Tag Archives: Shotgun Players
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 »
Sir Tom Stoppard’s famous, award-winning trilogy, The Coast of Utopia (2002), centers on a group of Russian philosophers, radicals, anarchists and socialists in pre-revolutionary Russia (1833-1866). If the subject matter doesn’t sound enthralling, rest assured that one of Stoppard’s gifts is exploring arcane subject matters and infusing them with excitement, humanity and heart.
Shotgun Players produced the first two fascinating productions, Voyage and Shipwreck in 2012 and 2013. This year, the final and best, Salvage, as well as the first two plays, can be seen in repertory now at the Ashby Stage. Led by Artistic Director Patrick Dooley, Shotgun has taken a very complex series of plays, with difficult language, numerous characters and copious scene changes, and succeeded in presenting intriguing and beguiling dramas … all with fine acting. … Continue reading »
Shotgun’s mission is to present provocative and relevant theatre at an affordable price. It does so with its own productions, as well as by inviting other theater companies to perform on the Ashby Stage.
A Maze is a creative and complex two-act play written by Rob Handel which debuted in New York in 2011, and was staged by Just Theater last summer. The play impressed Shotgun, which is delighted to remount it and present it to the larger audience it deserves.
Directed by Molly Aaronson-Gelb, the play is comprised of three separate plot lines that, in the first act, appear disconnected and unrelated. We imagine that all these stories must have a thematic connection, and they do. But the way they intersect in the second act is unexpected, amusing and a bit troubling. … Continue reading »
A growing number of playwrights grapple with the ethical issues of science and technology. Tom Stoppard was a pioneer, and Michael Frayn’s Copenhagen was a memorable exploration of nuclear physics and the responsibilities of scientists. In the Bay Area, Stanford’s Carl Djerassi, one of the inventors of the Pill, has a minor sideline as a playwright writing about science.
By And By, which debuted at Shotgun Players last week, wrestles with the dilemmas posed by full human cloning. But the compelling twist in Lauren Gunderson’s play is that it focuses on human emotions in a very recognizable world, rather than confecting some science fiction fantasy of the material. … Continue reading »
Tom Stoppard’s Shipwreck, the second of the Coast of Utopia trilogy, makes clear where his allegiance lies among the Russian intelligentsia. It isn’t the compelling Michael Bakunin, the focus of Voyage, the first of the plays, or critic Vissarion Belinsky or youthful author Ivan Turgenev. No, it’s the thoughtful, upright Alexander Herzen who urges moderation, rejects grand dreams, and focuses on achievable goals. … Continue reading »