Moonlighting SF

Tonight, and the last Thursday of every month, is the Moonlighting SF variety show at the 50 Mason Social House. Alert Reader PD is featured monthly, and tonight is the first chance I have had to go to a show. The lineup looks promising, and you should add it to your monthly social calendar. Very San Franciscan, and a moonlight bright way to end your month, and light up the beginning of the weekend.

Tonight's acts:

Joe Tobin (SF Sketchfest) as your host
DJ JOill
Alexa Von Kickinface (Hubba Hubba Revue, Bubbles on Fire)
Jabari Davis (Charlie Murphy’s Acid Trip Tour, Basement Legends)
Gabi Holzwarth (Hip Hop Violinist)

and our favorite feature:

Just the Tip by Wells Day

Wells Day has appeal. He’s always 30 minutes from anywhere, the life of the pre-party, and the guy who always has something to say about something. He quips, imbibes, torts and retorts. Wells hails from nowhere in particular and grew to a very large stature at the early age of around that time. His idea of a perfect Thursday afternoon is sipping Suntory to the sounds of Patrick Swayze crooning about a woman riding the wind.
“Just the Tip” is a permanent fixture in “Moonlighting SF” and offers Wells a platform for irreverent discourse on the mayhem that ensues in this liberal bastion by the bay.

You know that old adage, “Alls Wells that ends Wells, with Just the Tip.” Never full insertion.

Out with ACT: Major Barbara

In cooperation with Canadian Theatre Calgary, ACT has staged an engaging production of George Bernard Shaw's Major Barbara. In the titular role, Gretchen Hall (extensive stage and television credits) makes her ACT debut and does so with a strong and engrossing performance. She manages to straddle the prim and purposeful mission of Barbara with her generosity of spirit and genuine familial affection, and carries the the narrative with great strides. The academic banter between her, her betrothed (played by Nicholas Pelczar) and her father (played by Dean Paul Gibson) is lively and well-timed and much fun, but maybe more fun for me as that's kind of my thing. The interplay of the three ideologues—missionary daughter, infatuated academic, and weapons-manufacturing patriarch—is wonderfully accomplished by these actors, and the supporting cast rises more to the level of ensemble as they light up each of their lines in turn. The show is superbly acted all around. And as always for ACT, a second round of applause for the wig mistress, costumer, and set designer. All well played.


Kandis Chappell as Lady Britomart Undershaft may not "steal" the show per se, but only because you are gladly giving up your wallet and cell phone for just one more of her officious lines and stern looks. Love her. While Elyse Price may play a smaller role as "the other sister" Sarah Undershaft, she shines with every line. The men about the house round out the family charm with a comic brightness and plenty of handsome.

Seriously:


(Later, I was slightly abashed about my familiarity with young Stafford Perry, until I noted his recent, scantily-clad role as "Harrianus Testosteronus.")

As the "ACT's Favorite Gays," we were given the challenge discovering "the one gay actor." We were barking loudly up the wrong trees until our new friend paused our introductions with, "Honey, I need to get some chocolate and I'll be right back." New best friend.

The Out with ACT nights give us a wonderful opportunity to meet the cast and discuss the production, theater life, and an actor's view of San Francisco. One last hand to Randy Taradash for always putting together such an engaging night Out at ACT.

wine-no

Oh Lord. I forgot to mention. If you go see Noises Off! at the Shelton Theater, which I heartily recommend, by whatever divinity you hold dear do NOT drink their wine before the show. Get your drink on, which does help with the funny, before you get to the theater. The seven-dollars-a-glass from four-dollars-a-bottle is so offensively disgusting as to border on poisonous. I am by no means a wine guy, but I know rancid swill when I taste it.

We had to begrudgingly balance our cash investment and desire for a comedy buzz with the abhorrent taste of their reds. Seriously. It nearly killed me.


Rizzo suffered through it too. We suspected while not ultimately fatal it should still be alcoholic.

And we should not have been surprised that it tasted like bleach. I mean, the skull and crossbones were right there on the sign.

