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San Francisco Chronicle
09-05-2025
- Entertainment
- San Francisco Chronicle
This Bay Area theater sparked protests. Now it's revisiting the same topic
In 2017, the company now called Marin Theatre produced a show so controversial that Black women and their allies staged peaceful protests outside the venue, passing out flyers urging patrons not to support the show. Some of those protesters created a website demanding accountability from the theater. That show, penned by Black playwright Thomas Bradshaw, was called 'Thomas and Sally,' about Sally Hemings, the enslaved woman who bore Thomas Jefferson six children. Now, less than a decade later, the company plans to mount 'Sally & Tom,' which seems to speak directly to those difficult events. 'I don't know what it was, a devil or an angel on my shoulder,' Artistic Director Lance Gardner told the Chronicle. 'It started out like a whisper: 'Hey, hear me out: What if we did 'Sally & Tom'? '' Gardner, who took the helm of the theater in 2023, was rehearsing a separate Marin Theatre play at the time of the 'Thomas and Sally' debate and recalled, 'It was really an all-consuming conversation and one that it seemed the theater was not equipped to have.' That conversation still feels 'unresolved,' he added, hoping that 'Sally & Tom' — written by Suzan-Lori Parks, a Black woman — might help it move forward. Parks' piece, he explained, 'is not a play about Sally Hemings and Thomas Jefferson. It is a play about an up-and-coming theater wrestling with trying to produce a play about it.' That fictional group's struggles remind him of Marin Theatre's experience. 'It centers a Black female playwright who is also the lead actor,' he added. He confirmed with the Chronicle he has not yet spoken with any of the 'Thomas and Sally' protesters about his plans, preferring to wait till after revealing his season, which was announced Thursday, May 8. Gardner is directing the West Coast premiere — the longtime actor and new producer's first time in that role at a major theater. 'Because of this material,' he said, 'I did not want to put this into anyone else's hands.' The lineup's opener, 'Eureka Day' (Aug. 28-Sept. 21), is just as exciting. Oakland playwright Jonathan Spector just nabbed a Tony Award nomination for his script, about a mumps outbreak at an uber-liberal, ultra-affluent Berkeley private school. This production reunites almost all of the original cast from the show's world premiere at Berkeley's Aurora Theatre, along with director Josh Costello. (Aurora is a partner on the production.) Gardner, who attended elementary school in Berkeley and Oakland, praised the way Spector combines audacity with economy. 'It's not this big, sweeping thing, but it contains big, sweeping ideas for our time,' he said. Spector, he went on, 'complicates people's arguments without waving a finger.' After 'Sally & Tom,' the company presents Anton Chekhov's 'The Cherry Orchard' (Jan. 29-Feb. 22). Carey Perloff, who recently directed the hit 'Waste' for the company, returns to helm the 1904 classic about Russian aristocrats reluctant to part with their debt-ridden estate. As a selector of plays, Gardner admitted a general preference for aesthetics and ideas over story. In 'The Cherry Orchard,' characters stagnate rather than move forward along an event-packed narrative. But he believes it provides 'a bridge to modern times,' with characters 'not so far away' that contemporary audiences can't relate to them. 'This idea of holding on to something in spite of the fact that letting it go might be the better idea — that's something that we all wrestle with,' he explained. The season concludes with the West Coast premiere of 'Pictures From Home' (May 7-31), directed by Jonathan Moscone. Sharr White's play, set partly in the Marin community of Greenbrae, is inspired by the eponymous photo memoir by the Bay Area's own Larry Sultan, a photographer who taught at San Francisco Art Institute and the California College of the Arts. In delving into Sultan's parents' lives, the show is grounded in what Gardner called sons' 'life-defining' quest for approval and respect from their fathers. It also prominently features Sultan's stunning images of his parents at home in the San Fernando Valley, with carpets as lush and thick as lawns, with makeup as garish as the wallpaper, with golf balls and swimsuits always at arm's length and the sun an omnipresent oppressor.
