresh, engaging and mysterious as it did 63 years ago.
Giles Ralston (Mick Mize) and Mollie Ralston (Megan Trout), recently married after a brief courtship, inaugurate their guest house, Monkswell Manor, during a severe snowstorm. We meet their four expected guests, the outwardly charming but inwardly neurotic, Christopher Wren (Nick Medina), a young wanna-be architect whose parents had a bad sense of humor, the supercilious and cantankerous Mrs. Boyle (Trish Mulholland), the blustery retired Major Metcalf (David Sinaiko) and the morose Miss Sara Casewell (Karen Offereins). The innkeepers do not know anything about their guests, except that, presumably, they each have seven guineas per week to pay for their room and board.
In the midst of the dreadful storm, an unexpected guest arrives. Mr. Paravichini (Alex Rodriguez), seeking shelter for the night, explains that he had to abandon his car in the now impassable roads. Luckily, the Ralstons have a small room left for him. But who really is this unusual man wearing makeup and speaking with a strange accent? … Continue reading »
One thing about Shotgun Players — they’re always up for trying unusual and challenging plays. Sometimes their attempts result in exceptional evenings, especially for a small local theater company. However, at other times their reach exceeds their grasp. The Rover, unfortunately in the latter group, is a production that only sometimes works, despite the best of intentions.
Written by Aphra Behn (1640? – 1689), a prolific British female playwright, poet, and novelist from the Restoration Period (1660 – 1710), The Rover is basically a silly comedy of manners, but it is also exceptional since the female characters are outspoken in expressing their “modern” sexual desires. This was radically avant-garde during the Restoration Period and Director M. Graham Smith does his best work while emphasizing this aspect of the play, which still charms. … Continue reading »
In the oft-told Greek myth of Orpheus and Eurydice, the musician Orpheus follows his bride, Eurydice to the underworld to lead her back to life, but he is forbidden to turn his head and look at her. Nevertheless, because he fears that she may not be following him, he glances back and loses his love for all eternity. Contemporary playwright Sarah Ruhl has creatively turned the myth upside down in Shotgun Players’ winning Eurydice.
Ruhl’s version is from the point of view of a present-day Eurydice (first-rate Megan Trout) and introduces a new character, Eurydice’s deceased father, wonderfully captured by Bay Area luminary James Carpenter.
Combining the mythic with reality, Eurydice begins with a wonderfully sensual pas de deux skillfully choreographed by director Erika Chong Shuch, with Orpheus (nicely acted by Kenny Toll) and Eurydice frolicking at the beach. Eurydice is the intellectual of the pair; Orpheus, an idealistic composer, thinks only of music. … Continue reading »
Shotgun Players has scored a bit hit with Caryl Churchill’s 1982 drama, Top Girls.
The Obie award-winning, superbly written Top Girls takes place in London and environs at the beginning of Margaret Thatcher’s reign as Prime Minister (1979-1990), when her Conservative Party emphasized individual success and achievement, as opposed to the protection of all segments of society through labor unions and government social programs. Although it’s a play about women, Top Girls is essentially asking all of us to think about the nature of the society we favor, for men and women. … Continue reading »
Astronomy and mysticism don’t normally mix, but they do, and with varying degrees of success, in Marisela Treviño Orta’s 80-minute one-act play, Heart Shaped Nebula, ably directed by Desdemona Chiang. The play chronicles the love story of Dalila and Miqueo, she, an astronomy and Greek mythology fanatic, he, an artist. These star-crossed lovers meet in high school in their small Texas town, a town not unlike Orta’s small hometown in Texas.
As the play opens, we find Miqueo (accomplished actor Hugo E. Carbajal) in a cheap motel near Tonopah, Nevada, a town which apparently has the darkest night skies in the U.S. He plans to witness a massive meteor shower, which will help free him from grief over Dalila, whom he hasn’t seen in 14 years. Hiding in his room is a thieving stranger, 13-year-old Amara (impressive Gisela Feied), who seems to know too much about Miqueo to explain logically. Amara provides the impetus for Miqueo to recount his relationship with Dalila. We see through his hesitant flashbacks the tenderness and devotion of the couple as they grow up together. … Continue reading »
We are fortunate to have a company in Berkeley like Shotgun Players— always willing to take risks, to present large and small productions, classics, new material, or new takes on classics, as in Antigonick.
The beautiful art book Antigonick, on which Shotgun’s production is based, is a new translation of the Sophocles play, Antigone, by Canadian world-class poet, classicist and MacArthur “genius” fellowship winner, Anne Carson, and her collaborator Robert Currie. Published in 2012, the book contains text blocks hand-inked on the page, with translucent vellum pages and stunning drawings by Bianca Stone that overlay the text. Shotgun has some copies for sale.