Noises Off!

Rizzo invited me to join him to see a friend in the Shelton Theater's production of Noises Off! I had never seen it live (only the video) and had been eager to see it for years. Although it is rarely produced as the set is so direct an inflexible (i'm told set designers hate making it as it leaves no room for creativity). the set is two stories, eight doors, and reversible. I would have thought an impossible task for the tiny tiny Shelton stage.

Sure, the set was cramped and half of the doors were slightly miniature, but they totally pull it off. In no small part to the wonderful cast. So. Much. Fun. The farce elicited strong laughs all the way through, made even more enjoyable by the hysterics Rizzo was thrown into from the opening scene. The second act goes completely off the rails and the cast manages the chaos and teensy tiny stage with great comic skill.

Rodney Taylor is delightful as the exasperated director, and Erica Andracchio does a splendid comic turn particularly with the second act, encapsulating the entire nonsense into a single look amid the cacophony. Richard Sargent suffers beautifully throughout, and Travis Coleman is so believably hapless I wonder if that's him in his daily life. Also, is auburn fur looks good in briefs. Tony Ruiz does a good job with the handsome-but-stupid, and is underutilized in so far as he has his shirt and pants on the entire time.


Noises Off! has been extended through February 8, and I recommend going. Check Goldstar or Brown Paper Tickets for tickets.

not a dark comedy,

but a black opera.

Underneath the Lintel

Kevin and I took in ACT's Underneath the Lintel last week, and it was an intense 90-minute monologue from an engaging David Strathairn. It is, production aside, a one-man show, and I never cease to amaze that actors can deliver a powerful performance plowing through an entire play and hundred of pages of dialog by themselves. I always like to go into ACT performances as ignorant of the play as possible and let the story unfold for me without prejudice, but I don't think it will be spoiling it for anyone to say that it is a librarian's journey into compulsive answer-seeking regarding an ancient mystery he may be witness to.

I can relate.

And the mystery he has stumbled upon is that of the Wandering Jew. Which was cool for me as I have recently re-engaged with the DC character The Phantom Stranger, who is the comic-book telling of the tortured sinner. And The Phantom Stranger was the costume I wore for my first Halloween with Kevin so many years ago.

Again, cool.

As usual there were lovely people were around for the Out with ACT reception, and our usual thanks and applause to Randy Taradash for making it happen.

a nearly perfect thing

Via fellow Muppet-enthusiast Kevin, there is THIS. Oh Dear God In Heaven.

Sesame Street made a muppet version of Les Misérables. With Cookie Monster. So much awesome.

"Les Mousserables: The Story of Jean bonBon, a French guy who was very sad... because he had no cookies."

Oh Flantine!

Out with ACT: 1776

Wow. This was written in the 60s, and revived in 2012, and it still every bit as relevant today: Congress is a bunch of fucktards who can't get along and the private, corporate interests will always sway the compromise from liberty and American ideals. ACT's 1776 is well done, if a bit like an overly long civics lesson. And whether it is true or not it appeared to be by far the largest cast I've seen on the ACT stage. And a well-assembled cast of talent it is. It is not so much a "musical" as a "drama with some songs in it." History buffs and general citizens alike will enjoy it, but the history-types will appreciate it a bit more. Unfortunately my take away is that Pennsylvania is a colossal dick and South Carolina will obstruct anything to get its way, which in this case was slavery of the African people. Soooo...not much has changed.

Fine acting all around. And a super sexy Thomas Jefferson to boot. Good writers are always sexy, Brandon Dahlquist just fleshed it out. So to speak.








Kevin and I were our usual ACT Fabulous.

Thanks as always to Randy.

And poor, poor Tom...

Kevin and I started theater night with drinks at the Burritt Room and pulled Amy, the Oracle attendee, single-mother-of-three from rural Pennsylvania into our madcap trolly and she was happy to jump on board. I love meeting fun people temporarily on their own, andI think we gave her a San Franciscan experience.

And a new title.