San Francisco Chronicle
05-05-2025
- Entertainment
- San Francisco Chronicle
Bay Area play, local artists get Tony Award nominations
Berkeley's not just on Broadway — it's now the toast of Broadway. 'Eureka Day,' about a mumps outbreak caused by undervaccination at an elite Berkeley private school, received a Tony Award nomination for best revival of a play. Written by Oakland playwright Jonathan Spector, it marks the first time in recent memory that a play about the Bay Area, written by a current Bay Area resident, has received a nod from the nation's highest honors for commercial theater, which are overseen by the American Theatre Wing and the Broadway League. 'Eureka Day' premiered at Berkeley's Aurora Theatre in 2018, under the direction of Josh Costello. 'I feel amazing. It's surreal,' Spector told the Chronicle just after 6 a.m. Thursday, May 1, when the nominations were announced by actors Sarah Paulson and Wendell Pierce on the Tony Awards' YouTube Channel. 'I never could have imagined when this play started its life seven years ago at Aurora that this little Berkeley play made with Berkeley people would one day be on Broadway and have a Tony nomination,' Spector continued. 'It was not on my bingo card.' Spector isn't the only artist with Bay Area ties among this year's nominees. San Francisco-born Darren Criss and Hayward native James Monroe Iglehart both received nods for the best performance by a leading actor in a musical award. Criss got recognized for 'Maybe Happy Ending,' in which he plays a robot seeking connection, while Iglehart was nominated for 'A Wonderful World: The Louis Armstrong Musical,' in which he played the title role. San Francisco's own Francis Jue also took home an acting nod, for best performance by an actor in a featured role in a play, for his work in 'Yellow Face.' Additionally, 'Dead Outlaw,' with a book by Berkeley native Itamar Moses, got seven nominations, including best musical, best book of a musical and best original score. (Moses has won previously, for 'The Band's Visit.') 'Eureka Day' begins with an executive committee meeting among parents and a headmaster, with dialogue that nails the Bay Area's particular breed of progressive affluence: a stay-at-home dad in an open marriage and a babysitter he met at Burning Man; the mom who, embarrassed of her privilege, calls her kid's private school 'more of a community school.' There's lots of concern about 'holding space' and 'feeling seen' — all as the group debates something as trifling as adding an option to a drop-down menu on the school's admission application. But soon the mumps outbreak splinters people accustomed to agreeing politically and governing by consensus. It all detonates in an uproarious scene in which the executive committee tries to livestream a meeting about the surge of the viral infection to all the school's parents, only to get outtalked and overrun by increasingly beastly commenters (whose individual posts ping in real time, displayed via projection). For all its comedy, the show also achieves the trickiest of balances: It doesn't render vaccine skeptics as cardboard cut-outs, but it doesn't validate their points of view either. Rather, it reveals how on certain polarized issues, political common ground, and the idea we can somehow eke it out through productive debate, are mirages. The show's Tony nod comes as outbreaks of measles — declared eradicated in the U.S. in 2000 — have popped up in Texas, Indiana, Kansas, New Mexico, Ohio and Oklahoma this year, all while Health Secretary Robert F. Kennedy Jr. continues to disseminate mixed messages about vaccines, drawing ire from health officials for an uncoordinated response. In the livestream scene of 'Eureka Day,' Spector said, 'There's a comment that I was really on the fence about cutting, because I felt like it was too extreme, where somebody says, 'These vaccines are all made from the cells of dead fetuses.' And then RFK Jr. said that yesterday about the measles vaccine in a press conference.' He added, 'It's maybe the monkey's paw of playwright gifts to have an eye towards things — but only bad things coming true.' The Tony nod isn't the only time 'Eureka Day' has been part of national news this year. In February, the show was part of the spate of cancellations at the Kennedy Center following Trump's self-appointment as chair of the flagship Washington, D.C., performing arts organization. 'I … struggled with whether having work there in these circumstances would be an act of resistance or an act of complicity. There's compelling arguments both ways,' Spector told the Chronicle in March. As time has passed, he added on the morning of the Tony nomination, his feelings have shifted more and more to relief. In any event, the show has a slew of other productions currently running or planned across the country — Boston, Denver, Houston, Pittsburgh and Sacramento — and the globe, including in Nottingham, England; Sydney and Vienna. Past Tony Award winners with connections to the Bay Area include Menlo Park native Will Brill (for 'Stereophonic,' which tours to BroadwaySF's Curran Theatre in the fall); San Francisco native Lena Hall (for 'Hedwig and the Angry Inch'); and Pickle Family Circus co-founder Bill Irwin (for 'Who's Afraid of Virginia Woolf?'); Irwin also starred in 'Eureka Day' on Broadway, alongside Jessica Hecht, whose performance earned her a Tony nomination for best performance by an actress in a featured role in a play. Spector's other notable local world premieres include 'This Much I Know' at Aurora Theatre and 'Best Available' at Shotgun Players. His 'Birthright,' about American Jews on a Birthright trip to Israel, premiered in April at Miami New Drama in Florida.
