In the days of constantly streaming Twitter and Facebook, it’s amazing anything stays relevant for a month, much less decades. But Trouble in Mind by Alice Childress - the first African-American woman to win an Obie award - remains an insightful exploration of racial inequality, even half a century later.
The world is your stage, or so the saying goes. Starting today, this cliche can become your reality with London-based experimental theater company Rotozaza. A performance piece for two, Etiquette can be played out between strangers or friends across a table at Samovar Tea Lounge in Yerba Buena Gardens. Turning the idea of audience participation on its head, Silvia Mercuriali and Anthony Hampton—the masterminds behind this offbeat experience—provide headphones which dictate instructions to layman-come-actor.
Christian Cagigal is a dark little conjurer with a thoughtful view on evil and an experiential one-man show threaded with gothic whimsy. “It won’t be the feel-good show of the year,” he says. But if you let down your defenses, Cagigal promises to give you magic.
He’s also hatching good-natured plots to steal your soul, so be sure to keep that shit close. (I stuffed mine in an empty wine glass and shoved it under the seat. Seemed to work.)
If you were a virginal young woman more willing to use your brain than your boobs to get ahead in the world, how would you feel if you came home from Cambridge to discover that your mother is a notorious madame and the luxury of your childhood was bought via the virtual enslavement of women not so different from yourself?
Plowing through your day is so much easier when you don't stop to consider the possibility that you might be accidentally mowed down in a grocery store parking lot and wake up to find yourself immobile in a hospital bed. Lydia Stryck's deftly written script contemplates just such a scenario - and what happens when the man behind the wheel becomes a friend to the woman who can no longer move her arms.
Calling all playwrights: Think you can recreate the dirty mouths and terse dialogue of David Mamet's characters? In conjunction with the West Coast premier of Mamet's latest play, the political satire November A.C.T. is sponsoring its fourth annual David Mamet Writing Contest. The rules are pretty straightforward: Write one scene, three pages max plus an intro, with no more than four characters. Aspiring Mamets have three styles to choose from: retell a moment in US history a la Mamet, write a concession speech a Mamet character would give, or Mamet-fy a politically themed movie, TV show, or play. Submissions are due October 28, and the contest is open to everyone except for David Mamet.
The problem with “zany” and “kooky” is that sometimes you get “Dr. Strangelove” and sometimes you get dumb-goofy and annoyingly silly. There are a few moments in ACT’s new revival of John Guare’s“Rich and Famous” that approach Peter Sellers-esque kookiness, wackiness in the best sense of the word. And then there’s the rest of the play.