Meet Amy. Or QUOTA.

Because she is the Queen of the Amish.

We bookended the night with the two extremes of tourists: the cool and the clueless. No matter how messy we may have been on the way home, we were still better off that this person, who drove her car down the closed part of Powell Street and into the cable car turnaround.


And finally a shout out to Mr. Brown: a never more delightful case of mistaken identity.

theater, drama

The James and Special K and I made a mutual birthday celebration last night with Sean Owen's Breeches of Etiquette, all new shorts and all riotously funny. And some of his most queer work to date. And by Jove "The Interview" and "the Candidate" (a re-envisioning of the witches of MacBeth) were sidesplitting fun of the upmost cleverness.


Hugs to longtime favorite Kathryn Wood, and standing ovations to the delightful and talented Mikka Bonel, whose comic timing makes Swiss watches seem grossly inaccurate.

And as for the interrupted ride home, who knew that—like a long-playing record—the 33 is just my speed?

Sean Owens is getting big for his Breeches

Sean Owens and Foul Play Productions announce Breeches of Etiquette, running Thursdays and Fridays August 8-23 in the Stage Werks Theater.

Sean Owens...That man is funny with a capital Ph!

From the bill:

Interwoven with implicit understandings and unspoken bonds, BREECHES is both eloquent and elusive: from a courtship between Sherlock Holmes and Moriarty (The Game's Afoot) to a wedding groomsman “taking it in the apse” (Double Windsor), these six short plays and seven songs, presented as a tautly wound and subtly seamless night of theatre, conspire to create moments outside of time in which everything-- and everyone-- is up for grabs. Thus, cruise ships and game shows become courses in tactical (and tactile) advantage, and even old Macbeth gets a long-awaited makeover (The Candidate).

The songwriting team of Owens & Seaver (Girlesque, Lady of the 'Loin and Cora's Christmas Corral) are more prolific and prophetic than ever, with songs that slide into the hidden pockets of pursuit and passion. Self-evident titles like "I'd Do Nancy Drew" and "Love Between Two Proper Gentlemen" stand alongside a tango-beat polemic on contemporary dating rituals ("Mixed Signals"), and some open-ended questions about opening up relationships ("Exception To The Rule"). Even in the altogether, BREECHES is altogether a revealing night of theatre.

Oh goodie!

So, for Breeches, would opening the show be considered pulling back the curtain or opening the fly?

Either way, I can't wait for what comes out.

much MUCH ado!

Thomas and I went to see Joss Whedon's production of Much Ado About Nothing tonight.


Holy forsooth shitballs. That was amazing! Love it loved it loved it!


Y'all have got to go.

And if you're into extra features, there are loads of interviews and extra bits on YouTube. Just search on "Much Ado Joss Whedon."

Amazing Arcadia

I don't have time for a full review. But Arcadia may my favorite play I've ever seen. And that is saying something. Or at least it is my favorite that I can think of right now. I'm not even a Stoppard fan. I'm actually the opposite really. Yes, for some it may seem like an academic lecture, but I'm an academic, and this was so fully engaged and engaging as to spring life from the stage. I actually got chills at the end of the first act.

The cast and company truly shine in this. If you are a thinking person who likes the theater, this is the play for you. Although it does help to have a familiarity with archival research, literature, and iterative mathematics. But don;t let those words scare you off—it's funny. And tragic. And brilliant.

And I really don't think even the Broadway production could hold a candle to this cast. I truly wish we had been able to make an Out night and chat up the cast.

The reviews are almost as much fun as the show itself.

ACT: Black Watch

As a Scottish descendant, former resident of Stirling, and general lover of Scotland, I was entirely predisposed to love Black Watch, making it to San Francisco via ACT.

It did not disappoint. And the drill court in the Armory was the perfect place to stage it. I will let the other rave reviewers rave instead of a lengthy and thoughtful review here, but I will say this: Go. Now. Go get tickets. I consciously go into theater performances trying to know as little about it as I can as not to bias myself or learn spoilers, but a little background history regarding the Black Watch might add to the enjoyment of this story.