Directors Mark Jackson and Hope Mohr turn the 2,500-year-old play into an ultra-modern visual, dance and intellectual experiment that combines Carson’s adaptation, Mohr’s choreography skills, and Jackson’s tested directorial talent. … Continue reading »
Berkeley’s Shotgun Players launched their new studios at an event on March 2 to celebrate what they hope will become a center for creativity and a hub for emerging performing arts groups in Berkeley.
The former home of Serendipity Books has been transfigured into a theatre company’s dream: two studios large enough for rehearsals and classes, along with costume and scenery shops, and a café/green room/future theatre library. (Read more about the history of this space and the full Shotgun Players schedule.)
In the new Shotgun Studios, located at 1201 University Ave., actors can now begin rehearsing on the actual set that will appear on the Ashby stage during performances. Accommodations for sound and a grid for lights are also in the works for Studio A, the larger of the two studios. Studio B will be lined with mirrors for use by choreographers during rehearsal, and for dance and movement classes during daytime non-rehearsal hours. … Continue reading »
A large gift from an anonymous donor allowed Shotgun to buy the 5,200-square foot building at 1201 University (at San Pablo) in March 2014. The Board of Directors and other donors have contributed $1.6 million to renovate the space. Shotgun will now look to the broader community to raise an additional $175,000.
“I am humbled and awed by the outpouring of support from the Shotguns community,” Patrick Dooley, the theater’s artistic director, said in a press release. “The generosity of our supporters is truly inspiring. After years of being nomadic, Shotgun realized the secret to longevity is not just in great theatre, but also in long term investments like real estate.” … Continue reading »
In Our Town, three-time Pulitzer prize-winning author Thornton Wilder created a profound and intimate exploration into American life and death. And, although it was written over 76 years ago, the Shotgun Players’ version of the drama remains fresh and vibrant — still an important piece of American theater. Congratulations to the Shotgun Players and Director Susannah Martin for this winning production.
The Stage Manager (excellent Madeline H. D. Brown) serves as narrator and commentator. She explains that the first act opens in 1901 and follows the lives of the residents of tiny Grover’s Corners, New Hampshire, where neighbors know each other, doors are never locked and horses are still the mode of transportation. We meet the Webb and the Gibbs families, particularly Emily Webb and George Gibbs. Both El Beh, as Emily, and Josh Schell, as George, are first-rate. … Continue reading »
The entertaining, creative and comical Harry Thaw Hates Everybody by Shotgun Players at the Ashby Stage in Berkeley is based on a scandal that is still intriguing after more than 100 years.
Playwright Laurel Meade, winner of the L.A. Drama Critics Award for Best Writing for an earlier version of the play, placed this compelling triangle of human behavior in a fresh new light. Using the technique made famous in the 1950 Japanese film Rashomon, the tale is told from the perspective of each of the four main participants. But instead of a sobering re-telling of a tragedy, the production regales us with music, dance, naughtiness and a slide show of newspaper headlines and turn-of-the-century pornography. … Continue reading »
Shotgun Players struggles through its version of “Twelfth Night” as it populates the production with mediocre music, uneven and occasionally painful acting, stagey technique and free wine for the audience, rather than concentrate on the heart, guts and language of the play, which is about love and its suffering.
“Twelfth Night” is one of Shakespeare’s comedies in which a female character disguises herself as a man. The aristocratic Viola (Rebecca Pingree) lands on the Illyrian coast after being shipwrecked in a terrible storm. Alone, and assuming that her twin brother Sebastian has been drowned, Viola dresses up as a man named Cesario and finds work in the household of Duke Orsino (Ben Euphrat). Although Orsino loves the Lady Olivia (Ari Rampy), she is mourning her dead brother and refuses any and all advances from the noble Orsino, as well as from the silly Sir Andrew Aguecheek (Nick Medina), a friend of Lady Olivia’s drunken uncle, the loud Sir Toby Belch (Billy Raphael). … Continue reading »
How do you write a play about Berkeley? First, which Berkeley are we talking about: Berkeley in the heyday of the Free Speech Movement and student strikes, or the way things were back in the day of trolley tracks and a bustling Hink’s department store? What about the Berkeley of today, with neighborhoods in transition, a vibrant theater scene, and a second Berkeley Bowl?
For playwright Dan Wolf and director Rebecca Novick — both relative newcomers to Berkeley — the answer to these questions propelled them into a year and a half of collecting stories about the city from as many groups as they could gather together in “story circles.”
As part of their desire to make their play about Berkeley a community process, they spoke with students from Berkeley High, a group of day laborers, the founders of CIL, long-time residents in many different neighborhoods, the Cal swim team, and a group of folks who meet daily at a bait and tackle shop on San Pablo — and began to form an idea that eventually became “Daylighting,” a newly commissioned play that opens in a Shotgun Players production on May 30. … Continue reading »