San Francisco Chronicle
25-04-2025
- Entertainment
- San Francisco Chronicle
From stutter to stage star: David Everett Moore's journey in theater
When David Everett Moore landed his first big role in a school play, he had an epiphany. 'That was the first time that I noticed that I was on stage speaking these lines, and I didn't stutter,' he told the Chronicle. 'And I was like, 'What? Interesting! I didn't know that was possible! '' He was 12 years old in Los Angeles and the play was 'Annie Get Your Gun.' Discovering that onstage he could speak without his stutter 'was freeing. It was empowering,' he recalls. Now 46, the Berkeley resident and professional union actor doesn't think of the speech impediment he's had since early childhood as a tragedy or a cage. More Information 'Crumbs From the Table of Joy': Written by Lynn Nottage. Directed by Elizabeth Carter. Opens Saturday, April 26. Through May 25. $38-$68. Aurora Theatre Company, 2081 Addison St., Berkeley. 510-843-4822. Instead, Moore learned, 'It has to do with flow.' He contrasted extemporaneous speech with recited lines or music: 'When words are already living in your brain, when it's already memorized, there's a flow for that.' That's especially true with Shakespeare, with its rhythmic iambic pentameter, which Moore frequently performs. Moore, currently performing in Lynn Nottage's 'Crumbs From the Table of Joy' at Aurora Theatre, said that to get where he is now, he suffered less prejudice than one might think. But the system he had to devise for himself requires a dedication to craft that might make many lesser men quit. 'There's never been a point where I was like, 'Oh, I should give up acting because of this,'' he said. And he's hardly the only public-facing professional with a speech impediment; former President Joe Biden, James Earl Jones and Samuel L. Jackson all had or have stutters. Moore's stammer isn't severe, but you do notice it in conversation. When he meets people for the first time, he might ask them not to suggest words to him when he pauses. 'I know the word; I'm just having trouble getting it out,' he said. In prior years, when he'd meet new collaborators in audition or rehearsal rooms, he'd explain that he speaks more fluidly onstage, 'just to make sure they knew I could do it,' he said. Then one time, he gave no preamble, and no one ever raised an eyebrow. Same thing every time after that. Eventually, he realized that his reputation and resumé, with roles at San Francisco Shakespeare Festival, Crowded Fire Theater and Colorado Shakespeare Festival among many others, speak for themselves. Victoria Evans Erville, a playwright, director and erstwhile leader of the now-defunct TheatreFirst, described Moore as an ideal actor, and he credits her with seeing his potential before he could. 'When he acts, you don't ever hear it, ever,' she said of his speech impediment. Instead, his other qualities shine: his focus, bravery and willingness to play, his ability to work with actors of any experience level. Most of all, he doesn't have to be in the spotlight if it doesn't serve the story. 'He loves the craft more than he loves himself,' she said. But being onstage doesn't 100% cure his stammer, Moore cautioned. He still occasionally stutters in performance, such as that one time in 'Much Ado About Nothing' at Colorado Shakespeare Festival. 'I just got stuck onstage in front of 1,100 people,' he recalled. 'The play ground to a halt because I couldn't get the word out. It was probably like five seconds, but five seconds onstage is an eternity.' After he exited, one of the show's more seasoned actors pulled him aside to say, 'Hey, it's not your fault' — a gift he still remembers fondly. Over time, Moore has learned more about how his brain works and developed mitigation strategies to decrease the likelihood of such incidents. For example, he learned that words that start with hard consonants followed by short vowels are harder for him. 'Dine' is easy; 'dinner,' not so much. When he first reads a script aloud to himself, he notes all the words that could be 'spicy,' he said with a laugh. He tries to make sure he's at or toward the beginning of a breath on tough words, a bit like the way singers and reed and brass players might plot where in a score they inhale. Or he'll imagine other words coming before a tough word, but not say them, and then mentally put a little music to the whole phrase as well. All the audience hears is 'dinner is served,' but in his head he appends 'what time shall I tell them that' to the beginning. All professional actors learn to be aware of where they're holding tension in their bodies, but for Moore the practice takes on additional importance. If he gets stuck on a word, he tries to take a 'mental photograph' of his physicality and ask himself, 'Is the tension in my throat? Is there tension in the neck muscles, or in my tongue?' Then, if he identifies the spot, he can try to release it or breathe through it. Sometimes he simply has to slow down, even when a play's scene demands urgency, presenting an intriguing artistic challenge of 'playing the tension of the moment without bringing physical tension,' as Moore put it. When all else fails, Moore might ask a director for permission to change a word in a script. Surveying his career, Moore attributes his success first to his parents, who took him to see theater growing up, which is 'still not commonplace for Black people,' he said. As a young boy, he saw Dulé Hill ('The West Wing') in a national tour of 'The Tap Dance Kid,' which showed him that people who look like him can be actors. 'Representation matters,' he said. Now he tries to pay that forward. He works frequently as a teaching artist, and once, working with Oregon Shakespeare Festival, he gave a talkback to students, showing them that the actor they'd just seen onstage speaks with a stutter. Afterward, a student wrote him a note saying he made her feel better about her own speech impediment. 'That's everything,' Moore said. When other theater artists ask him for advice about working with speech impediments, he makes it a point to give them however much time they need, too. I thought I remembered docking Moore for vocal stumbles in my reviews of his work, before I learned about his speech impediment, but then didn't find any evidence in the Chronicle's archives. Still, I can say I at least thought about doing so. I recently asked Moore what he might think about such a criticism. 'If the person said that it took away from their enjoyment of the experience,' he replied, 'then I I would encourage that person to ask themselves why it took them out of it.' Flawlessness is illusory anyway, he noted: 'Seeing something different than my expectations doesn't make that thing bad.'