It's a new story, one not told, and both riveting and emotional. Superbly acted and brilliantly staged. Robert Jack's manages to embody two completely opposite characters and personalities in this show, many people don't realize both parts are played by the same actor. And he plants both roles deep. And Stuart Martin carries the lion's share of the drama, and makes you are eager to follow him along. The visual history of the Black Watch's uniforms is wonderfully portrayed, and my friend from Glasgow told me that the changing historical/regional Scottish accents were brilliant—I'm fairly decent at identifying regional brogues, but not that good.

And being the Out with ACT night, the lads joined us for a drink or four afterwards, and I was a bit beside myself with so much Scot. I'm wishing I had made it a later night and joined them for after- after- drinks in the Mission.




And shouts to Cameron, the piper who can act, his love of Texas (which I will outshine when I introduce him to Tennessee-prepare the other cheek) and to all the lovely lads in town for the show. SUCH a pleasure.

ACT (The American Conservatory Theater) has installed some serious renovations to the Armory space and intends to host more productions there. Enjoy the new acoustics and upgraded bathrooms. And when (not "if") you go to Black Watch, plan your libations ahead of time. The show runs nearly two hours (1:50) and there is no intermission, and if you leave you may not be reseated. Although I (surprisingly) made it through the performance without having to get up to pee, it was a distraction throughout the whole show (Do I have to pee? Will I have to pee? What about now? How will I get out if I need to pee?)

However, if you can void your bladder first and have a strong bladder, do have a pre-show drink at the Armory Tavern across the street beforehand. It's owned/managed by the same Kink.com which owns/manages the Armory, and it may be my new favorite bar——gorgeous with deliciously crafted cocktails. Just like my company.


And after the show, be sure to check out the Art-O-Matic! Five bucks for an original work.


Even more to love.

Out with ACT: Stuck Elevator

Stuck Elevator, a libretto about an undocumented Chinese delivery guy stuck in an elevator for a weekend, and afraid to call the police for fear of deportation, is an interesting musical romp through Guang's imagination and fears as he suffers his confinement. Many are offering rave reviews.

Personally, I thought it was creatively staged and deftly performed, but only mildly interesting. Stuck Elevator is artful and perhaps topical, but I couldn't get into it, and failed to rise above my inclination to tell him to just ring the bell and get out already. But many of the ditties and the drama of his internal world were delightfully, or tragically, executed. It was certainly some people's cup of tea. For my tastes, it should never have left the black box.

But as usual, Randy and ACT make an Out with ACT night much fun! And shout out to the charming Demetrius who livened the after party.

Out with ACT: Dead Metaphor

It's only running through Sunday, so if you get the chance go see the world premiere of Dead Metaphor at ACT. GREAT show. The staging is beautifully executed, the acting superb, and the story engaging—dark, topical, and funny. Young George Hampe does a superb job with the central character, playing him almost effortlessly, and with enough immersion you can forget at times how much he reminds you of a young Topher Grace.

And honestly, any time you get the opportunity to see René Augesen AND Anthony Fusco on stage together is a real thespian treat! Anthony Fusco does is usual job, which is to say he's a just wonderful, but René really brings a light to her horrible politician and details such as the foot twitch are not lost on the audience. How much would I love to introduce her as this character to her as the character she played in November?


Dead Metaphor, the tale of a young unemployed Gulf wars veteran, a sniper, seeking employment and a place in the world and those who would advantage or take advantage of him while he tries to care for his pregnant fiancé and quickly deteriorating father, is topical, darkly comical, and an absolutely thoroughly good time. It runs through Sunday, March 24.  It really gives new meaning to the phrase "job hunt."






If you have time and if it's a nice night get a rooftop cocktail at 620 Jones beforehand. But take our advice: get dinner first. We sort of really enjoyed ourselves during and after the performance. Afterward, we tried the killer diner as recommended by 7x7, but found it a bit meh for all the hype and food porn they display on their website. Kevin, however, appreciated the twisting maze you had to take to find the men's room, which had it's own touch of noir.

