The Original Romcom
TheatreFIRST tries its hand at free Shakespeare in the park with Much Ado.
Read my review in the San Jose Mercury News. Read more
How Berkeley Can a Play Be?
Turns out Berkeley means a lot of different things to a lot of different people. Dan Wolf wrote a play about it for Shotgun Players.
My review of Daylighting: The Berkeley Stories Project is in the Marin Independent Journal. And you can read my interview with Wolf in the East Bay Monthly! Read more
Strangers Will Make You Uncomfortable
Scottish playwright Linda McLean returns with an eerie, elliptical portrait of a life in five scenes.
Off-key Pitch
It’s always baffling to me when someone ascribes a poor review of a show to some kind of preexisting personal grudge on the part of the critic. On the one hand, I understand it: When you don’t want to consider that criticism of your work or the work of someone you love might be valid, you look for any reason you can possibly think of to discount it. The critic just doesn’t understand, the critic must have been having a bad day, or the critic must have it in for you. Either of the first two might be valid, although not nearly as often as people want to think, but the third is just nonsense. And it’s by far the one I hear most when someone writes in to complain about a review. In fact, someone recently commented on my review of Chance saying that if I described a freestanding nonfolding chair as a folding chair, it must be because I was lying to try to scare people off from the show.
I can’t speak for all critics everywhere, and thank goodness I don’t have to, but I never, ever go to a show with the intention of trashing it. It just doesn’t happen. I go to a lot of theater—sometimes 120 shows a year—and yet there are a lot more shows that look interesting that I can’t possibly get to, because I’m just one man and I have to spend some time at home with my lovely wife and our lovely dog. So I have to choose carefully what I go to see, and I’m not going to pick something that I have no reasonable expectation that I’ll enjoy. Life’s too short for bad theater. Obviously, despite my best efforts to pick stuff that looks good, I’m going to see some clunkers from time to time. It’s an occupational hazard. But I always want them to be good, and if I give a show a poor review it’s always because I had hopes for it and am disappointed that it wasn’t better. Why would I go somewhere with the intention of having a bad time? It doesn’t even make sense.
Nobody would want the above to be an intro to a review of their show, because after all that you know it’s not going to be a terribly positive one. But I thought of this anew when I went to see Central Works’s Pitch Perfect, because from time to time a play is just going to rub you the wrong way. I was in a perfectly good mood when I went to see the show, it’s a company whose work I follow and find interesting, and the actors are all people I like. But within 10 minutes after the play began, I was wishing I hadn’t come.
Accidents Will Happen
There’s such a thing as being accident-prone, but when your body is covered with scars from freak incidents like falling on picket fences (and you’re not a stuntman for a living), you’ve got to start looking at something other than chance. That’s the trouble with Evan in Disassembly, the latest of several plays by Atlanta playwright Steve Yockey to play Impact Theatre (and its first Yockey world premiere all its own, after 2009’s simultaneous premiere of Large Animal Games with Dad’s Garage in Atlanta).