And finally, a shout out to the wig shop at the American Conservatory Theater.  They are the unsung heroes of this house and always produce excellent work.

Update:  The theater is running a special promotion if you order a ticket through March 22:  $45 orchestra, $35 mezzanine, use code CANDIDATE online or call 415-749-2228. Show must close Sunday, March 24.

Out with ACT: 4000 Miles

And I would walk 500 miles and I would walk 500 more just to be the man who saw 4,000 miles and waited by the stage door.
Rumor has it that the estate of Tennessee Williams, which has a wide reputation for just being dicks, put the kibosh on ACT's planned performance of A Street Car Named Desire because it might dilute the interested in a potentially possible tour, someday, of the all African-American version of Streetcar which closed in New York. Whatever.

Best thing that could have happened.

Amy Herzog's 4000 Miles, directed by Mark Rucker, is a throughly engaging new play that manages to fill every scene with warmth, or laughter, or pain, or emotional fear. All in one room, with two actors almost never leaving the stage. As the Seattle-ite grandson arrives at the Manhattan apartment of his windowed, slightly socialist grandmother at three in the morning after riding his bike the 4,000 miles from the west coast, the archetypes are quickly established. I should say stereotypes as these characters in the abstract are not old enough to be archetypes, but they are much deeper than that, and their typeness is set quickly so that we may recognize each of them for what we may think we know so readily, and they grow from their. Their characters are revealed, as all family characters are, through their relationship with each other. And even in the stereotype language used to establish the baselines are used to great comic effect, as if to say "Yes, we know this is a stereotype, but these people exist, and he's one of them. Now let's move on from that and get going." As Leo ends his bike ride, his real journey, and ours, begin.

Reggie Gowland embodies the character of Leo so smoothly you'll expect to see him biking in the Mission, and Susan Blommaert is a tour de force as Grandma Vera (which may be to be expected from someone with her resume. Damn.). The caliber of acting in this play is as best as I have seen, and their timing and physicality are impeccable. Rounding out the cast in two smaller roles of the younger women in Leo's life—more relationships in which he himself is revealed, are two more talented actors Julia Lawler and Camille Mana.

It might be easy to say that the play is just about ordinary people in an ordinary life, but the story which unfolds, and the people revealed before you are extraordinary. We see so much of the familiar, and the familial, and the drama evokes the pathos so essential to good theater. Sure, I teared up more than once, but I laughed raucously when I wasn't.

Again, the cast was kind enough to join us at the Out with ACT reception afterwards. Great crowd and great cast.

Camille Mana, Susan Blommaert and Wilson Hardcastle

Julia Lawler and Kevin

Wilson Hardcastle and Reggie Gowland

A special treat for us was the return of Randy Taradash, in town only for a brief time before returning to New York to close his wildly successful production of Bare.

Julia Lawler, Randy Taradash and Reggie Gowland

And a final special treat—the lovely Brianna. Kevin and I tend to be the last people in the theater who do not actually work there, and so we get to meet some of the fun late night staff. Randy knew we would get along—


She has a Joss Whedon/Mutant Enemy tattoo!


The next production at ACT requires some complicating set construction and so the theater is strictly constrained for extending this production of ACT. They've been playing to sold-out houses and have only been able to add a day or two. 4000 Miles runs through Sunday, February 10. It's worth the trip to take the ride.

blow, Gabriel, blow

I only had one chance left to see the acclaimed revival of Anything Goes! And I love Cole Porter and bog traditional song and dance musicals. And the raves for Rachel York have been endless. So many friends have gone gaga over her performance, I had to go before the show left.


The only price point I could justify was via Goldstar, but they did not have a lot of reasonably options left. Even with Goldstar pricing, at $40 I had the second row from the back in the top balcony. Under the noisy air return. But still, Rachel York!


BLAST!!!

Regardless, she had pipes and could hoof and it was a de-lovely show!